Soapdish.

Review #2533: Soapdish.

Cast: 

Sally Field (Celeste Talbert / "Maggie"), Kevin Kline (Jeffrey Anderson / "Dr. Rod Randall"), Robert Downey Jr (David Seton Barnes), Cathy Moriarty (Montana Moorehead / "Nurse Nan"), Elisabeth Shue (Lori Craven / "Angelique"), Whoopi Goldberg (Rose Schwartz), Teri Hatcher (Ariel Maloney / "Dr. Monica Demonico"), Garry Marshall (Edmund Edwards), Kathy Najimy (Tawny Miller), Arne Nannestad (Burton White), and Paul Johansson (Blair Brennan / "Bolt") Directed by Michael Hoffman.

Review: 

Who doesn't love a good soap opera? I vaguely remember seeing a bit of soap operas when I was younger (I'm told Passions had a town witch?) but parodies of soap operas have been around since what, Soap (the nighttime parody that ran in the late 1970s)? Apparently, the original impetus for what became Soapdish was formed during production of Steel Magnolias (1989), as writer Robert Harling had a handful of conversations with Sally Field and Alan Greisman, a producer and Field's husband at the time (apparently, Sigourney Weaver was at one point considered for the lead role before rejecting it, a move she regretted). Originally tabbed with Herbert Ross to direct at TriStar, it eventually shifted to Paramount, with a few other changes as well Andrew Bergman (who stated that he did not visit the set much) gave re-writes to the script. Of note is that Aaron Spelling served as a co-producer (yes, in between an executive producer on shows such as The Love Boat and Dynasty*, Spelling dabbed in producing, with this being his last one as a producer before being an executive producer for The Mod Squad [1999] and Charlie's Angels [2000]). This was the fifth feature film directed by Michael Hoffman who actually had studied at Boise State University before earning a Rhodes Scholarship that led to him studying Renaissance literature and eventually became involved in drama. Hoffman served as a co-founder of both the Idaho Shakespeare Festival and the Oxford University Film Foundation; his first feature was made at Oxford with Privileged (1982). Made on a budget of $25 million, the movie was a light success with audiences. Honestly, I had this film on the shelf as part of a three-pack (where it was somehow lapped in with Book Club [2018] and The First Wives Club [1996]) for a few years, so there's that.

 

Sure, it's a light farce that has a few garish colors with its outfitting at times (as designed by Nolan Miller of Dynasty fame that you can see in select shots here), and sure, it moves along with a quick pace at 97 minutes...and that's all good with me. It is a dazzling affair wrapped in the odd quirks that come with big stars and bigger egos that lends itself to plenty of humor from people who seem pretty game. At the helm is Field (already a bit familiar in comedy for those who watch, say, Smokey and the Bandit every year like I do*) in a role that lets her have a chance to play a goofy pampered oddball that is affectionately entertaining. She clearly had enjoyment at doing a slapsticky type of farce that could've just as easily been played as a pathetic clown but instead has a plucky type of charm to laugh along with in the wide variety of moments that come with being a name that ages by the Hollywood minute while real-life drama and soap drama really can just crash together. The best little scene might be with Goldberg and Field exchanging in a little game of egoboosting when the former pretends to recognize the latter at the mall to the surprised glee of a handful of fans (everyone loves a scene-chewer). Kline actually had a bit of experience with soaps via a brief run on Search for Tomorrow, so it probably makes sense that he said this role was akin to playing a "psychotic", which seems apt for someone basically given some room to play a neat little ham. Of course the real chewer of scenery in delightfulness is Moriarty, who clicks into place in ravenous conniving energy from the jump, one who takes (nearly*) everything in stride. There are highlights from rest of the cast in neat little quirks that come through, such as the brief dazzling nature of Hatcher*, the charmingly smarmy Downey Jr, the relatively normal charm of Shue, the all-too brief fun of seeing Marshall/Fisher riff on the usual privileged executive or the beleaguered Goldberg. It's a likable movie with plenty of goofy little moments of seeing people have fun with the inner workings of "the right shot", "the right script", "the right thing" all going to hell at the whims of basically who talked last or pulled rank the best. By the time the movie rumbles to its conclusion involving offbeat revelations and a plausible enough sell of life basically moving along to the next season of gossip and looking for the next thing to chase. As a whole, Soapdish is a charmer that dishes out enough little moments of amusement to keep the viewer soaped up for a fun time.

 

Overall, I give it 8 out of 10 stars.

Song of the day!

*I was going to mention 7th Heaven in the "hey, remember this show?" but I feel that mentioning the show starring an actual pervert seems a bit much.

*I know Field is a two-time Academy Award winner and all that, but, yeah, Smokey is the one I think about when I think of Field first, which I probably should rectify. At least I don't think of her as a flying nun.

*I don't understand the criticism of the transgender character being revealed to be the villain. What, are transgender people supposed to be saints in every film ever? 

*And as we all know from Seinfeld, "they're real...and they're spectacular." I will say that if I had to consider watching slowly watching a TV show from start to end from the 2000s, Desperate Housewives would be on the shortlist. No, really.

Raging Bull.

Review #1463: Raging Bull.

