BEING THE RICARDOS (2021)

December 9, 2021

Greetings again from the darkness. You don’t have to be one of the 60 million who, between 1951 and 1957, tuned in each week to watch the latest episode of “I Love Lucy” to feel like you know Lucy, Desi, Ethel, and Fred. Most of us have watched the syndicate re-runs over the past 70 years, and that fact added challenges to this project for writer-director Aaron Sorkin – not the least of which was casting the role of Lucille Ball. Everyone had an opinion, and when you go to cast a true icon, it’s a slippery slope.

I’m happy to report (even though it’s not surprising) that Oscar winner Nicole Kidman is truly exceptional as Lucy. Perhaps a better choice could be made if this were a remake of the “I Love Lucy” sitcom, but although the film dips in and out of that show’s production, this is an Aaron Sorkin movie; so the focus is less on comedy and more on the intricacies of social and political issues. Now you might ask, what issues could a beloved star like Lucy have?  How about these: the media is reporting her husband is cheating on her, the sponsors don’t want her appearing on air while pregnant, internal battles over a particular scene with the director and writers, and she’s just been publicly called out for being a communist.

You’ve surely detected by now that this is no comedy about Lucy. Instead, it’s a pretty heavy drama about pressures at the top of a profession, and the eternal difficulties in cultivating a successful marriage. Adding heft is the era in which this occurs. It was rare for a woman to wield Lucy’s power, and the social mores of the time forced big time debate over showing a woman during pregnancy – even if that woman was married! Filmmaker Sorkin utilizes an odd structure for the film. It appears to be happening during the show’s second season, but we are actually looking back years later through the eyes of the show’s writers and producer. And then beyond that, we get flashbacks from the flashbacks to Lucy’s time at RKO, and the early flirtations that led to Lucy and Desi.

Oscar winner Javier Bardem plays Desi Arnaz. Although he bears little physical resemblance to the Cuban bandleader, Bardem expertly captures the essence of Desi as a businessman, actor, musician, lover of Lucy, and lover of life. For me, it was as thrilling to watch Desi’s shrewd negotiations with the network and Philip Morris executives as his energized bongos while performing “Babalu” at Ciro’s. Sorkin makes it clear that both Lucy and Desi were brilliant at what they did. Together they formed Desilu Productions, and he handled much of the business side, while her perfectionism and comedy instincts pushed the show to limits never before reached.

But what would the Ricardos be without their neighbors, landlords, and friends, Fred and Ethel Mertz? Nina Arianda (a Tony winner) plays Ethel/Vivian Vance, while Oscar winner JK Simmons plays Fred/William Frawley. The set is not the warm and fuzzy cocoon one might imagine. Vivian’s well known frustration was with Lucy mandating Ethel’s frumpy and dowdy look, while it’s clear Vivian and Frawley’s bickering carried on after the lights dimmed … due in no small part to Frawley’s alcoholic ways. That said, Ms. Arianda is terrific in the role, and Mr. Simmons epitomizes the grumpy old man we know as Fred.

Due to the flash-forward recollections, we get Tony Hale and John Rubinstein as the younger and older producer Jess Oppenheimer, Jake Lacy and Ronny Cox as the younger and older writer Bob Carroll, while Alia Shawkat and Linda Lavin play the two versions of writer Madelyn Pugh. It’s Ms. Lavin who describes Lucy and Desi’s relationship as, they were either “tearing each other’s heads off, or tearing each other’s clothes off.” It’s debatable whether Sorkin’s choice to structure the multiple time lines adds to the film’s depth, but it does allow for more talking … something Sorkin never shies away from. This is his third directorial effort after MOLLY’S GAME (2017) and THE TRIAL OF THE CHICAGO 7 (2020), and he won his Oscar for the adapted screenplay of THE SOCIAL NETWORK (2010).

