Popeye (1980, directed by Robert Altman)


I like Popeye.

Sometimes, I feel like I’m the only one.  Popeye got such bad reviews and was considered to be such a box office disappointment that director Robert Altman didn’t make another major film for a decade.  Producer Robert Evans, who was inspired to make Popeye after he lost a bidding war for the film rights to Annie, lost his once-sterling reputation for being able to find hits.  This was Robin Williams’s first starring role in a big screen production and his career didn’t really recover until he did Good Morning Vietnam seven years later.  Never again would anyone attempt to build a film around songs written by Harry Nilsson.  Screenwriter Jules Fieffer distanced himself from the film, saying that his original script had been ruined by both Robert Evans and Robert Altman.  Along with Spielberg’s 1941 and Michael Cimino’s Heaven’s Gate, Popeye was one of the box office failures that signaled the end of the era in which directors were given a ton of money and allowed to do whatever they wanted to with it.

I don’t care.  I like Popeye.  I agree with the critics about Nilsson’s score but otherwise, I think the film does a great job of capturing the feeling of a comic strip come to life.  Altman was criticized for spending a lot of money to construct, from scratch, the seaside village that Popeye, Olive Oyl (Shelley Duvall), Bluto (Paul L. Smith), Wimpy (Paul Dooley), and everyone else called home but it does pay off in the movie.  Watching Popeye, you really are transported to the world that these eccentric characters inhabit.  If the film were made today, the majority of it would be CGI and it wouldn’t be anywhere near as interesting.  Featuring one of Altman’s trademark ensemble casts, Popeye create a world that feels real and lived in.

Mumbling the majority of his lines and keeping one eye closed, Robin Williams is a surprisingly believable Popeye, even before he’s force fed spinach at the end of the movie.  Paul L. Smith was an actor who was born to play the bullying Bluto and there’s something very satisfying about seeing him (literally) turn yellow.  As for Shelley Duvall, she is the perfect Olive Oyl.  Not only does she have the right look for Olive Oyl but she’s so energetic and charmingly eccentric in the role that it is easy to see what both Popeye and Bluto would fall in love with her.  Though the humor is broad, both Williams and Duvall bring a lot of heart to their roles, especially in the scenes where they take care of their adopted infant, Swee’Pea.  Popeye may be a sailor but he’s a father first.

Popeye deserves a better reputation than it has.  It may not have been appreciated when it was originally released but Popeye has a robust spirit that continues to distinguish it from the soulless comic book and cartoon adaptations of today.

Ghosts of Sundance Past: Waiting For The Moon (dir by Jill Godmilow)


The Sundance Film Festival is currently underway in Utah.  For the next few days, I’ll be taking a look at some of the films that have previously won awards at Sundance.

First released in 1987, Waiting For The Moon is a lowkey and fictionalized account of the relationship between Gertrude Stein (Linda Bassett) and Alice B. Toklas (Linda Hunt).

The film takes place in 1936, almost entirely at the home that Stein and Toklas shared in France.  Back in the years immediately following World War I, their home was a stopping spot for almost every writer who no longer felt at home in the conventional world.  It was the place where the members of the so-called Lost Generation met to socialize and discuss their art.  (Ernest Hemingway memorably wrote about visiting Stein and Toklas in A Moveable Feast.)  However, Waiting For The Moon takes place long after those exciting years.  Gertrude and Alice are now living a rather comfortable and settled life.  Occasionally, someone will stop by.  Hemingway (played by Bruce McGill) shows up.  Picasso stops by for a visit, though we only hear him.  But, for the most part, the film focuses on Gertrude and Alice.  The film follows them as they bicker like the old married couple that they essentially are, even if society in 1936 wasn’t willing to acknowledge it.  Alice proofreads Gertrude’s latest writing.  Gertrude waits for word from her doctor.  They talk about old times and old friends.  At one point, an aspiring writer named Henry Hopper (Andrew McCarthy) pays the two women a visit and, for a day at least, it’s like old time.  Henry is earnest and idealistic and full of plans for the future.  Unfortunately, he’s also planning on fighting in the Spanish Civil War and it doesn’t take a genius to guess that probably won’t go well.  Indeed, we learn that several of Gertrude and Alice’s old acquaintances are now fighting and dying in the Spanish Civil War.  For the so-called Lost Generation, the battle against Franco is a chance to find themselves but students of history already know how the war is going to end.  For that matter, students of history will also realize that World War II is right around the corner.  (Needless to say, the film itself offers up not a hint of the controversy that would surround Stein’s activities during the Vichy regime,)

Waiting For The Moon is a deliberately paced film, which is a polite way of saying that it’s a bit on the slow side.  That said, the scenery is beautiful and both Linda Hunt and Linda Bassett give good performances as the film’s versions of Alice and Gertrude.  Bruce McGill steals the film as the blustery Hemingway.  I’m sure Ernest would have approved.  (Could Ernest Hemingway ever be played as being anything other than blustery?)  The film captures the daydream that I think captures the fancy of many aspiring writers, the idea of being in a place where your thoughts are the center of life and all of your friends understand what it’s like to be a creative soul.

Waiting For The Moon won the Dramatic Grand Jury Prize at the 1987 Sundance Film Festival.  It’s not an easy film to find.  On Amazon, a copy on DVD runs about $52.00.  I was fortunate enough to find a copy at Half-Price Books.

 

Silverado (1985, directed by Lawrence Kasdan)


In the old west, a cowboy named Emmet (Scott Glenn) teams up with a reformed outlaw named Paden (Kevin Kline) and they bust Emmet’s wild younger brother, Jake (Kevin Costner), out of jail.  After Mal (Danny Glover) helps the three of them escape from a posse, they all end up going to the town of Silverado, where all four of them have business.  Emmett and Jake want to protect their sister from the corrupt son (Ray Baker) of a cattle baron who was previously killed by Emmett.  Mal wants to save his sister Rae (Lynn Whitfield) from an evil gambler (Jeff Goldblum).  Paden discovers that Cobb (Brian Dennehy), his former partner-in-crime, is now the sheriff of Silverado and working for the cattle barons.  When Paden tries to protect the new settlers (including Rosanne Arquette), it leads to a confrontation with his former partner.

In the 80s, when he wasn’t directing films like The Big Chill and The Accidental Tourist, Lawrence Kasdan specialized in paying homage to the films of Hollywood’s golden age.  He started his directorial career with Body Heat, a modern film noir.  He worked on the screenplays of both Empire Strikes Back and Raiders of the Lost Ark.  With Silverado, Kasdan tried to resurrect the western.

Silverado is a traditional western with a few modern touches, like casting Jeff Goldblum as a gambler and John Cleese as the sheriff who wants to execute Kevin Costner.  Silverado also has more humor than a typical western, largely thanks to Kevin Kline.  Silverado starts out as a comedy before turning serious and grim once the four heroes finally reach Silverado.

Kasdan’s love of the genre is obvious in every frame of Silverado but, in trying to tell multiple stories at once, the movie spreads itself too thin.  I like that Kasdan tried to shake things up by casting actors who most people wouldn’t expect to see in a western but both Kevin Kline and Brian Dennehy seem miscast in their roles and their final confrontation never becomes the epic moment that it needs to be.  Scott Glenn and Kevin Costner are far more believable in their roles.  Danny Glover is also believable but his character is underused.

Silverado was obviously a labor of love for Kasdan and it shows that, if nothing else, Kasdan understood the appeal of the genre and the beauty of the wide open frontier.  The movie has its flaws but fans of westerns will appreciate his effort.