COME BACK TO THE 5 AND DIME, JIMMY DEAN, JIMMY DEAN

Cher

COME BACK TO THE 5 AND DIME, JIMMY DEAN, JIMMY DEAN (1982). Director: Robert Altman.

In a small town in Texas twenty years have gone by since the last meeting of a James Dean fan club in 1955, the year of Dean's death. Incredibly, several of these "disciples" come back to the Woolworth "5 and Dime" store, where the members used to congregate, for a 20th anniversary reunion. Two of the members -- big-boobed Sissy (Cher) and decidedly weird Mona (Sandy Dennis), who supposedly has a son fathered by Dean -- never left town and still work for Juanita (Sudie Bond) at the store. Then there's big brassy Stella Mae (Kathy Bates of Misery), sweetly naive Edna Louise (Marta Heflin), and a newcomer, Joanne (Karen Black), who knows everyone and claims she was once a member of the group -- but no one remembers her. As the day progresses, the ladies share revelations and bear their souls.

Kathy Bates with Karen Black in the background

Originally presented on stage with (mostly) the same cast, and with Altman as director, the play had its fans -- primarily due to the presence of Cher and perhaps its camp/transgender factor -- but was not a big hit with the critics, finding it awfully contrived and sitcom-like, which it is. As with the stage production, Altman decided to use the same actors playing themselves twenty years earlier in sometimes poorly delineated flashbacks, and it not only doesn't work but just confuses the viewer. The frequent jumps in time eventually become tiresome. But while the play and movie, both written by Ed Graczyk, have some interesting elements to them, the story ultimately comes off more like a stunt than serious theater. The film never quite makes up its mind if it's a drama or a black comedy. The dialogue doesn't come naturally from the situations, but seems forced just so each character can have her big moment

Settling scores: Karen Black

Then there's the acting, which is frequently over-rehearsed (understandably) and over-emphatic. Cher was originally supposed to play a transsexual character, but decided she'd rather play Sissy (ironic that her daughter became a trans man years later). She is okay, but it's not much of a stretch from what she used to do in sketches on The Sonny and Cher Show. Sandy Dennis is somewhat good as that ultimate loser, Mona, but she's a positive riot of pauses, tics, nervousness, and grotesque facial expressions. Mona manages to get over her own mortification rather quickly. Karen Black [Invaders from Mars] comes off the best as Joanne, who has come to town to settle a few scores, and she has quite a few bravura moments. Kathy Bates is also quite good, as are Sudie Bond, Marta Helfin and Mark Patton [A Nightmare on Elm Street Part 2: Freddy's Revenge] as Joe, the one male member of the Disciples, whose character manages to run virtually the entire LGBT gamut before the play is over.

I believe the play is meant to be liberal and kind-hearted, and it can be appreciated on that level, but I think some of the same elements could have been reworked into something with a stronger premise and more interesting situations and characters.

Verdict: It is not true that a remake with Caitlyn Jenner is now in pre-production. **1/2. 

THE EXECUTION

Loretta Swit, Sandy Dennis, Valerie Harper

THE EXECUTION (1985 telefilm). Director: Paul Wendkos.

In San Diego in 1970, several women who were survivors of the Birkenau concentration camp and who somehow met up with each other years later, get together each week to play mah jongg. Elsa (Sandy Dennis) spots a restaurant owner named Walter Grauman (Rip Torn of Sweet Bird of Youth) on a TV ad and is afraid that he may actually be Wilheim Gehbert, who raped and brutalized the women at Birkenau and was responsible for several thousand deaths. Marysia (Loretta Swit) agrees to find out if Walter has a certain scar on his back, and winds up sleeping with him when he doesn't. However, she is in for a rude awakening the next morning. The ladies decide that one of them will secretly murder Grauman, but things get complicated when an innocent man is arrested for the crime ...

Rip Torn with Loretta Swit

The Execution has an excellent premise but in its second half it becomes overly complicated, ignores points of law, and is almost sunk by its contrivances; even a final twist doesn't quite make up for the script deficiencies.  In fact, it becomes ridiculous at times. Loretta Swit, however, gives an outstanding performance, giving 150% to the role. The other ladies -- including Valerie Harper, Barbara Barrie and Jessica Walter  -- are good but a notch below Swit. Dennis indulges in her usual quirky all-tics-and-mannerisms acting style and is actually not that compelling. Of the male actors, Torn gives a good if second-rate performance, although Alan Miller and Peter White are fine as two of the spouses. Paul Wendkos also directed theatrical films such as The Burglar.

