Sydney Pollack--One of the better directors of the last 40 years dies from cancer at 73

I've seen a few films directed by Sydney Pollack and enjoyed most of them (not The Firm). I particularly love Tootsie, The Electric Horseman and Absence of Malice and one of the things I love about them, is that I never once think, who directed this? Unlike other directors, Pollack had a great ability of staying out of the way. Let the story and the actors boost it along. No clever camera tricks, no long pauses so we can meditate on the meaning of life. Just story, action, move on.

Which made him being a key character actor in one of the most annoying "look-at-me" directorial efforts of all time, Eyes Wide Shut, such an ironic note. I could never imagine Pollack making a total bullshit movie like Eyes and yet here he was playing a lawyer to lead actor Tom Cruise. What's even funnier is that Pollack is the one good thing about that film, he's the one human being I recognized, the rest were talking mannequins.

But Pollack played another lawyer last year and was so great, because for once he played a total scumbag and that was as George Clooney's boss in Michael Clayton. He must have stolen his character from the Donald Rumsfeld gift shop, because he doesn't just ooze corporate/capitalist arrogance, he delights in his maliciousness. All of that is amazing, because Pollack just strikes you as a real mensch. So much humanity in his films, so much real life humor. There is hardly one false note in Tootsie. When I saw Electric Horseman, I must have been about 13 and never gave horses a thought before that, but that movie and Robert Redford's performance made me fall in love with the animal for the rest of my life. And realize that they should be free to run this land.

Sydney Pollack will be missed.

The Freditor

Raisin in the Sun-Well written look at inner city black life in '50s Chicago

* * * * (out of 5)

Raisin in the Sun marks the fifth 1960's movie starring Sidney Poitier that I have seen. The only one left is Lilies in the Field and I'll get to that soon. Poitier has been one of my favorite actors since I was a kid and saw him play a high school teacher in "To Sir With Love". In that movie he is so self assured, so meticulous, such a consummate pro that like Michael Jordan you wondered if he was born to do what he does. But like Jordan, you realize later that it took a ton of practice. Raisin in the Sun is an early example of Poitier before the practice became perfect.

In it he plays a character completely unlike any he would ever play again. Walter Lee Young is a 35 year old chauffeur who lives in a three-room tenement with his wife, son, mother and 20 year old sister in 1950s Chicago. The whole family is struggling just to meet their daily demands and another baby might be on the way. Walter has dreams of living a better life, of being a bigger man, but as a young man driving a rich, white man around all he can see for his future is just more road. His wife Ruth, played by Ruby Dee, tries to discourage his fanciful thoughts because she's afraid it will only lead him on a path to more heartache and disappointment.

Walter's mother Lena, played by Claudia McNeil, is the family matriarch and looks forward to a life insurance check willed to her by her dead husband. The $10,000 they stand to make could make their lives a whole lot better if well spent. Dreams of a house, medical school for the daughter Beneatha and maybe a business for Walter could all be realized if foolishness doesn't step in their way. But unfortunately, despite the good fortune their dead father worked hard for, Walter Lee seems to be one of those people who can't see the forest for the trees. What shocks a longtime Poitier fan is seeing one of his characters not be smart and together. Saying terrible things, being unloving and just acting plain stupid at times. It is so out of character for the always sharp Poitier that it becomes a distraction. And I'm sure it was for Poitier himself, because while he sort of pulls it off, it is the worst acting I've ever seen from him. When he's drunk and acting foolish, I'm not sure where to draw the line at being embarrassed for the character or for Poitier.

Everyone overacts in the cast, which might be because it was a stage play and they are just playing it as they did on stage or the director mistakenly called for it. Big, emotional moments become laughable because of the unreal ways they are portrayed. At one point, Poitier is on his knees, literally clutching her apron and begging his mother for forgiveness and she's looking up to the heavens for some foresight. I couldn't help thinking of Aunt Esther in Sanford and Son screaming about Fred being a heathen. That type of acting might have worked in the '30s or '40s, but this movie was made in 1961.

