Jeeves and Wooster in Blackadder - A Hidden Reference?

JEEVES AND WOOSTER IN BLACKADDER

Blackadder, quite simply one of the most hilarious shows to ever light up the screen. Jeeves and Wooster… a rib tickling comedy, based on a delightful series of novels. Stellar shows in their own right. A connection between the two seems improbable right? … WRONG!

In what was a revelation of sorts, good friend Loonan had the following observations to make: Laurie’s mannerisms in seasons 3 and 4 were suggestive of another role he was to play pretty sure, that of Bertram Wooster. The 'tally ho’s and the ‘pip pip’s and the pomposity have Wooster written all over them. As if that weren’t enough, Stephen Fry’s General Melchett constantly refers to George’s ‘Uncle Bertie’… In the centre of the Jeeves and Wooster series is a pair comprising a rich dumb guy and his enterprising butler. Structurally, it seems similar to… yes, you guessed that right, Blackadder the Third. Well well well…

An inside joke?

After extensive research (ahem), here’s the timeline. Blackadder the Third, which was when Laurie came into the limelight, released in 1987. The first episode of Blackadder Goes Forth ran in September, two years later. The first episode of Jeeves and Wooster was broadcast in April 1990. So it all comes down to this: were the Blackadder cast aware that Laurie was going to play Wooster in say 3 years? Was this intentional?

Start exaggeration. COULD THIS BE THE INSIDE JOKE OF THE CENTURY!? Stop exaggeration.

Kudos to Loonan whose keen intellect spotted this. In case you’d like to thank him, do send him a bag of grade A manure. :P

Butch Cassidy and the Sundance Kid - Not One Dull Moment

BUTCH CASSIDY AND THE SUNDANCE KID

Year: 1969.

Country: USA.

Cast: Paul Newman, Robert Redford, Katherine Ross and others.

Directed by: George Roy Hill.

Runtime: 1 hour 40 min approx.

You never met a pair like Butch and The Kid.

Butch Cassidy (Paul Newman) and the Sundance Kid (Robert Redford) are members of the notorious Hole in the Wall gang, known for ‘relieving’ trains and banks of all the gold and money they house. When an angry railroad owner enlists the help of a special posse to hunt down the duo, they decide to head south, with Sundance’s girlfriend, Etta Place (Katharine Ross). They eventually settle down in Bolivia, where they live peacefully, until the habitual return to crime is not resistible.

The factor making ‘Butch Cassidy…’ a visual treat is the humorous undercurrent that flows throughout the entire movie. The film is NEVER too serious. Even in the most perilous situations, the duo cracks some wise remark that makes you chuckle, inevitably. Sure, gunshots are aplenty, people die left, right and center, and there’re a few serious monologues as well… but you’re not too concerned. The film makes sure you aren’t and that’s where it works best.

The characters couldn’t have been more perfect. Newman’s Butch is one of the most affable characters you’ll ever come across. With a sharp tongue and an even sharper intellect, Newman portrays every nuance of his character with flair. For Redford, the Sundance kid represented a launch pad for what was to become one of the most celebrated cinema careers. And wow, did he make the best of it. While Sundance does pale in comparison with Butch, there are numerous instances where he is definitely the funnier of the two. Their scintillating on-screen chemistry is one reason for the movie becoming a worldwide hit. All said and done, you do wonder how the movie would’ve turned out had Steve McQueen still been on the crew. *

Though used sparingly, ‘Butch Cassidy…’ represents the pinnacles of the western’s musical glory, with B J Thomas’ immortal track ‘Raindrops Keep Fallin’ On My Head’ at the summit. The song encountered success of such magnitude that it was a staple for many westerns that ensued. Also to be praised, are the wonderful background scores that complement the racy montages during the trio’s journey to Bolivia and their ensuing robbing spree.

In an era that was witness to a large number of action oriented westerns, with comedy westerns far and few in between, ‘Butch Cassidy…’ made an impression with its witty humour and entertaining screenplay. It went on to become one of the most seminal movies in cinema history, both in its daring nature and timelessness. Yes, it is still as enjoyable as it must have been, back when it released in 1969. Do watch.

