Victor/Victoria (1982)

 

Only a moron gives advice to a horse’s arse.  Paris, 1934. Coloratura soprano Victoria Grant (Dame Julie Andrews) fails in her audition at a nightclub where she’s seen by gay cabaret singer Carole “Toddy” Todd (Robert Preston) who has been fired from his gig at a second-rate Chez Lui. When Victoria punches out Toddy’s bisexual hustler lover Richard (Malcolm Jamieson), Toddy comes up with what he considers to be an inspired idea: to pass Victoria off as a female impersonator. Victoria. Her male alter ego could be the toast of Paris and make a lot of money as gay Polish Count Victor Grazinski. It all goes well until Chicago gangster King Marchan (James Garner) turns up with his girlfriend Norma Cassady (Lesley Ann Warren) and falls for Victor, convinced he is a she … A woman pretending to be a man pretending to be a woman. A breathtaking blend of musical comedy, gender confusion, romance, slapstick, cross-dressing and cabaret, this loose remake of 1933 German screwball film Viktor Und Viktoria  written by Hans Hoemburg and director Reinhold Schuenzel is a showcase for all writer/director Blake Edwards’ talents as well as providing wife Julie Andrews’ greatest role. Preston is a joy as her outrageous gay mentor in a warm, funny, generous performance and Garner has great fun subtly unravelling when his suspicions are proved happily correct in a scenario that takes pleasure in mocking his macho stance. Warren is also excellent as his Thirties moll with bodyguard Alex Karras surprising everyone by coming out.  And for Edwards fans there’s the prospect of Graham Stark providing his customary support in a cast alight with provocation and tolerance proving sexual orientation really is not the issue as long as you’re getting some. What great characters! With songs by Leslie Bricusse and composer Henry Mancini there’s a lot to love in an astonishingly constructed entertainment. Never mind twist endings, the entire narrative is twisted in every possible direction. A modern classic. People believe what they see

Shoot-Out at Medicine Bend (1957)

Shoot Out at Medicine Bend

Aka The Marshal of Independence. Thee has to talk like them and don’t forget it. Captain Buck Devlin (Randolph Scott) and cavalry troopers Sergeant John Maitland James Garner) and Private Wilbur Clegg (Gordon Jones) all recently mustered out of the army, head to Devlin’s brother’s homestead to settle down and arrive just in time to drive off an Indian attack but just too late to save his brother. Faulty ammunition cost him his life. The three men set out for Medicine Bend to find out who sold the ammunition. The community also gives them all their funds to buy badly needed supplies. On the way however, they are robbed of everything – the money, their horses, even their uniforms. Fortunately, they happen upon a local church (who have also been robbed), and are given spare clothing. Devlin decides it would be a good idea to pretend to be Brethren while in town. They quickly connect the robbers, and later the defective ammunition, to Ep Clark (James Craig). Clark controls the mayor and the sheriff, and has his gang attack wagon trains of pioneers heading west and forces other local traders out of business. The men are up against it in their pursuit of the ruthless town boss … I prefer sour ‘bosom.’ It’s more refined. Directed by Richard Bare and amusingly written by John Tucker Battle and D.D. Beauchamp, this is standard western fare but it’s more fun than most with our leads gussied up as Quakers sorting out the decent wheat from the villainous chaff and doing the Robin Hood act.  Probably the only film you’ll ever see where that peaceable bunch do the necessary to end violence and it is of course interesting to watch Scott fulfill his contract at Warner Brothers while independently making classics of the genre under his own banner elsewhere. Garner says of the experience in his memoir, “It was always fun working with Dick Bare, and Randy Scott was an old pro, but the movie isn’t worth a damn. I was under contract, so I had to do what they put in front of me.” Angie Dickinson has a nice role as the storekeeper’s niece who is of course Scott’s love interest while Dani Crayne sings Kiss Me Quick in the saloon earning Garner’s attention. The title tells you all about how it ends. Get his partner. Give ’em a fair trial. Then hang ’em!