Despite all the other aspects, this is the story of Lucy in crisis mode. She is pregnant with the child of a husband who is likely cheating on her. Her show and company are in jeopardy, and because of something she did many years ago, her status as a beloved American icon could be lost. Her show transcended all other forms of entertainment at the time and was must-watch TV when not every home had a TV (much less 3 or 4). The film mostly covers one week in time, though Sorkin does give us a look back at a time when the industry simply didn’t know what to do with her talent. For the fans, we do get a mention of Vitameatavegin, and a wonderful recreation of the infamous stomping of grapes. It’s a delight to see such fine actors fully engaged in roles they know will be picked apart by many. This is not the Lucy movie we would typically expect, but it’s one that pays tribute to the real person and real people and what they accomplished.

In theaters on December 10, 2021 and streaming on Amazon Prime beginning December 21, 2021

WATCH THE TRAILER


DELIVERANCE (1972) revisited

August 22, 2020

 Greetings again from the darkness. This is the next entry in my “Revisited” series, where I re-watch and then write about (not a traditional review) a classic movie. “City Slickers” could have been an apt name for this 1972 film, though it would have forced a new title for Billy Crystal’s 1991 comedy. DELIVERANCE was directed by John Boorman, and the script was adapted from James Dickey’s 1970 novel by the writer himself. Many have referred to this as a man-against-nature film, and it certainly works as an adventure tale; however, I find the psychological elements just as fascinating – the primal instincts and the personal transformations.

Those nine notes are every bit as iconic as the JAWS theme. “Dueling Banjos” always sends a chill up my spine, as I recall certain scenes from the film that are forever etched into my memory. We don’t even have to wait long to hear the song. It’s the first real sequence after the opening credits which feature only the banter of four buddies animatedly discussing their weekend canoe trip down the Cahulawassee River before a dam is built and the area flooded for a hydro-electric plant. During the banter, in a bit of foreshadowing, we hear Ned Beatty’s character ask, “Are there any hillbillies” where they are headed. The first glimpse of the four men occurs as they stop for gas and interact with the locals.

The personalities of each are quickly established. Lewis (Burt Reynolds) is the alpha male, and the one pushing the group to take the trip. Ed (Jon Voight) is Lewis’ friend who wants to be like him, though he lacks the confidence. Bobby (Ned Beatty) is an insurance salesman, who looks down on the locals and would rather be playing golf. Drew (Ronny Cox) is a nice guy, and the one who connects musically for the guitar and banjo picking with the local boy (Billy Redden) perched on the porch. It’s a fun, yet unsettling, scene to watch as the two pick away on their instruments. Their smiles end abruptly when the boy turns away in disgust as Drew tries to shake his hand. It’s not the last time the outsiders will be rebuffed.

 These are suburban men, settled in life, being pushed outside their comfort zone by wannbe-adventurer Lewis, who is the epitome of 1970’s machismo. His angry proclamation that “they’re drowning a river” is followed up with “because it’s there”, as an answer to why they are taking the trip. Lewis’ life vest flaunting his arms and chest, and his aggressive oratory (including the ironic, “You can’t judge people by the way they look, Chubby”) contrast with the conservative dress and mannerisms of the other men: Ed smoking a pipe, Drew strumming a guitar, and Bobby’s squishy body. For the first half of the film, Reynolds mesmerizes as the cocky Lewis.

As the men make their way down the river, they experience the sudden adrenaline rush that Lewis promised. Shooting the rapids on the river is truly man-against-nature, and the adventure that director Boorman and writer Dickey want us to initially believe is at the heart of the story. One of the key exchanges occurs at the campsight that night as Lewis acknowledges Ed’s “nice life, nice job, nice wife, nice kids”, and then asks him directly, “Why do you come on these trips with me, Ed?” It’s clear Ed is happy with his life, but he desperately wants to feel the power of being a survivalist and “real man”. It’s because of this exchange, that we find Ed’s hunting trip and face-to-face with a deer the next morning so gut-wrenching.

