Tampilkan postingan dengan label Marianne Faithfull. Tampilkan semua postingan
Tampilkan postingan dengan label Marianne Faithfull. Tampilkan semua postingan

Jumat, 27 Januari 2012

Nicol Williamson, R.I.P.

RIP indeed to one of the great acting talents of the British theatre and cinema. Nicol Williamson burst on the scene in the '60s - like the young David Warner he was a mesmerising Hamlet, he and Warner (whom I have been meaning to write about too, along with Alan Bates and Peter Finch) are together in the '68 drama THE BOFORS GUN, long unseen.
By all accounts a difficult man, as the respectful obituaries put it: "his prickly temperament helped derail what might have been one of the great theatrical careers" as he was "touched by genius" and "the greatest actor since Brando". Heady praise to live up to ...

He died aged 73 in December but his family have only released the information now. His 1968 HAMLET was filmed by Tony Richardson, with Marianne Faithfull as his Ophelia, and Richardson also directed him in his film of Nabokov's LAUGHTER IN THE DARK, where Williamson replaced another ailing hellraiser Richard Burton. This film is too little seen now, but I remember a tv showing if it ... His initial stage success was in John Osborne's INADMISSABLE EVIDENCE where his ranting solicitor (a rather more raging BUTLEY as played by Alan Bates) was a tour de force, he also played the role in the film. Other films included THE SEVEN PER CENT SOLUTION as Sherlock Holmes (above with Vanessa Redgrave), and as Little John with Connery and Audrey Hepburn in Richard Lester's smashing ROBIN AND MARIAN in 1976 - which also co-starred Robert Shaw - another of those actors like Stanley Baker, Laurence Harvey and Stephen Boyd who died too young. Williamson too had alcoholic problems, like Robert Stephens who also never became quite the star people thought he would and made too many dud movies, as did the hellraiser in chief Richard Burton. Peter O'Toole seems to have survived all that ... It seems now that a lot of the hellraisers of the 60s like Oliver Reed, Richard Harris, David Hemmings, Anthony Hopkins became, if they survived, old hams in dud movies. Nicol Williamson didn't quite go that route having got bored with acting eventually and turning to music. What a fascinating man. He is fun too in my favourite snake-on-the-loose-with-people-trapped-in-a-house-under-seige movie VENOM with his ex-lover Sarah Miles (review at Sarah Miles label), and then of course there was his Merlin in John Boorman's EXCALIBUR!

The actor, who was known as a straighforward, private man, leaves his son, Luke. "He was the most honest, funny and intelligent man I have ever had the pleasure of knowing," writes Luke on Williamson's official website. "He was my father and words cannot adequately express how proud I am of him."

Senin, 04 April 2011

Marie Antoinette (2006)

MARIE ANTOINETTE Sofia Coppola’s 2006 film is another I had put off seeing, but finally gave in today and I must report I enjoyed it a lot. Is it marketed for a teen audience or does it depict Marie as an impressionable teen which today’s teens can relate to? The production is sumptuous as the teenage Marie leaves Austria to travel to France when still only 14 to marry Louis XVI and become queen at 19. We spend a lot of time with the teen Marie Antoinette (and Kirsten Dunst is perfect in the role) as she gets used to the lavish court and the rituals she has to abide by.

Later the birth of her children when in her 30s after she finally gets her husband to consummate the marriage is all glossed over rather quickly. The mob only appear once at the climax as she bows to the will of the people and we end with her and her family in a carriage, as the sun sets, on their way to their destiny – just as at the start she is that young girl on her way to France in another carriage. The cast is quite good – nice to see Marianne Faithfull (if only briefly) as her mother Maria Theresa, and comedian Steve Coogan as the advisor, Rip Torn as the older king and Jason Schwartzmann as the diffident husband, plus Judy Davis and Tom Hardy. We also get to see a lot of the opulent and eccentric court at Versailles as Marie matures. Other characters like the Princess Lamballe and Count Fersen are rather glossed over.

The modern (well, 80s) music by the likes of Adam and the Ants, Bow Wow Wow and The Cure has caused a lot of comment (there are 854 reviews on IMDB alone!) but for me it suits the images – even the shot of the trainers among the shoes – as these are the bored teens of their time, as they indulge in clothes, shoes, cakes and champagne.



We do not see enough of the mature queen or her trial where she defended herself, but this obviously was not part of Coppola’s plan – she also scripted from the well-regarded Antonia Fraser biography [I have a copy in my to-read-sometime pile]. Fraser expressed pleasure with the end result but then what historian would not like a lavish film to be made from their historical tome?

So really it is all about Marie Antoinette as a sweet, utterly conventional and finally boring teenage girl acting out the fantasy of becoming a queen without realising the implications that follow … certainly a fascinating conrast to the equally opulent MGM film of 1938 with Norma Shearer's majestic performance. There will always be a market for doomed queens, whether Marie Antoinette, Mary Queen of Scots or Elizabeth (Sissi) of Austria - Marie's story though is hard to beat - and it looks marvellous of course, as good as anything in BARRY LYNDON (which set the benchmark for period films).

Minggu, 06 Maret 2011

Great nights in the theatre (1)



Chekov's THREE SISTERS at the Royal Court Theatre in London, 1967. I was 21 and sitting in the front row. Glenda Jackson (before her movie roles) was Marsha, Avril Elgar Olga the oldest sister and a luminous young Marianne Faithfull was Irina the youngest sister. I can still picture her on the stage being so radiant - as I told Marianne some years ago when she was signing her autobiography! A stunning production directed by William Gaskill - and the programme had the complete text too! There were other THREE SISTERS including Joan Plowright at the National, but Glenda and Marianne are the ones I remember.