The Fan (1981)

The Fan 1981

Dear Miss Ross, I’m your biggest fan. Broadway theatre star Sally Ross (Lauren Bacall) is successful, famous and nervous about rehearsing for a new musical. She’s still in love with ex-husband Jake Berman (James Garner) who has moved on with a newer model, and his absence creates a void in her life. Despite her loneliness, she doesn’t reciprocate when a fan, record store assistant Douglas Breen (Michael Biehn), starts sending her letters which are intercepted by her loyal secretary Belle Goldberg (Maureen Stapleton). The letters exhibit an obsessive interest in Sally and become steadily more personal and explicit, causing Belle to warn him off. This angers Douglas so much that he starts getting violent, with everyone in Sally’s immediate circle being targeted Quick, let’s think of something funny. The kind of film you’d think wouldn’t have stood a chance of getting released in the wake of John Lennon’s murder (and Bacall lived at the Dakota building too), this is a mix of high end midlife backstage melodrama and slasher horror exploitation, with the first half hour’s truly terrible pacing and poor editing ultimately damaging it on both fronts albeit the balance is finally struck in the last third. Bacall seems to the manner born as the quick-tempered diva giving Belle a hard time, while both Hector Elizondo as the police detective Raphael and Garner are particularly at ease in their supporting roles with some real chemistry between them and the leading lady on the screen. A strange mix of genres that doesn’t work overall but it’s somehow satisfying to see Bacall cast as the Final Girl confronting her deranged fan and Stapleton is outstanding. The music is by the legendary Pino Donaggio and there’s the bonus of seeing Bacall hoofing on stage in the manner of her own hit Applause (based of course on All About Eve, whose plot this rather wickedly limns). Watch out for Dana Delany and Griffin Dunne in small roles while legendary columnist Liz Smith appears as herself (George Sanders proving dead and therefore unavailable). If it wasn’t for the stabbings this might have had something to say about the dangers of being a celebrity. Adapted by Priscilla Chapman and John Hartwell from the novel by Bob Randall. Directed by Edward Bianchi and shot by an individual called Dick Bush. I rest your case.  I’m more than a fan, I’m a friend

Steve McQueen: The Man & Le Mans (2015)

Steve McQueen The Man and Le Mans

We had the star, we had the drivers. We had an incredible array of technical support, we had everything. Except a script. The story behind the making of Le Mans, Steve McQueen’s dream project – a realistic film about motor racing set around the great 24-hour endurance race in 1970. He planned a documentary-style production starring himself and made by his own company Solar in collaboration with Cinema Center Films, but it went over budget and schedule. He disagreed with and fired Thomas Crown Affair/Bullitt writer Alan Trustman (who he says in an audio recording knew him like nobody did); and he also fell out with his Magnificent Seven/Great Escape director John Sturges, who walked out; then Cinema Center tried to replace McQueen – on his own film!- with Robert Redford. McQueen agreed to a pay cut. I don’t think there’s any racing drive who can tell you why he races. But he can show you. The film was plagued by crashes, the worst involving David Piper, whose leg was amputated. Charles Manson was on his killing spree at the time and McQueen discovered he was on his hit list and became paranoid, taking to carrying a handgun. His marriage to wife Neile broke up when he found out she had finally paid him back for his multiple infidelities with one of her own. He crashed a car late at night with his young Swedish mistress actress Louise Edlind and blamed it on a 21-year old set assistant who was on his first day at work on the film. McQueen didn’t bear a scratch from the incident. When the film came out in 1971 it received ‘mixed’ reviews … We were winging it. Gabriel Clarke and John McKenna’s film tells an inglorious tale of ego, hubris and racing too close to the sun, a paradoxical move for the coolest man to ever walk the earth. You better believe in what you;re doing. I believe in what I do. It’s stylishly directed, with a plethora of remarkably beautiful clips retrieved from private collections and unfinished on-set documentary footage as well as boasting terrific new interviews (and some from the previous 2001 doc Filming at Speed) which suggest that this was a devastating experience for McQueen, a turning point from which he may never have truly recovered. With Trustman and Sturges on board it was the dream team but McQueen was both stunningly indecisive and doctrinaire. He felt responsible for the racers, above all, but never visited Piper following an accident that only occurred because a scene was shot twice owing to the absence of a script. They never met again. The film reveals to Piper that McQueen had written to the powers that be to release the premiere’s takings to Piper for his medical treatment – they did not; but Piper is pleased at the revelation. He had something hidden. McQueen’s long business relationship and friendship with Bob Relyea was sundered. He was trying to capitalise on his stardom but clashed with the studio ethic of storytelling in the classical style in an ironic bid to strip away filmmaking tricks and falling victim to excess. When he wanted to give back Hollywood wasn’t there for him. Essentially he wanted to build his own empire while also attempting to obtain creative control. Instead he wound up skipping the premiere and quitting racing for good. Yet it’s the film he had shipped to Mexico a decade later when he was receiving treatment for the cancer that would kill him, showing it to fellow patients. It transpires that the asbestos that caused his cancer is the type used in racing suits in the Sixties. In many ways it seems this film was the time when McQueen’s luck finally ran out. This is a visceral experience for the viewer, almost tactile in its power. Smell the fumes and feel the need for speed. Gripping.  I am too old and too rich to be putting up with this type of shit