But despite the over-emotional acting, the movie does move along at a good clip which is amazing considering 95% of it takes place in one room with very few camera angles. That has to be credited to the writing of Lorraine Hansberry, who makes the era come alive. Yes it has soap opera tones, but this drama is filled with light comedy and had me chuckling on a number of occasions. The recently deceased Ivan Dixon, from Hogan's Heroes, plays a Nigerian exchange student with a special crush on Beneatha. As Asagai, Dixon puts on a very believable accent and lays on the charm without overdoing it. The character is written with great understanding and the situation in Africa at the time is treated honestly and respectably, which was no mean thing for 1961. I've seen black movies from the 1970s recently that should have taken a longer look at the cool way Hansberry's script handled things.

I would love to see a modern day version of this film, but not with Puff Daddy as Walter. Don Cheadle or Chiwetel Ejiofor would be much better suited.

The Freditor

Eddie Murphy--King Maker

In October 1990, Barb and I were flying to Florida on vacation and while she slept, I read my new issue of Spin magazine. Spike Lee was a guest editor and included an interview he did with Eddie Murphy. At the time they were both on top of their respective worlds. Eddie was the most commercially successful actor of that time (only Tom Cruise could challenge him for that title) and Spike was the most critically acclaimed young director of that time.

Spike had been challenging Eddie through the media to do more with his talent and fame. To stand up for more black causes, to uplift the race through speeches or film roles. Eddie had been quite happy to keep his political leanings in the background and just cash his enormous checks. So now with Eddie's full attention, Spike was able to discuss with Murphy why he ignored his greater duties.

It was an uncomfortable read, but at least they cleared the air a little bit. But I believe one thing did come from that interview.

Several months later at the Academy Awards, Eddie Murphy was introduced as the presenter for the Best Picture of the Year. As these things go, it was quite an honor, especially considering that Eddie had never even been nominated for an Oscar. Eddie stood up there with the majority of the world's viewers watching and made a short, improvised speech about how terrible it was that in the 60+ year history of the Oscars only four black people had ever won one for acting, and only one for Best Actor.

These four people were Hattie McDaniel (Supporting Actress, 1939--Gone With the Wind); Sidney Poitier (Actor, 1961--Raisin in the Sun); Louis Gossett Jr. (Supporting Actor, 1982--An Officer and a Gentleman); and Denzel Washington (Supporting Actor, 1989--Glory). Great performances, but could these be the only four performances worthy of an Oscar in 60+ years? Want to know how bad it was? In 1948, an "honorary" Academy Award was bestowed upon James Baskett for his role as Uncle Remus---

"For his able and heart-warming characterization of Uncle Remus, friend and story teller to the children of the world, in Walt Disney's Song of the South."

That's nice, but the man starred in a classic movie and he's only able to get an "honorary Oscar," what is he Lassie?

I'd read and heard the complaint for years about the lack of black winners, but it was never brought up at the actual awards show. And it wasn't like Eddie was trying to drum up support for himself. Honestly, what role had he had in the '80s that was award-worthy? So Eddie finally showed some guts and what did the press do?

They ripped him apart for being so inappropriate on a night like this. The Daily News' Liz Smith in particular was crowing about it. Liz Smith from Texas I might add. With all the political speeches people that are made at this and other award shows and this is the one she singles out.
Well it's been 15 years since that night and while I haven't forgotten about it, I was kind of amazed when I realized what an effect that speech might have had.

Since that night check out this list of winners: Whoopi Goldberg (Supporting actress--Ghost); Cuba Gooding Jr. (Supporting actor--Jerry Maguire); Denzel Washington (Actor--Training Day); Halle Berry (Actress Monster's Ball); Jaime Foxx (Actor--Ray); Morgan Freeman (Supporting Actor--Million Dollar Baby). Six people in 15 years after four in 62 years, that's a pretty good turnaround. And I think Eddie should have been nominated for his multiple role as the Klumps in The Nutty Professor.

Maybe time caught up with the Academy and these awards would have happened anyway or maybe Eddie had a little hand in embarrassing these supposed liberals into recognizing all the good work that's being done across the rainbow.

The Freditor