Verdict: No one expected Judgment at Nuremberg, but a film with this premise should have been much, much, more powerful -- Swit can not be faulted, however. **3/4. 

SPLENDOR IN THE GRASS

Natalie Wood and Warren Beatty

SPLENDOR IN THE GRASS (1961). Director: Elia Kazan. Original screenplay by William Inge.

In 1928 Kansas high school students Wilma Loomis (Natalie Wood) and Bud Stamper (Warren Beatty) are a couple, although they come from opposite sides of the tracks. Bud's father is a wealthy brewer while Wilma's family is of more modest means. Bud's hormones are really kicking in, but he knows Wilma is not the kind of girl who would want to go "all the way." Wilma's mother (Audrey Christie) assures her daughter that sex is just something that women "have to put up with." Bud's father (Pat Hingle) suggests that he get , in essence, a "bad girl" to satisfy him while continuing his relationship with Wilma, but instead Bud thinks it's best to break things off with Wilma -- this decision has unfortunate consequences.

Pat Hingle and Warren Beatty

I have to confess that when I was finished watching Splendor I had to wonder why it is so acclaimed. I think the main reason is that the film has a great, well-played and moving ending that sent moviegoers home happy. It's just that the rest of the film is well ... odd. I must say Natalie Wood gives a very good performance, although I'm not certain she quite gets across the emotional fragility of the character which might explain some of the things that happen to her. In his first film role, Beatty is acceptable, but he's too old for the part -- he was 24 at the time of filming -- and while good-looking enough, in some shots he just looks weird. I found Audrey Christie merely annoying as Wood's mother, although Hingle was better as Beatty's dad. One of the worst-played scenes in the movie is a scene in an alley when Beatty is shown his father's corpse.

William Inge

There are some good supporting performances in the film: Barbara Loden as Bud's free-wheelin' sister, Virginia; the ever-strange Zohra Lampert as a waitress Bud meets in college (going from Wood to Lampert is sort of like going from the sublime to the ridiculous!); the even-stranger Sandy Dennis as a classmate of Wilma's; Gary Lockwood [The Magic Sword] as a handsome boy who goes out on a date with Wilma with unfortunate results; Jan Norris as "bad girl" Juanita; Joanna Roos as Bud's somewhat overwhelmed and neglected mother; Charles Robinson [Brotherhood of Satan] as Wilma's more-than-friend, Johnny; and others. William Inge, whose screenplay was not based on one of his stage works, even appears briefly as a minister -- a former actor, he's fine. Of all people, Phyllis Diller [The Fat Spy] shows up in a New Year's Eve scene as Texas Guinan, making tasteless jokes about the stock market crash suicides.

From the sublime to the ridiculous? Zohra Lampert

Splendor is mostly about S-E-X, but it's also about romantic longing and the hatred that children often feel for their own parents. I'm not certain that, when all is said and done, Inge was able to lift the movie that much above the soap opera level, as some of the characters are stereotypes and not as well-developed as they could have been. A self-hating homosexual in real life -- one can't call him gay as he was not self-accepting -- Inge nevertheless understood the universality of romantic and sexual feelings just as his contemporary Tennessee Williams did. NOTE: The title comes from a Wordsworth poem.

Verdict: Some lovely things in this movie, yet ... **1/2. 

WHO'S AFRAID OF VIRGINIA WOOLF?

Liz Taylor and Richard Burton

WHO'S AFRAID OF VIRGINIA WOOLF? (1966). Director: Mike Nichols.

"I'd divorce you if you existed." --Martha regarding George.

George (Richard Burton of Becket) is an Associate Professor of History at New Carthage University. His wife Martha (Elizabeth Taylor of Giant) is the daughter of the university president. Married for some years, they are enmeshed in bitter disappointment and alcohol. They were not able to have children, and George had hoped to be head of his department by now. The contempt they feel for themselves and for one another bursts out in lacerating games and accusations.

George Segal and Sandy Dennis

After a party one night they invite a younger couple, new to the university, to their home at two in the morning. Nick (George Segal) is a new biology teacher, and Honey (Sandy Dennis of That Cold Day in the Park) is his wife. The two were only married because of an hysterical pregnancy, and Honey's family is wealthy. Copious amounts of alcohol keep the "games" coming, with Martha pretending that she and George have a son. Before long all four people are lashing out at each other, and George decides it's time to put one rumor to rest.

George notices that Martha has plans for Nick

Who's Afraid of Virginia Woolf? intelligently opens up Edward Albee's play with scenes at a roadhouse and on the lawn, and the film is very well directed by Nichols, who gets excellent performances from the entire cast, and an especially strong one from Oscar-winning Elizabeth Taylor. Alex North's music is used very sparingly but it adds to the grim atmosphere of this black comedy, as does Haskell Wexler's top-notch black and white cinematography.

George fences with Nick

Since the play is much longer than the movie, cuts were obviously made, but I suspect that the movie is better than the play. It is debatable if Virginia Woolf is a great work of theater or more along the lines of kitsch, and in truth it probably lies somewhere in the middle. Although seen as a dissection of typical married life back when it premiered in the sixties,  it was obviously not the first play to deal with dysfunctional marriages. There was a typically sixties frankness and crudity to the language that was different, however, and Albee's dialogue is often very good and very funny.

George and Martha 

The whole business with the "son" doesn't really make much sense, but one's left with a vague air of tragedy because these people seem so pathetic, despite the fact that they are not that likable nor sympathetic. As played (beautifully) by Sandy Dennis, who also garnered an Oscar, even Honey is simply too freaky to engage our sympathies. Although we obliquely learn certain things about the characters -- the whole business with George's book, his parents' (?) deaths and so on is admittedly intriguing if obscure -- it might be said that we don't quite come to know them that well (nor do we want to).

Still, Who's Afraid of Virginia Woolf holds the attention and has its fascinating aspects. Underneath the laughs and bitchy interplay there is genuine pain and loneliness, but other plays have perhaps gone into the same themes with more brilliance and compassion. (Admittedly, there are undoubtedly big differences between the play, which I have not seen in some years, and the film.) Albee based George and Martha on a straight couple he knew -- they were never intended to be a gay couple, which is probably why he nixed an all-male version that Burton and Henry Fonda wanted to do with Jon Voight and Warren Beatty in 1970. True!

NOTE: The film Martha is referring to when she imitates Bette Davis saying "What a dump!" is Beyond the Forest.

Verdict: Who's Afraid of Alcohol Poisoning? ***. 

ANOTHER WOMAN

Gena Rowlands

ANOTHER WOMAN (1988). Writer/director: Woody Allen.

"I accept your condemnation."

Marion (Gena Rowlands) takes an apartment to work on her latest book in peace but discovers she can hear conversations in the next-door psychiatrist's office through a vent. One particular patient stands out in her mind, Hope (Mia Farrow), whom she eventually meets. In the meantime she has encounters of varying kinds with her partially estranged brother, Paul (Harris Yulin); her aged father (John Houseman); an old friend-actress (Sandy Dennis of That Cold Day in the Park), who tells her their long separation was deliberate on her part; and her husband Ken (Ian Holm), who seems strangely disinterested in love-making. There are also flashbacks to her conversations with such as Larry (Gene Hackman), a friend of Ken's who fell in love with her. Another Woman is extremely well-acted, has excellent dialogue, is handsomely photographed by Sven Nykvist, and certainly holds the attention, but it may not deliver the pay-off the viewer is expecting. Perhaps the movie, which is apparently meant to look at the life of a woman who keeps her feelings too much in control, is too subtle to have major impact. Rowlands [The Skeleton Key] gives an outstanding performance, however, which is most of the film's pleasure, and there are also excellent performances by Sandy Dennis (her confrontation with Rowlands in a bar is one of the best scenes in the movie) and a wonderful John Houseman [Murder By Phone]. Betty Buckley has a well-played bit as Ken's ex-wife, who shows up in the middle of a party. and causes an understandable scene. Allen has created real characters, but that doesn't mean his characterization is always incisive, and we really don't get to know any of these people, including Marion, well enough to give a damn about any of them.

Verdict: The acting puts this over and it is certainly absorbing despite its flaws. *** out of 4.