Space Cowboys (2000)

Space Cowboys.jpg

I can’t fill up a spaceship with geriatrics.  In 1958, the members of Team Daedalus, a group of top Air Force test pilots, were ready to serve their country as the first Americans in space. When NASA replaced the Air Force for outer atmospheric testing, they were pushed aside for a chimpanzee by nemesis Bob Gerson (James Cromwell). The team retired, but the dream of going into space has never died. Forty years later, Frank Corvin (Clint Eastwood) is called into NASA to see Gerson who’s now a NASA project manager. A Cold War Russian communications satellite is freeflying and out of control and the archaic control system is based on Frank’s old SKYLAB design. He gathers the old guys from the Right Stuff days – widower Hawk (Tommy Lee Jones), Jerry O’Neill (Donald Sutherland) and pastor Tank Sullivan (James Garner) and they go through the rigorous  training of any young team,  trying to do in 30 days what would normally be done in 12 months. Then Frank is told he can’t go up but he also finds out one of his team has cancer. When he finally assembles everyone and they’re joined by Ethan (Loren Dean) and Roger (Courtney B. Vance) the younger astronauts supposedly there to do the real work, he sees that the satellite is nuked, a violation of the Outer Space Treaty You don’t need to be putting foolish notions in the head of a fool. From a screenplay by Ken Kaufman and Howard Klausner, star and director Eastwood fashions an old geezer take on the men on a mission movie, with a nostalgic harking back to the test pilot days when the moon was still a dream in the sky. Gathering a cast of veteran actors (Jones has a big role, Sutherland some comic moments, Garner is poorly served) they literally go through the motions of contemporary space flight and have to face some difficult home truths as well as the inevitable jeopardy.  That the premise’s hook is that the KGB stole the designs in the first place tells us a lot about what might really been going on all this Hot Non-War time with those lovely Russians. There’s all the technology and the moon yearning to consider but really this is about a bunch of ageing flyers achieving their ambitions and getting to their final destination with some romance provided on the ground by Marcia Gay Harden with medical advice from Blair Brown. The coda of course is a tribute to Dr Strangelove and you can’t say much better than that in the original geriaction movie that is quite literally the final frontier. An amiable, charming work, filled out with the smooth sounds of regular Eastwood collaborator Lennie Niehaus. They were around when rockets were born

 

Move Over Darling (1963)

Move Over Darling.jpg

Suppose Mr Arden’s wife came back, like Irene Dunne done. Did. Five years after her disappearance at sea, Nicky Arden (James Garner) is in the process of having his wife declared dead so he can marry his new fiancée Bianca (Polly Bergen) when Ellen (Doris Day) materialises and the honeymoon is delayed but Nick finds out Ellen wasn’t alone on the island after the shipwreck after all …  A remake of one of the greatest screen comedies starring two of my favourite people? You had me at hello! This got partly remade as Something’s Got To Give with Marilyn Monroe and Dean Martin but got put on hold.  Her premature death led to this iteration of Enoch Arden and My Favorite Wife, which was written by Samuel and Bella Spewack and Leo McCarey (upon whom Cary Grant modelled much of his suave screwball persona for their collaboration on The Awful Truth, another ingenious marital sex comedy.) Arnold Schulman, Nunnally Johnson and Walter Bernstein reworked that screenplay for the Monroe version (she agreed to star in it because of Johnson, and then George Cukor had it rewritten which upset her greatly); and then Hal Kanter and Jack Sher wrote this.  We can blame Tennyson for the original. The set for the Arden home was the same from the Monroe version and it was based on Cukor’s legendarily luxurious Hollywood digs. We even get to spend time at the pool of the Beverly Hills Hotel. Garner and Day are brilliantly cast and work wonderfully well together, making this one of the biggest hits of its year (it was released on Christmas Day). They had proven their chemistry on The Thrill of it All and make for a crazy good looking couple. With Thelma Ritter as Nicky’s mom, Chuck Connors as the island Adam, and Don Knotts, Edgar Buchanan and John Astin rounding out the cast, we’re in great hands. The title song, co-written by Day’s son Terry Melcher and arranged by Jack Nitzsche, was a monster. Terrific, slick, funny blend of farce and sex comedy, this censor-baiting entertainment is of its time but wears it well. Directed by Michael Gordon.