The second day finds some truly peaceful times with nature, and some stunning camera work and shots of nature courtesy of cinematographer Vilmos Zsigmund. It’s in these shots where we “get it” – the appeal of becoming one with nature. Of course, it’s once things seem so right, that things go so wrong. A drastic shift occurs. Ed and Bobby are confronted by local hillbillies in the most despicable way. Fear fills the screen and our minds. The menacing mountain men are played by Herbert “Cowboy” Coward (not really an actor) and Billy McKinney (whom you’ll recognize from FIRST BLOOD, THE OUTLAW JOSEY WALES, and many other roles). Still today, the sequence is terrifying and difficult to watch, and it’s when “squeal like a pig” entered our lexicon, while “He got a real purdy mouth” became seared into our brain.

Immediately following the nightmare sequence with the hillbillies, comes one of those psychological exchanges that elevate the film to greatness. Four frantic and desperate men debating “the law”, when in actuality, they are debating self-preservation. The close-up of Ned Beatty’s face says as much as any line of dialogue, and, as is often the case, a moral dilemma is resolved by choosing the path of least resistance. The day presents more horror, as Lewis and Drew meet with disaster, while Ed’s transformation takes place. It should be noted that the film’s budget was so tight, the actors performed their own stunts – including Jon Voight’s tense (and impressive) climb up the face of the rock cliff.

Director John Boorman was a 5-time Oscar nominee, including HOPE AND GLORY (1987). He also helmed one of my sleeper favorites, THE EMERALD FOREST (1985), as well as coming right out of the gate with his first feature (and cult favorite) POINT BLANK (1967), starring Lee Marvin and Angie Dickinson. Writer James Dickey wrote the 1970 novel and adapted his own novel for the screen. He was a novelist, poet, and college professor, as well as being named U.S. Poet Laureate. My favorite Dickey quote is, “The poet is one who, because he cannot love, imagines what it would be like if he could.”

For Ned Beatty and Ronny Cox, it was their feature film debut. Mr. Beatty had a 40 year acting career (he retired in 2013), and notched an Oscar nomination for NETWORK (1976), while seemingly appearing in most every movie in the 1970’s and 1980’s. He may be best remembered as Lex Luthor’s bumbling henchman in SUPERMAN (1978) and SUPERMAN II (1978), and kids today would recognize his voice as Lotso in TOY STORY 3 (2010). He also became good friends with Burt Reynolds, and was cast in many of Reynolds’ later films. His career allowed him to play a widely diverse roster of characters, and one of his often-forgotten best was in THE BIG EASY (1986). Mr. Cox is approaching a 50 year acting career, and he is also a talented singer-songwriter. His best known roles are as the Police Lieutenant in BEVERLY HILLS COP (1984) and BEVERLY HILLS COP II (1987), and as a corporate executive in both ROBOCOP (1987) and TOTAL RECALL (1990). In addition to his many movie roles, Cox appeared in numerous TV series throughout the years, and one of my favorites was a small town family drama entitled “Apple’s Way”, which ran for two seasons, 1974-75.

Jon Voight is an actor every movie lover is familiar with. As he approaches his 60th year in the business, the highly decorated actor has been nominated for four Oscars, winning for COMING HOME (1978), starring opposite Jane Fonda. His other nominations were for playing a gigolo in MIDNIGHT COWBOY (1969), a bad guy in the thriller RUNAWAY TRAIN (1985), and as Howard Cosell in ALI (2001). More recently he has been recognized for his stellar work in the superb cable TV series “Ray Donovan”. His daughter is Oscar winner Angelina Jolie, and Mr. Voight has had such memorable roles as boxer Billy Flynn in THE CHAMP (1979), Jim Phelps in MISSON: IMPOSSIBLE (1996), a sleazy hunter in ANACONDA (1997), and President Franklin Roosevelt in PEARL HARBOR (2001). And of course, we must mention the classic Jon (“John”) Voight episode of “Seinfeld.” JAWS fans might be surprised to know that he turned down the Hooper role that ultimately went to Richard Dreyfuss.