*Steve McQueen was originally slated to play Butch Cassidy, while Sundance’s role went to Newman. But when George Roy Hill took over the reins, he interchanged the roles. Consequently, McQueen opted out and Sundance’s role went to the then relatively unknown Redford.

Glengarry Glen Ross - Worth its Weight in Balls of Brass

GLENGARRY GLEN ROSS

Year: 1992.

Country: USA.

Cast: Jack Lemmon, Al Pacino, Ed Harris, Alan Arkin, Kevin Spacey, Alec Baldwin and others.

Directed by: James Foley, screenplay written by David Mamet.

Runtime: 1 hour 40 minutes approx.

The hardest thing in life is sell.

Cinema has always been reflective of the then prevalent culture. Each era has garnered in its share of politically and or socio-economically germane films. ‘Glengarry Glen Ross’ is one mighty fine example.

Story

‘Glengarry Glen Ross’ is a no holds barred look into a real estate sales office. We have Ricky Roma (Pacino), the hotshot salesman and the guy who’s on top of his game currently. We also have experienced Shelley Levine (Lemmon), who seems to have run out of his professional charm. Then there’s Dave Moss (Harris), who’s had it with the inefficient management and the gullible George Aaronow (Arkin), who isn’t performing upto expectations either. And to supervise them, John Williamson (Spacey). We understand that things aren’t going too well at the office. People aren’t ‘closing’, and not many signatures appear over the dotted lines. As a ‘promotional’ strategy, a new gimmick is added to the month’s sales contest. First prize, a Cadillac Eldorado. Second, a set of steak knives. Third, a pink slip. So it all amounts to the fact that, the office will be two employees less, at the end of the month. What ensues forms the bulk of ‘Glengarry Glen Ross.’

Characterization

Jack Lemmon commented on this being the best cast he was ever a part of. And not without reason. Lemmon, Al Pacino, Ed Harris, Alan Arkin, Kevin Spacey, Alec Baldwin… if this isn’t a star cast, I don’t know what is. Veterans of the trade, all of them sink into their character’s shoes. Yes, a star cast that actually works! As Alec Baldwin’s Blake would say, ‘Oh, I have your attention now?’

It’s not difficult, but impossible to rate the performances. While Arkin and Spacey underplay their roles with such precision, the others make merry with the space they’ve been given. You can’t help but mention Blake (Alec Baldwin in a deliciously over the top role), who mesmerizes you in the short time he’s on the screen. Harris is wonderful as the guy who’s fed up with his job and refuses to stay quiet about it. Pacino imparts to his character a certain respect, an authority that doesn’t wane even after the movie ends. Lemmon is simply brilliant as the venerable, berating, lost-the-touch Levene.

The movie gives the cast a great deal of opportunity, and they shine in their respective roles. Here are 6 despicable characters. On a normal day, you’d hate them, but you can’t help but appreciate the first rate portrayal that everyone’s come out with.

Screenplay

For a movie that boasts of dialogue as its major forte, the screenplay has to be nothing short of excellent. And excellence is what David Mamet provides. The movie sparkles with corrosive dialogues, monologues, one-liners… you name it, and it’s there. Perhaps the greatest achievement of the movie is a perfect screenplay to match the star ensemble. Not for one moment do you think that a frame could’ve been better done. Every scene is worth its weight in gold.

It’s futile to pick a moment that epitomizes the movie, but Baldwin’s short diatribe is as close as one can get. His Blake gets a grand total of 10 minutes, but makes the most of it. I’ve seen quite a few powerful lines, but this acrimonious bit tops it all. What a way to give your employees an inferiority complex!

Conclusion

‘Glengarry…’ makes a lot of promises, and lives up to them. It blows you away with some sublime acting and heavy dialogue that complements it nicely. This, ladies and gentlemen, is powerful cinema. Entertainment guaranteed.

Personal Opinion /Discussion (Heavy Spoilers!)

Very few movies impress me on account of their dialogues alone. At this moment I can only think of a few: Tarantino’s ‘Pulp Fiction’ and The Marx Brothers’ ‘A Night at the Opera’ and some of the Python outings. While ‘Glengarry…’ is neither as zany as the former nor is it anywhere near to being as humorous as the latter, it has a tendency to leave you spell-bound, with sharp, strong lines. Placed at the right time and delivered with expert correctness.

