Showing posts with label Peter Yates. Show all posts
Showing posts with label Peter Yates. Show all posts

Thursday, October 2, 2014

All the World's a Stage

Film: The Dresser
Format: DVD from NetFlix on rockin’ flatscreen.

It’s not rare for a film to get multiple acting nominations, but it is rare for a film to get two nominations for the same award. It happens now and again, of course, but it’s pretty unusual. The Dresser is one such film, and I’d be hard-pressed to suggest that the Academy was wrong for nominating both Albert Finney and Tom Courtenay. The film itself is a small one, a little story, but the performances of those two actors are truly grand in the greatest sense.

The plot is almost a nothing. A great Shakespearean actor referred to only as Sir (Albert Finney) is attended at all of his performances by Norman (Tom Courtenay), his dresser. Norman, after years of essentially being Sir’s servant, knows every mood of the man and every possible whim. The troupe has fallen on hard times because of World War II—all of the best young actors are off fighting in the war.

Sunday, June 23, 2013

Out for a Spin

Film: Breaking Away
Format: DVD from Western Reserve Library through interlibrary loan on laptop.

Breaking Away ranks in my mother’s top however-many of films. Mom loves this film. I’m not exactly sure why it resonates so completely with her; fortunately, this blog doesn’t have to try to explain the tastes of my mom or of anyone else. Breaking Away is a classic underdog story, although there are some important differences that raise it above the genre.

The film takes place in Bloomington, Indiana, home of Indiana University. The end of the film spirals around the Little 500, an annual bike race at the university. The bike race is based roughly on the Indy 500. Teams of four in this case ride a bike round and round a track. One of those significant differences between this film and the typical sports underdog film is this—the Little 500 is mentioned several times in the film, but is only really relevant in the third act. We don’t spend the whole film building to it—it just happens at the end.