Cast: 
Robert De Niro (Jake LaMotta), Cathy Moriarty (Vickie LaMotta), Joe Pesci (Joey LaMotta), Frank Vincent (Salvy Batts), Nicholas Colasanto (Tommy Como), Theresa Saldana (Lenore LaMotta), Mario Gallo (Mario), Frank Adonis (Patsy), Joseph Bono (Guido), Frank Topham (Toppy), and Lori Anne Flax (Irma LaMotta) Directed by Martin Scorsese (#990 - Taxi Driver and #992 - The King of Comedy, and #1276 - Mean Streets)

Review: 
"Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our life time, we need to keep them alive."

"I just can't fake acting. I know movies are an illusion, and maybe the first rule is to fake it, but not for me. I'm too curious. I want to deal with all the facts of the character, thin or fat."

It should only figure that one of the best films of the 1980s came about as a chance for Martin Scorsese to save his life and career and for Robert De Niro to have a soulfully devastating performance to lead a film of tremendous quality in their fourth collaboration together. This was the seventh film directed by Scorsese, with his previous effort in New York, New York (1977, a tribute to classic musicals) having been a failure with audiences that had led him to depression and an addiction to cocaine, which nearly led to his death. It was De Niro who had pushed for Scorsese to try and make a film about Jake LaMotta, who had written an memoir in 1970 called Raging Bull: My Story (which he said had a lot of heart despite not being a great book), which had depicted the noted rough fighter's life from youth to the end of fame that was comprised of moments such as his troubled childhood and struggles with the mafia and his own demons outside the ring. De Niro spent years trying to convince Scorsese to take up the project, since he was not a fan of boxing (or sports in general). Scorsese treated this film as if it could have been his last, and it would not prove to be the easiest of shoots for anyone, not particularly for its star or director. It's interesting to note the boxing sequences, which only last a fraction of time in a two-hour film and the fact that they were shot first over a period of ten weeks (having been designed on paper first and meant to be done over three weeks). The film was written by Paul Schrader and Mardik Martin, which went through a number of re-writes, with Scorsese and De Niro being soon tasked to do re-writes that were quite significant in molding the film's content, such as eliminating the depiction of LaMotta's father (it should be noted that Schrader's initial re-write, though thought to be potentially X-rated, was the one that had added Joey to the script) alongside the calm re-enactment sequence at the end from On the Waterfront. One great technique that helps in making this such a distinct boxing film is the way those scenes are shot - inside the ring, with distinct sounds that make for a raw and intense experience to view, particularly since the editing (done by Thelma Schoonmaker) cuts everything together with finesse to where one never gets lost in seeing this descent for 129 minutes.

For an actor who is tasked to play such a tormented man over the span of several years, De Niro sinks right into the part with no difficulty at all in an electrifying performance of the soul. This plays out whether when in the ring (having been trained by LaMotta and actually participating in three matches) or when confronting the people that know and love him with his jealousy and self-destructive tendencies as the film goes on and as he starts to wither down and grow old (having gained 60 pounds for the last half of the film) and he has to face his toughest opponent - trying to find redemption. One can't take their eyes off him and his seething performance that beats at you with a tremendous punch every step of the way. Pesci (known by Scorsese and De Niro because of his debut performance in The Death Collector four years prior) proves to be just as great in following along the action as one with plenty of raw spirit in keeping up with De Niro (with occasional confrontation) that make for captivating scenes, particularly with their last one together, where one tries to do a reconciliation, filled with quiet awkwardness to brilliance. Moriarty, making her film debut (thanks to Pesci), proves just as capable in her role, resourceful and knowing as the time goes by for the film. The rest of the cast prove just as well in filling the grimy world around the film, one that dares you in with a stark look from Michael Chapman in cinematography to go alongside tremendous ambition from Scorsese to show a man on the edge without any false sentiment or step. It seems obvious now to call it a masterpiece, although it had a gradual rise in reputation (having proved a fair hit with audiences) that is now considered one of Scorsese's best films (along with one of De Niro's best). With a stark devastating look and feel and a great director and trio at hand, you can't go wrong with this film, one that lands its punches everywhere in emotion.

Overall, I give it 10 out of 10 stars.

Movie Night: Casper.

Review #267: Casper.

Cast
Bill Pullman (Dr. James Harvey), Christina Ricci (Kathleen "Kat" Harvey), Malachi Pearson (Casper), Cathy Moriarty (Carrigan Crittenden), Eric Idle (Dibs), Joe Nipote (Stretch), Joe Alaskey (Stinkie), Brad Garrett (Fatso) and Ben Stein. Directed by Brad Silberling.

Review
What could go wrong with a film based on an animated cartoon series is my first question. How is the film is the next question. The answers will all be revealed (Hate when they say that) It has been a while since I've seen something of Pullman and Ricci (#193 -Independence Day. #77 - The Addams Family and #78 - Addams Family Values, respectivly.), and they do a fine job, given the material. It's a bit odd and off at times, some of the jokes don't stick as well (Though I kinda liked one line: "Who are you gonna call? Someone else.", by Dan Aykroyd of all people) The scenery and effects look pretty decent, unless you realize the actors sometimes talk to nothing (a common thing with CGI) It's slightly hokey at odd times, its acting from the other actors (Moriarty in particular) isn't exactly great or isn't used well enough (Idle), but the film still has a good charm to it and Pearson is actually good (My odd belief of child actors not being great is trading waters) It has a good Halloween feel to it, ghosts and all.

Overall, I give it 7 out of 10 stars.