1996

The Birdcage

Link posted on by moviebloke

(USA 1996)

“It’s aspirin with the ‘A’ and the ‘S’ scraped off.”

— Agador

Mark Caro’s latest presentation in his “Is It Still Funny?” series, The Birdcage, is director Mike Nichols’s 1996 Americanized remake of Jean Poiret’s classic 1979 French farce La Cage aux Folles. I’m not sure it was intentional, but this presentation coincides with National Drag Day, something I didn’t know existed.

I left the theater with three impressions: one, things have changed quite a bit in two decades; two, The Birdcage is still funny even if it is silly and dated; and three, Robin Williams could do anything well.

Armand Goldman (Williams) owns and operates a drag nightclub, the Birdcage, in South Beach. His flamboyant husband, Albert (Nathan Lane), is the club’s star attraction. Armand’s son, Val (Dan Futterman), announces his engagement to Barbara Keeley (Calista Flockhart), the daughter of right wing Republican senator Kevin Keeley (Gene Hackman). The kids want to — and should — introduce their parents to each other, but the problem is Barbara’s father, who no doubt will not approve.

Val has a solution: Armand can fake being straight — and married to his biological mother, Katherine Archer (Christine Baranski), who didn’t have much to do with him growing up but maybe will do him this one solid. And the Keeleys will be no worse not knowing the truth.

Albert, who’s a gay giveaway, can’t be part of it. He can’t even be around. This puts Armand — and the entire household — in a tricky situation. Albert is delicate at the moment, and this will hurt him. Little does anyone know how important he’ll prove to be in pulling off the ruse.

It’s easy to dismiss The Birdcage as fluff. The whole thing — plot, setting, characters, that dinner — is really, really silly. The humor relies heavily on stereotypes — histrionic Albert, house “boy” Agador (Hank Azaria), and conservative Kevin are the most obvious examples. Madonna dancers Luis Camacho and Kevin Stea have bit parts as…dancers, big shock. There’s a lot of camp and physical humor here, which doesn’t make for sophisticated comedy.

Nonetheless, the actors bring it, particularly Lane, who imbues his role with unexpected tenderness. Elaine May updates and punches up the screenplay with political jabs and cultural witticisms. At the center of the insanity is Williams, who despite a few glimmers of his wacky old self (“You do Fosse, Fosse, Fosse! You do Martha Graham, Martha Graham, Martha Graham! Or Twyla, Twyla, Twyla! Or Michael Kidd, Michael Kidd, Michael Kidd, Michael Kidd! Or Madonna, Madonna, Madonna!”), plays the Straight Man — that might sound contradictory considering his character here, but I’m not referring to his orientation. And he does it well. The result is a guilty pleasure.

With Dianne Wiest, Tom McGowan, Grant Heslov, James Lally, Luca Tommassini, André Fuentes, Tony Gonzalez, Dante Lamar Henderson, Scott Kaske, Tim Kelleher, Ann Cusack, Stanley DeSantis, J. Roy Helland, Anthony Giaimo, Lee Delano, David Sage, Michael Kinsley, Tony Snow, Dorothy Constantine

Production: United Artists Pictures

Distribution: United Artists (USA), United International Pictures (UIP), Filmes Lusomundo (Portugal)

117 minutes
Rated R

(Music Box) B-

http://www.mgm.com/#/our-titles/187/The-Birdcage/

William Shakespeare’s Romeo + Juliet

Link posted on by moviebloke

(USA 1996)

“My only love sprung from my only hate.”

—Juliet Capulet

I don’t usually read reviews when I write my entries here, but sometimes I can’t resist checking what critics had to say about older movies when they first hit theaters back in the day. Roger Ebert did not like this one, which he called “a mess” and “a very bad idea” (http://www.rogerebert.com/reviews/romeo-and-juliet-1996). I respectfully disagree; Baz Luhrmann’s overblown and over the top take on Shakespeare’s (probably) best known play is, in a word, awesome—even with 20 years’ wear.

William Shakespeare’s Romeo + Juliet definitely is not your lit teacher’s Shakespeare: set in hyper-paced, decaying fictitious Verona Beach on the verge of the Millennium, Luhrmann reimagines the feuding Montagues and Capulets as two family corporate empires embrolied in a turf war. They act like cartels: Romeo’s cousin Benvolio (Dash Mihok) and Juliet’s cousin Tybalt (John Leguizamo) brawl at a gas station, wrecking havok in the city. Instead of knives, their weapons are guns with brand names “Dagger” and “Sword” embossed on them. Chief of Police Captain Prince (Vondie Curtis-Hall) warns family heads Ted Montague (Brian Dennehy) and Fulgencio Capulet (Paul Sorvino) to get their boys under control, or there will be hell to pay.

That evening, Romeo (Leonardo DiCaprio), Benvolio, and Mercutio (Harold Perrineau) take ecstasy and crash a costume party at the Capulet mansion, where prima donna Mrs. Capulet (Diane Venora) has arranged an introduction between Juliet (Claire Danes, who you oughta know emulates Alanis Morissette) and governor’s son Dave Paris (Paul Rudd dressed as an astronaut). Drawn to a blacklit aquarium in the bathroom, rolling Romeo, literally a knight in shining armor, sees Juliet in angel wings on the other side. Thus begins the fateful downfall of the star-crossed lovers, aided by Fr. Laurence (Pete Postlewaite).

William Shakespeare’s Romeo + Juliet injects new life into a classic. Laying the groundwork for 2000’s Moulin Rouge!, everything about it is bold and flamboyant—especially the choice to stick mostly with the play’s original prose. Luhrmann mixes a headspinning cocktail of English literature, Alexander McQueen, Quentin Tarantino, and MTV to create an apocalyptic assault on the senses. He combines outrageous sets (including a crumbling movie theater on the beach that provides the perfect stage for some of the action), religious imagery, sexy thugs, car chases, a drag performance, newscasts, and hip tunage into a whirl of color, noise, and poetry. Donald M. McAlpine’s cinematography is downright decadent. The soundtrack is strong: it boasts, among other acts, Radiohead, Everclear, Garbage, Butthole Surfers, and of course the Cardigans with their only U.S. chart hit, “Lovefool.”

I can see why purists and old fogies will pass on this adaptation. I, however, love it. William Shakespeare’s Romeo + Juliet isn’t perfect, but it’s wickedly clever, fun, and never dull.

120 minutes
Rated PG-13

(Gene Siskel Film Center) B+