Another endearing fact is the gutsy portrayal of a salesman, if not the whole environment that cares shit about people in the lower echelons. Blake is the personification of a callous top management (“You can't close the leads you're given, you can't close shit, *you are* shit, hit the bricks pal, and beat it, 'cause you are going *out*.”). And we have Williamson, who’s frequently on the receiving end of a lot of shit, but shows his true face towards the end (“Because I don’t like you.”).

Another perspective that ‘Glengarry…’ portrays oh so effectively is how human tendencies change when a difficult situation is thrust upon them. Shelley resorts to bribing, Moss will stop at nothing short of crime, and Spacey is at his double-crossing cum judicial best. It’s anything but new; we’ve seen it in so many movies. Despite that fact, ‘Glengarry…’ comes across as a breath of fresh air.

American Psycho - Of Bale and Brilliant Acting

AMERICAN PSYCHO

Year: 2000.

Country: USA.

Principal Cast: Christian Bale, Chloe Sevigny, Reese Witherspoon, Willem Dafoe and others.

Directed by: Mary Harron.

Runtime: 1 hr 41 min approx.

Killer looks. Evil never looked so damn good.

Mary Harron’s American Psycho caused quite an uproar when it was released. It was slammed by the censor board and consequently various segments of the movie had to be edited. Nevertheless, it went on to become a runaway hit.

Unlike many thrillers, American Psycho wastes no time in introducing the antagonist in question. Patrick Bateman is one of those everyday executives with everything from a high rise apartment to a successful job at Wall Street. Ultra-egoistic and competitive, Bateman’s thirst to stay on top transforms into a bloodlust of sorts, making him a psychotic killer.

It takes all but one monologue to know Bateman inside out. The thrills here are derived from action and eventual course, rather than identity. American Psycho isn’t about investigations; all the action is seen through the killer’s view and not some aftermath, through some arbit cop’s eyes.

Patrick Bateman represented a complete turnaround of sorts for Bale. The actor sinks into his character and makes the most of the scope offered. Bale’s Bateman is seen in a multitude of shades, all of them equally fascinating. Be it a suave businessman, or a ruthless psychopath, Bale essays it with ease. Reese Witherspoon as Evelyn, his supposed fiancé, Chloe Sevigny as Jean, his secretary and Willem Dafoe as Donald Kimball, a detective, do just enough.

It would be unfair to write a review about the movie without giving due credit to the environment it is based in. In what is an in-your-face depiction of an 80’s America, the film comprehensively captures everything from posh restaurants to the lowly nightclubs. It also adeptly portrays a cut-throat competitive profession. Perhaps one of the film’s best sequences is when the executives compete over something as trivial as who has the best business card. The sequence isn’t important, but it succeeds in doubling up as a summary of the film’s theme and tone.

Excellent screenplay is also a definite plus. With dialogue that sparkles with wit (“I’m into murders and executions, mostly” as opposed to mergers and acquisitions) and power, Harron makes sure that the movie isn’t lacking in this department. That she did have source material (the novel by Brett Easton Ellis) is a different story.

Despite being described best (by the movie) as illusory or simply not being there, Bale’s presence ranks the movie among the best serial killer fare to date. Powerful, and gut-wrenching, American Psycho is a to-be-watched film.

Personal Opinion – Up for Discussion (Heavy Spoilers!)

Bales’ character apart, the open ending is the most significant factor that makes the movie such a treat to watch. The end credits start to roll after a close-up of Bateman’s eyes. Prior to this he says that his punishment still eludes him and that the confession hasn’t meant a thing.

Now here's what viewers can interpret from the ending.

1. The whole sequence was a dream. It all happened in his head.

2. It's bloody (no pun intended) real.

The first interpretation has a lot of plot devices going in its favour. For example, how did Patrick get away with all those murders (the old woman, cops et al)? What happened to all the corpses in Paul Allen’s apartment? The easy way out: it never happened. After all, we ARE talking about a psycho here.