A remarkable 60 year career ended when Burt Reynolds passed away in 2018. Reynolds was a star running back for Florida State University before an injury ended his pro aspirations and caused him to pursue acting. For an extended period of time in the 1970’s and 1980’s, Reynolds was the biggest box office draw among actors. Some of his most popular films during the streak included: THE LONGEST YARD (1974), the SMOKEY AND THE BANDIT franchise (1977, 1980, 1983), SEMI-TOUGH (1977), SHARKY’S MACHINE (1981), THE CANNONBALL RUN (1981) and II (1984), and THE BEST LITTLE WHOREHOUSE IN TEXAS (1982). Most of these films played off of Reynolds’ extraordinary charm and good looks (and iconic cackle), while he often strutted tongue-in-cheek as he worked extensively with a close group of friends. He later experienced some personal relationship issues, financial difficulties, and extreme health scares. Although he continued to work during the late 80s and early 90s, it was his excellent supporting work in STRIPTEASE (1996) and BOOGIE NIGHTS (1997) that really vaulted him back into the Hollywood scene. The latter of those two movies nabbed him the only Oscar nomination of his career. Reynolds continued to work right up until the end of his life, spanning a career of almost 200 credits (TV and movies). Some of you fellow old-timers out there might recall Reynolds’ first recurring role was as Quint in “Gunsmoke”, the longest running TV series until eclipsed by “The Simpsons” (and by “Law and Order” in seasons, though it has about 150 fewer episodes). In DELIVERANCE, Reynolds’ Lewis is “a man’s man” – the kind of guy the other suburban dads aspired to. His on screen magnetism is obvious, and stardom followed. Reynolds spent most of his adult life in front of a camera – either movies, TV, paparazzi, or talk shows. And lest we forget, though he claimed to have tried, Reynolds became the first male centerfold for “Cosmopolitan” magazine in 1972, the same year this movie hit. That smirk, cigar and bear rug created quite a sensation at the time – brilliant marketing from editor Helen Gurley Brown.

While the Cahulawassee River is fictional, the filming location was most decidedly real. Cinematographer Vilmos Zsigmund captured the stunning beauty of Tallulah Gorge and the Chatooga River in northeastern Georgia. His camera work leaves no doubt as to nature’s double edge sword of beauty and danger. Mr. Zsigmund was a 4 time Oscar nominee, winning the award for CLOSE ENCOUNTERS OF THE THIRD KIND (1977). He was also responsible for THE DEER HUNTER (1978), HEAVEN’S GATE (1980), THE TWO JAKES (1990), and THE BLACK DAHLIA (2006). Editor Tom Priestley received his only Oscar nomination for his work on this film. Mr. Priestley also served as Editor on THE GREAT GATSBY (1974), TESS (1979), and 1984 (1984), and is the son of English writer John Boynton Priestley.

 Ned Beatty’s wife and John Boorman’s son have brief appearances as Ed’s family, and writer James Dickey has a small but key role as the hulking Sheriff of Aintry, who doesn’t buy the men’s recap of events. Reynolds dominates the screen for the first half of the movie, and Mr. Beatty shines in his degradation, but it’s Voight’s transformation into a semblance of Lewis that proves most remarkable. Rarely have primal instincts and survival mode been more effectively presented on the silver screen than in this film. This “guys’ weekend” turned nightmare received 3 Oscar nominations (Best Picture, Best Director, Best Editor), but this was the same year that CABARET beat out THE GODFATHER in a couple of categories, so DELIVERANCE took home no awards … although we will always have those 9 notes.

*Note: “Dueling Banjos” was credited to Eric Weissberg and Steve Mandel, but there was a lawsuit filed by Arthur “Guitar Boogie” Smith, who wrote “Feudin’ Banjos” in 1955.

As a bonus for reading this far, here is a short video of Steve Martin and Kermit the Frog performing “Dueling Banjos”:

 

And here is the original 1972 trailer: