MAGIC MAN (Stanley Donen: R.I.P.)

Few directors, producers or choreographers were responsible for as much Hollywood iconography as Stanely Donen, a master of all three roles, who passed away today at the age of 94.

Gene Kelly singing (and dancing) in the rain. Fred Astaire dancing on the ceiling. Gwen Verdon generating steam heat. Audrey Hepburn asking Cary Grant how he shaved in there. The Seven Brides being swung by the Seven Brothers. Donald O’Connor makin’ ’em laugh.  Kelly and Frank Sinatra hitting the town in their sailor suits. Hepburn catsuiting through a Paris nightclub in the name of Emphaticalism.

One could go on. Even if you’ve never seen the movies, most of those images will ring a bell.

With Kelly, he both reinvented the Hollywood musical and extended its natural lifespan by a generation, no easy task in a post-war era that already prized realism (if not cynicism) above all else. With Hepburn, he made a signature musical (Funny Face), a Hitchcock homage (Charade) that was better than all but a handful of the Master’s own and perhaps the best film anyone has made about marriage (Two for the Road), giving her a chance to do what everybody knew she could do and a few things nobody thought she could. Besides the superstars, Debbie Reynolds, James Coburn, Walter Matthau, Geoge Kennedy, Bob Fosse, were among the many whose careers got a jumpstart in Donen’s films.

And all of that happened because from the late 40s to the late 60s he had the surest touch in the game.

After that his career went into a tailspin, never to recover as we set about throwing everything away and forging our own way to Paradise without the benefit of what all the poor hidebound Past could teach us.

I’m betting whoever’s in charge of the next life is looking at his resume along about now and saying “Well, we can’t blame him.”

Never mind us, though. and what all we didn’t do. No future worth living in will forget him.

THE LAST TEN MOVIES I WATCHED….AND WHY I WATCHED THEM (July, 2018)

July 3-Three Days of the Condor (1975, Sydney Pollack, Umpteenth Viewing)

Because it’s still the best straight movie about the CIA (and all that it represents in a nonrepresentative “democracy”). Much as I’ve liked it over the years, it’s grown lately, I think because Faye Dunaway’s performance no longer seems like it belongs in another movie. The rest always fit. It might be Robert Redford’s best role/performance and the rest of the stellar cast (Cliff Robertson, Max Von Sydow, John Houseman) were never better. And to remind myself that we still haven’t figured out who watches the Security State while they are busy watching us.

July 3-The Hot Rock (1972, Peter Yates, 2nd Viewing)

Because I liked it just well enough when I watched it a few years ago to give it another chance and besides Illeana Douglas, who generally has impeccable taste, recommended it on her podcast. Good move. I can now count it as one of the few good adaptations of a Donald Westlake novel. Still not sure I buy Robert Redford as Dortmunder (if you’ve read the books you’ll know what I mean–he’s as miscast here as he was perfectly cast in Condor), but he gets by, and the rest works beautifully.

July 4-Drums Along the Mohawk (1939, John Ford, Umpteenth Viewing)

Well it was one of those July Fourths that happened to coincide with “time to watch Drums” moods. And I ask myself, yet again: Why is there only one great movie about the Revolution? Because nobody could imagine why another one was needed?

July 5-The Replacement Killers (1998, Antoine Fuqua, 3rd Viewing)

Because sometimes you just want to watch a movie while “Popcorn, got to be a mother for me!” plays in your head. If you ever get those moods, this is a real good one. And these days, you can wonder if Harvey Weinstein killed the box office to get back at Mira Sorvino, who, on this evidence, should have gotten her own action series.

July 7-Proof (2005, John Madden, 3rd Viewing)

For one of Gywneth Paltrow’s best performances (from the days when she was almost too good to be true), matched by a stellar cast. For one of the few movies about the life of the mind–especially the fine line between genius and madness–that works all the way through. For Hope Davis’s chilling, almost sympathetic, take on a middle class Iago. Why don’t I watch it more often? Watch it once and you’ll know why.

July 7-Diamonds Are Forever (1971, Guy Hamilton, Umpteenth Viewing)

My favorite Bond. Others are “better” of course (Goldfinger, From Russia With Love, On Her Majesty’s Secret Service, maybe one or two of the later ones). But this one’s the meanest, most cynical, trashiest, least coherent. All the things I want most from Bond. The only fault is they needed more Plenty O’Toole. Of course they did.

July 7-D.O.A. (1949, Rudolph Mate, 1st Viewing)

Because this was one of the few top-rated films noir I had never seen. Talk about incoherent. But the atmosphere was everything everybody always said it would be and I’m a sucker for Edmond O’Brien, especially when the script and the lighting give his goofy melodramatic side a chance to run free. Plus it has a downer ending (surprisingly rare in noir), that you’re told is coming in the first moments and still packs a punch. Look for the great Neville Brand, minus his trademark gravel voice, in a chilling role as that rare movie goon who would give you the heebie jeebies if you met him in real life–not least because he’s the type you might actually meet in real life.

July 8-D.O.A. (1988, Annabel Jankel and Rocky Morton, 1st Viewing)

This was on a disc with the original D.O.A. but I might have watched it some time or other anyway. I’m an unabashed fan of Dennis Quaid’s wicked grin and Meg Ryan’s tousled hair. To tell the truth both have been used to better advantage elsewhere. This isn’t bad, it just doesn’t quite seem to have a reason for being. It can’t match the nightmarish qualities of the original (color doesn’t help) and Ryan is pretty much wasted in a tack-on part. Plus, Quaid’s character is one of those modern academic men who isn’t sure he wants to live anyway. Kind of takes the tension out of a movie about being dead on arrival. And did Dennis Quaid ever strike you as a guy who wasn’t sure he wanted to live? I didn’t think so.

July 8-Buchanan Rides Alone (1958, Budd Boetticher, 3rd Viewing)

Because it had been a while. It’s a measure of just how good the Scott-Beotticher westerns are that this is counted one of the “lesser” efforts. Lesser it may be, but it’s still hellishly entertaining, with Randolph Scott trading his trademark stoicism for a grin Dennis Quaid would kill for and making it work. Even so, it’s not a comedy. The plot is strong if elemental and Boetticher’s unabashed love for Mexico and its people (not to mention its honor code) will make you weep for a land where, these days, having a hundred or more political candidates murdered in a single election season isn’t even news.

July 9-Funny Face (1957, Stanley Donen, Umpteenth Viewing)

Because Audrey. Lots were better dancers, but, among Fred’s many partners, only Ginger was a better match for banter–and Audrey could always make you root for her beyond all reason, so her dancing has a poignant quality no others matched. Made because Astaire had held on to Daddy Long Legs for decades (until he was old enough for the part) and agreed to do it with Hepburn, who, at the last minute was unavailable (he did it with Leslie Caron instead and the world got a two-for-one deal that’s pretty wonderful). He still wanted to work with her and you can see how much fun it was for all concerned. Hepburn turned out to be just as good at “serious” parts as she was at romantic comedy. But this is the last time she was lit from within in the manner that made her a star.

Soon after, reality set in and the world of Three Days of the Condor hove into view.

More’s the pity.

Til next time….