While the first viewpoint is pretty firmly rooted in logic, it is the second perspective that holds my interest despite being slightly outlandish. A few people opine that all the murders were real. The old woman in Allen’s apartment disposes of the bodies so that she can sell the place to prospective clients. This also explains her reaction when she meets Bateman. Logical. And the other murders? Here’s where it gets interesting. While the movie focuses predominantly on a single character, it is something about the cast that comes into play. To describe the phenomenon in one word: self-involvement. The characters are too preoccupied with themselves to notice anything else happening. Yep, every man for himself. Paul Allen mistakes Bateman for Marcus Halberstram. Again, Bateman is mistaken for Davies, by his lawyer (“Bateman’s such a dork…”). And the rampage… ditto. As I said, interesting. And outlandish.

Apparently, Hanson did state, in an interview, that everything was real. Some fans however, still find it hard to digest that fact.

Gone Baby Gone - Bravo Ben!

GONE BABY GONE

Year: 2007.

Country: USA.

Directed by: Ben Affleck.

Cast: Casey Affleck, Michelle Monaghan, Morgan Freeman, Ed Harris and others.

Runtime: 1 hr 55 min approx.

Everyone wants the truth... until they find it.

In retrospect, ‘Gone Baby Gone’ could have easily become one of those action packed and intriguing dime a dozen crime thrillers centered on a hostage situation. It has all the ingredients: missing child, an amateur detective troupe and a run down Boston suburb that forms an all too perfect backdrop. Ben Affleck and crew decided to take the movie down the road it was intended to. And thank goodness for that.

When 4 year old Amanda McCready is kidnapped, it transpires into quite a public event in the Dorchester neighborhood of Boston. Unsatisfied with police efforts, Amanda’s aunt and uncle, Lionel and Bea hire boyfriend-girlfriend pair of private detectives, Patrick Kenzie and Angie Gennaro to find their niece. What follows is a tale of their professional and personal revelations and the choices that they are required to make. Based, albeit with modifications, on the novel of the same name by Dennis Lehane.

As a purely personal opinion, I’d attribute the movie’s success to the fact that it works on so many different levels and doesn’t disappoint on any of them. On the surface, it comes across as an investigative thriller, with people passionately trying to locate a kid. Further down, it strikes as a narrative on a lot from things, ranging from pedophilia, to drugs to lack of parental care. And by the time you’re done with the movie, you’ll be left debating about the morality behind a lot of choices and a lot of decisions. All signs of a good movie. ‘Gone Baby Gone’ is a lot of things… and boring is not one of them.

Deviating from the norm, I’d first like to point out the splendid supporting cast that the movie employs. While Morgan Freeman does his usual venerable character role as Capt. Jack Doyle, Ed Harris as Dept. Remy Bressant is the real trump card. With almost as much screen time as the principal cast, Harris shines in almost every frame. As for the lead, Casey Affleck is just about right as Patrick Kenzie, sinking his teeth into the role. Disappointments for me come in the form of Michelle Monaghan’s Angie, who does nothing, spare one scene, to merit her as being a private investigator. Amy Ryan as Helene, Amanda’s mom, is slightly irksome at the beginning but comes to form as the movie progresses.

Ben Affleck has proved that direction is one of his fortes with this endeavor. Though it is easy when one has starting material, making it click is a whole new cup of tea. Cinematography and screenplay-wise, the movie perfectly complements the mood of the story. No racy gimmicks, or flashy screenplay. With the exception of a flashback, the screenplay is as straightforward as it can be. The movie does have its fair share of twists, thrills and its ‘wow-I-didn’t-expect-that’ moments. The film does have them, but chooses to depict them in a less aggressive manner.

Though the movie beings on one note, starts shifting focus ever so carefully, and ends on a totally different one, you are left thinking on a totally different perspective. Something that you’d have never imagined when the movie first began. ‘Gone Baby Gone’ surprises you, and leaves you with a moral dilemma similar to what its characters face. And in that aspect, few movies come close. A must watch.

Let the Lists Begin!

Don't we all love lists? ... Well, I do. To keep you occupied, here's a collection of Premiere's lists - Best, Most and Greatest.

Click here.

My personal favourite is 'The 50 Biggest Hollywood Disasters' list.