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Fare Thee Well, Friend

When someone as well known and entertaining as Robin Williams passes away rather unexpectedly, the response is profound and immediate. Over the course of his vaunted career, he left audiences in fits of unbridled fits of laughter at his manic displays, but he could also reach moving, sentimental heights through the power of performance in films such as Good Will Hunting and Dead Poets Society. He even pleasantly popped up in some unexpected places too (Dead Again).

Which is funny, because as a youth, I had quite the opposite reaction. Allow me to elaborate.

I found the poster!
I found the poster!

My brothers and I grew up in the time of Mork and Mindy. Apparently, my parents assumed that my brothers (especially) were huge fans – so much so that they bought a poster of Robin Williams in rainbow suspenders. This poster found residence for a number of years prominently displayed in their room. I tell you something – that poster was the source of many a bad dream. I swore his eyes staring down at me with the sole intent of tormenting my 4-5 year old soul.

Of course, this was all worked up in my head because as the years wore on, this response was replaced with a feeling of fondness when I would see him on the big screen and small because at the end of the day, he laid it out there for you to enjoy. Sure, there may have been a few “misses” along the way – no artist worth their salt will have a 100%, perfect track record. In fact, the ability to take that leap and see how everything shakes out, is something to be respected and admired. And in that regard, I truly respect the man and the gifts he shared with the world.

It has been said over and over in the 24+ hours since the news of his passing, but there is that bitter irony that a person who could make us laugh and leave us so full, also has within themselves something quite the opposite. Not surprising because I think that is a central theme of the human condition but, I would like to think that for fleeting moments, Williams’ art allowed him to exorcise just a little of that darkness. And through our joy in his performance, he was able to experience some measure of pleasure and satisfaction.

And while I may be permitted momentarily to be selfish, wishing that he was able to continue to share that energy with us, I also recognize the punctuated loss felt by those who were nearest and dearest to him. For them, I extend the deepest of sympathies.

 

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That Time I Spent an Evening with Eli Wallach …

… well, that is not 100% true. Sure I was there and he was there, but so were about 100 other movie fans and collectors of memorabilia. You are probably wondering the wheres and whys – so gimme a sec, I am getting there …

It was late June 2005 (almost 9 years to the day as a matter of fact), and I stood in line outside Christie’s auction house in Rockerfeller Center, giddy with anticipation about the I was about to attend – a sneak preview of Marlon Brando’s personal effects that were about to hit the block. Sure, in hindsight the idea of gawking at one’s items that were likely never meant for public eyes, is a rather morbid curiosity. But the main attraction for me came a couple of hours later after walking through the labyrinthine halls of the famed establishment. Film director Arthur Penn, Eli Wallach and renowned critic Richard Schickel joined us lucky attendees for a panel discussion where they shared with the audience stories about Brando’s life and their thoughts on the influence his career had on screen acting.

Whenever I attend a discussion like this, I am always in awe of the fact that I am in the presence of people who have first-hand knowledge and tales to tell concerning individuals, ‘idols,’ who are otherwise so distant to me. It was wonderful to not only hear Wallach talk about working with Brando, but this was a moment to reflect on and remind myself of the immense talent that sat before me.

Though not as lauded as many of his contemporaries (Brando, James Dean, Montgomery Clift), Wallach was principally referred to as a “character actor,” having the ability through through the power of his performances, to transform himself into whatever the role required, regardless of medium (film, television or stage). Many of you may not be so intimately acquainted with his body of work (see IMDB), and might find yourselves surprised by his roles in some of Hollywood’s greater films of the middle-late middle part of the last century. When you get a chance, be sure to check out these notable classics:

  • The Good The Bad and the Ugly (w/ Clint Eastwood)
  • How the West Was Won
  • The Misfits (*an ILC personal favorite)
  • The Magnificent Seven
  • Baby Doll (feature film debut)

So when I heard of the news of his passing early yesterday, I recalled fondly that warm summer evening when I had the privilege of being in the company of a great talent.

eli wallach, carol baker, baby doll
Eli Wallach and Carol Baker in Baby Doll (1956)

For a good retrospective read on Wallach, check out my blogging buddy, leopard13’s post: http://le0pard13.com/2014/06/25/my-favorite-films-of-a-master-character-actor-eli-wallach/.

And check out TCM on Monday, June 30th starting at 9:00AM for an 11-hour marathon of his films.

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A Tribute to Ruby Dee (1922-2014)

Ruby DeeEarlier this month, we lost a good actress and by all account a greater human being. Legendary actress of stage and screen (big and small), Ruby Dee passed away at the age of 91 on June 11th. At least for the bulk of my lifetime, I knew of her through her activism, partnership with husband Ossie Davis and the films she would grace with her presence in her later years.

I just wanted to take a moment to reflect on some of my favorite films that showcase Dee from earlier in her long and prolific career. While the roles were never “headliners” in the way we think of modern movie stardom, it is worthwhile to note the film projects she chose to affiliate herself with. There are quite a number from this period in her career to choose from, but I am just going to highlight a few.

No Way Out (1950): Featured alongside husband Davis (both uncredited), this Sidney Poitier/Richard Widmark drama handled its challenging subject matter rather well.

The Tall Target (1951): A political thriller set at the height of the Civil War, Dick Powell is the star, but Ruby Dee features heavily in her role as Rachel, a slave accompanying her mistress aboard a train with a mysterious passenger.

Edge of the City (1957): Another film from the era (also starring Sidney Poitier) that examines the friendship between longshoremen Poitier and John Cassavetes and how the tense racial environment around them affects that relationship; the film is directed by Martin Ritt.

St. Louis Blues (1958): A fictionalized account of the life of American musical pioneer WC Handy (Nat King Cole). In this film Dee stars as Elizabeth, Handy’s steadfast wife.

If you get the opportunity, please seek out these films and get a glimpse of quiet confidence with which Ruby Dee carried herself in these roles.

* I would have added her performance as Rachel Robinson in The Jackie Robinson Story, but I honestly do not remember if I have seen it.

Programming Notice: Turner Classic Movies (TCM) will be airing a 2-movie tribute to Ruby Dee on Saturday, June 28th, featuring the aforementioned Edge of the City and the screen adaptation of A Raisin in the Sun.

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