"91"

Even though much of the appeal of horror movies lies in their power to tap into primal fears, I’d like to think our cerebral cortexes have evolved to the point where we want our thrills to test our minds as well as our nerves. After all, horror movies often leave the greatest, and most lasting, chill when they hinge on psychological, rather than fantastical, terrors.  The higher the intelligence of the piece, the harder it is to dispel that chill, and the more elegant the premise, the more likely it is to stay lodged in our psyches. Smarter scary movies just seem more believable, even when they are set in space, or when ghosts crawl out of the television. Not surprisingly, a large percentage of such titles are adapted from works of fiction. The “interior” aspect of fiction reminds us that the worst nightmares are often conjured not by reality but by our own imaginations.

 Life is full of weird coincidences: The first time Brad Pitt’s star power really hit me was in a film directed by...Robert Redford. The movie, of course, was Brad’s big breakthrough, 1992’s “A River Runs Through It”, in which Brad plays the more rebellious of two brothers growing up in 1920’s Montana. Watching it over twenty years ago, I vividly remember thinking that Redford was directing a younger version of himself. Think about it: they look alike, they talk alike, and a generation apart, each would be considered for the same kind of roles. Each in their younger days had the fair, clean-cut quality commonly referred to as “All-American”.

I’m taking this opportunity to speak directly to six gifted actors whose recent output on the big screen does not live up to their God-given (and Method-trained) abilities.  We can always learn from history, right? In that spirit, I’m suggesting some other players from yesteryear whose examples might provide some inspiration if these stars choose to break out of their respective ruts.   I fervently hope at least some of them do.   

A blonde bombshell before Marilyn? You bet. Her name was Jean Harlow, and in my estimation, she appeared in more great pictures than Monroe, while spending even less time on the planet.

Lana Turner, born in Idaho as Julia Jean Mildred Frances Turner (couldn't they make up their minds?), was discovered by an industry insider while enjoying a soda at a Hollywood café. She was only 16, but still, there was something about her. No kidding. Audiences got their first glimpse of Turner in the 1937 thriller "They Won't Forget." Wearing a form-fitting skirt and sweater, her role was brief but memorable, and before long, she became known as "The Sweater Girl." Predictably, a nickname like that aroused attention, particularly among the male population. Apart from her many films, Turner's tumultuous personal life (seven husbands, eight marriages) ensured she was always in the public eye. She once aptly referred to her own journey as "a series of emergencies."

With the 91st Academy Awards upon us, the time feels right to recognize the crucial role that movies have played in our lives, particularly in troubled times.

Today - if you mention the name Josephine Baker - most people will remember her vaguely as “some singer way back when”. But how many are left who can picture her in all her glory, with her sassy, sexy, breathtaking charisma on full display? Damned few, I’d guess. And that’s a shame, considering she’s right at your fingertips, forever preserved on celluloid.     One of the first black stars, Josephine had a flamboyant personality, with a singular grace and a confident style — unusual indeed for a performer of color in those days, much less a female one. Though not conventionally beautiful – her face a little too round, perhaps, her chin receding a tiny bit — her star-power was undeniable. And those eyes!  Born in 1906 to humble circumstances in St. Louis, over time, Josephine rose from being the poor daughter of a laundress in Missouri to steady work dancing in New York City. However, despite gaining some notoriety, by 1924 she had been relegated to perform in a musical called “Chocolate Dandies”, as well as joining the floorshow in a place called… I kid you not… The Plantation Club – gulp.   

In theatre they call it “breaking the fourth wall” - that “wall” being the one we sit behind as popcorn-chewing observers. When used sparingly, this technique can be hilarious (or really creepy).

I can vividly recall the first moment I saw Meryl Streep on-screen. The film was “The Deer Hunter” (1978). Her part was relatively small — she played the stateside love interest of two men shipped off to Vietnam — but I was immediately struck by her presence.