Support Your Local Gunfighter (1971)

Support Your Local Gunfighter theatrical.jpg

I’m slow – but you’re slower!   Travelling con man Latigo Smith (James Garner) drifts into a small Western gold rush town called Purgatory, he decides to take advantage of a local rivalry between gold-mining factions. Recruiting the shifty Jug May (Jack Elam) to pose as a notorious gunfighter, Smith sets his scheme in motion, while also taking time to romance the lovely Patience Barton (Suzanne Pleshette) who likes nothing better than to shoot up the town. However, after his ruse is uncovered, Smith incurs the wrath of the real hired gun (Chuck Connors) among others, leading to a big shoot-out and his inability to ride a horse is artfully exposed:  or is it? …  This unofficial ‘sequel’ to Support Your Local Sheriff features a variation on the conman/trickster persona of Garner (playing a different character) and while James Edward Grant gets the screenplay credit it had an uncredited rewrite by director Burt Kennedy who came to make a speciality of the comedy western following his early genre work in the Scott/Boetticher cycle. This isn’t quite as sharply parodic as the earlier film and it doesn’t possess its coherence rather a series of amusing vignettes including explosions and a bar-room brawl but it has great work by Elam as the oafish sidekick whom Garner identifies to the locals as sharpshooter Swifty Morgan, nice characterisation as the bawdy madam by Joan Blondell, sporting a chihuahua (and she has a visit by fellow proprietress Marie Windsor!) and lovely support by Pleshette as the blast-happy daughter of Harry Morgan who masquerades as a prostitute but is the real love interest. Garner is great, as ever!

Support Your Local Sheriff (1969)

Support Your Local Sheriff theatrical.jpg

I’ve never made any secret of the fact that basically I’m on my way to Australia. Calendar Colorado is a lawless town rich on the proceeds of a gold find during a funeral and it needs someone to pull it into shape. A sharpshooting chancer Jason McCullough (James Garner) claiming to be on his way to Oz takes a well-paid job to clean up as sheriff, hired by mayor Olly Perkins (Harry Morgan). That involves putting the Danby family in line so he imprisons idiot son Joe (Bruce Dern) in a jail without bars by dint of a chalk line and some red paint … This sendup of western tropes gets by on its good nature and pure charm with Garner backed up by a hilarious Joan Hackett as the accident-prone Prudy Perkins whose attractions are still visible even when she sets her own bustle alight. Jack Elam parodies his earlier roles as the tough guy seconded as deputy while Walter Brennan leads the dastardly Danbys, hellbent on making money from the guys mining the gold before it can be shipped out. Written and produced by William Bowers and directed by Burt Kennedy, that expert at a comic take on the genre whose serious side he had exploited in collaboration with Budd Boetticher and Randolph Scott the previous decade. Bright and funny entertainment from Garner’s own production company, Cherokee.

Grand Prix (1966)

Grand Prix theatrical.jpg

The only thing to do here is drive as fast as you know how and hope your car doesn’t brake. Have you ever been to the racetrack at Monza? It’s eerie. It has an aura of death about it. It seems to be hanging in the gloom of all those tall trees. Probably the memory of those spectators killed trackside 1961:  and the final race here in the fictional reconstruction of the 1966 season told from the perspectives of four drivers is at Monza and the death is of a driver, whose broken body is strung up on a tree as his car flies off the north ridge. It’s shocking. This is a brilliant film, still the best by far of all the motor racing films, with an opening 20 minute sequence on the street circuit at Monaco that is one of the best in the history of cinema. Of course it helps to be a petrolhead, but the screenplay, by Robert Alan Arthur, is clever and artful, blending action and storytelling and characterisation as efficiently as you’ll ever see in that opening, using the TV commentary to introduce us to Pete Aron (James Garner) who causes a terrible crash sending Brit driver Scott Stoddard (Brian Bedford) into hospital with appalling injuries and destroying both their Jordan-BRM cars. Pete is forced to look for a drive in Japan with Toshiro Mifune doing a take on Soichiro Honda. Twice world champion, Ferrari driver Jean-Pierre Sarti (Yves Montand) is looking for another title but has young team-mate Nino Barlini (Antonio Sabato) to contend with. If there isn’t enough drama on the track, there’s a complex of love lives off it, with Scott’s wife Pat (Jessica Walter) looking for love and finding it for a spell with Pete while her husband continues to relive his late brother’s career despite being drugged to the hilt; the married Jean-Pierre falling for American journalist Louise Frederickson (Eva Marie Saint); and Nino meeting Lisa (Francoise Hardy – nope, she doesn’t sing!) in a bar with an amusing exchange of perfunctory sentences before they get together and she becomes the perfect racer girlfriend, attending the races, timing the laps. This is a great sports film and one that is redolent with both danger and romance. It’s amazing looking and I only wish I could have been around for the original release in Cinerama which would do justice to the split-screen and the amazing Super Panavision 70 cinematography by Lionel Lindon with Saul Bass. It’s as tightly wound as a suspense thriller with the threat of death on every corner and it’s tough on the business side of this most unforgiving sport and the obsession of its participants. For fans there’s the joy of seeing real-life heroes like Graham Hill, Jim Clark, Jack Brabham, oh, a whole host of legends. Adolfo Celi does a take on Enzo Ferrari aka Manetta and real-life BBC reporter Raymond Baxter interviews Nino at Brand’s Hatch. Years later, in 1996, my acting hero (Garner) met my driving hero (Jacques Villeneuve) at Monza to celebrate the film 30 years after its release:

Garner was a fine driver and after shooting this – doing all his own driving and one fire stunt with butane that nearly went fatally wrong – he founded the American International Racers team, running cars in Formula A (just below F1), driving in the Baja 100, all leading to his eventually being inducted into the Off-Road Motorsports Hall of Fame.

The Racing Scene poster.jpg

The Racing Scene is a documentary following the team in 1969 when he finally broke it up because of the money and time commitment. He drove the pace car at the Indy 500 in 1975, 1977 and 1985. What a mensch. He said after making Grand Prix – thanks to his Great Escape castmate Steve McQueen dropping out! – he simply had to be involved in the sport.  This won Academy Awards for editing, sound and sound effects (none for the magnificent Maurice Jarre score) but it is so much more than the sum of its parts. Simply sensational. Directed by John Frankenheimer, whose wife, Evans Evans, has an uncredited role.

Monaco 1966 Grand Prix poster.jpg

Sunset (1988)

Sunset movie poster.JPG

Blake Edwards’ adaptation of Rod Amateau’s unpublished manuscript about the friendship between movie cowboy Tom Mix (Bruce Willis) and real life Wyatt Earp (James Garner) had the potential to be something quite brilliant:  it doesn’t carry it off due to inconsistencies of tone (never quite slapstick, never quite thriller) and performance (Willis didn’t heed his director to take his role seriously) but it retains its interest. Hollywood’s well-preserved 1920s villas provide a magnificent backdrop to a story set in 1929 just when the industry was getting to grips with the transition to sound. Earp in real life had moved to Los Angeles in 1910 but here he’s newly arrived and hired on a silent movie set to advise Mix and they get embroiled in a murder at the Kit Kat Club, a high class brothel where the whores are movie star lookalikes (shades of LA Confidential) run by the cross-dressing Cheryl (Mariel Hemingway.) Earp tries to help his old girlfriend Christina (Patricia Hodge) who happens to be married to studio boss Alfie Alperin (Malcolm McDowell), a thinly disguised version of Chaplin, and her son, who is in constant trouble and goes missing. The mystery at the story’s heart involves police corruption with those reliable villains M. Emmet Walsh and Richard Bradford and Warhol stud Joe Dallasandro showing up as a gangster. There’s a scene at that year’s Academy Awards (not anatomically correct, but still fun) and lots of really interesting performances in the wings including John Fountain playing his grandfather, the legendary John Gilbert. Willis’ unpreparedness made for a difficult time and Garner (a gentleman) commented on it, a rare instance of his speaking out against a colleague and his own performance really saves the film. Garner had of course worked with Edwards before – on Victor/Victoria. His interpretation of Earp is markedly lighter than his earlier one in Hour of the Gun.  There’s a cute running joke about his inability to drive a car – he does it a lot and in real life Garner was an accomplished racer and stunt driver particularly on The Rockford Files. In a neat nod to that, Dermot Mulroney makes his debut – he would play (my beloved!) Rockford in a TVM reboot. The other pluses are the LA locations used including the Ambassador Hotel, the Roosevelt Hotel, Melody Ranch, Bell Ranch and Orange Empire Railway Museum. Not great Edwards but worth a watch for the idea and Garner, with the usually reliable score from Henry Mancini as well as delectable photography by Anthony B. Richmond. A missed opportunity to make a satisfying Hollywood murder mystery but heck with all that talent I’ll take this anyhow.