Tennessee 100: Night of the Iguana

JA from MNPP here, continuing Tennessee Williams Centennial Week with a look at John Huston's 1963 film The Night of the Iguana. I chose Iguana because it's one of the few adaptations of Williams' work that I hadn't seen already, and because IMDb's summary made it sound torrid in the best Williams way. Defrocked priests and wanton teen girls and sapphic spinsters all flitting about a Mexican beach cut off from civilization? Yes please.

But truth be told, I found the film a little wanting, not wanton. Richard Burton's in full bluster, screaming and sloshing about as the drunken ex-man-of-the-cloth Shannon, Deborah Kerr barely registers as the sexless traveling painter he's too big a mess to end up with, and not a whole lot seems to gel.

 

I was fond of Grayson Hall as the lesbian intent upon Shannon's destruction (she was nominated for an Oscar, but lost to Lila Kedrova in Zorba the Greek), and kind of loved Ava Gardner as Maxine, the owner of the motel where they all end up marooned who keeps a couple of cabana boys for herself...

... but then, she was speaking my language. Bette Davis played the role of Maxine in the original staging of the play for four months before, according to her, her co-stars undercut her and she left the production and was replaced by Shelley Winters. I can picture both of them doing exquisite work in the role, but I really did like Ava Gardner here. (And scanning through Gardner's filmography I realize this is the first time I've ever seen her in anything!)

Iguana was shot in the Fall of 1962, right at epicenter of the tabloid insanity over the affair between Burton and Elizabeth Taylor - they'd just worked (among other things) together on Cleopatra - and Taylor actually accompanied Burton on the shoot in Puerto Vallarta, which led to all kinds of scrutiny upon the set. From Wikipedia comes this fun fact:

"By March 1964, months before the film's release, gossip about the film's production became the subject of a public parody when Huston received an Writers' Guild of America award for advancing "the literature of the motion picture through the years"; at a dinner where the award was presented, Allan Sherman performed a song, to the tune of "Streets of Laredo", with lyrics that included "They were down there to film The Night of the Iguana / With a star-studded cast and a technical crew. / They did things at night midst the flora and fauna / That no self-respecting iguana would do."

As you can tell, the stories surrounding the production are more interesting to me than the movie itself now. Perhaps the mega-quake that was Burton-Taylor was too strong a distraction to gel together an entirely satisfying, coherent film. Still there's some gorgeous black-and-white photography to be had...

And it did walk away with an Oscar for Best Costume Design (B&W), beating Hush...Hush, Sweet Charlotte and Edith Head for A House is Not a Home, so in summation let's take a look at a couple of those. It's refreshing to see an example of a non-period film winning a prize for its costumes, isn't it?

 

"in your satin tights, fighting for your rights... ♪ "

She makes a hawk a dove, stops a war with love, makes a liar tell the truth. She's a wonder, wonder woman.

Yes, it's the first official photo of 27 year old Adrianne Palicki (Tyra from Friday Night Lights) as the new Wonder Woman. I'm not sure what the rights issues are for this Big Three DC character but they've been rejecting movie concepts forever, whilst the the DoubleW watches Supes and Batman get multiple big screen reboots. So why not TV again for the Amazon? THR has some extremely vague details on the show. Cary Elwes will play the CEO of the company Diana owns and Elizabeth Hurley a rival CEO and thus, we assume, the Big Bad. David E. Kelley, aka Mr M. Pfeiffer, aka TV's favorite legal dramedy hit-and-miss machine is the man flying this particular invisible plane. Invisible for now that is...

And maybe forever. You never know with TV shows. Movies don't have "pilot season" in which entire crews and casts and production happens before studios decide whether or not to give the property a go. They'll do their pilot and NBC will take a looksee at this (and all the other pilots) and in May they'll order some of them to series. So if they say yes, we'll see it. TV is so volatile. Movie studios have to order basically the same amount of stuff every year. TV does too but whether or not it's new stuff is a different equation. All of the new pilots will only be competing for the open slots after all so they're all undoubtedly hoping for several series to be cancelled so that there are more slots to fill.

But for now we have the new costume to ogle. I know people are going to hate it but I think it's okay. It's not like Wonder Woman can be uncheesy. Her costume requires tiara, lassos, bracelets, and multiple colors so it's always gonna be busy. It also requires patriotism which is the final straw; ever noticed how silly people look when wearing their national flags? So for what it needs to be, I kinda like it. But I'm not trying to make your opinion for you. Do you?

Here's all the spins from the original "Wonder Woman"s second season with Lynda Carter.

 If the new Wonder Woman doesn't spin, I'm out. That's always the best part.

NBC is promising that this is a serious and non campy take on WW, but I'm hoping that Kelley manages to shove in a few musical numbers because that's always endeared me to him. The best part of Ally McBeal was that he found a way to gave every cast member the opportunity to belt their little lungs out at least once.

TV at the Movies: "They're All Going to Laugh at You!"

Shall we have a small screen comment diversion? There are two things in particular that are urging this post on. One: Gwyneth Paltrow as "Holly Holiday" wisecracking sexed up substitute teacher on Glee and Raja's increasingly commendable and now movie-spoofing creativity on RuPaul's Drag Race.

Let's take Raja first. Rita Rudner, who was the guest judge and comedy coach for this week's challenge (developing a comedy routine), was worried that people wouldn't have seen Carrie (1976) "I haven't seen it in 40 years" and therefore wouldn't get Raja's references. Oh Rita; the gays have seen Carrie! It's maybe not as obsessively worshipped as Baby Jane but it's up there. Raja came out wearing this.

Raja as Carrie, Raja as Herself

They're all going to laugh at you! (On purpose.)

I don't want to stress how much I love Raja and did long before he started referencing great movies like Heathers and Carrie verbally or with inspired visual gags. Basically when I love a contestant on any show they are doomed to come in second (or less) to someone hugely inferior. (I knew this was coming last season when Raven, who I was already crushing hard on, referenced Michelle Pfeiffer of all people. I was done!) I have the same weird mutant power to curse great actresses with my fandom, my love being the anti-Oscar. Do you have this power? Maybe it's our combined love that curses them? I'd prefer to share blame -- please, take some of it. Tell me someone you've cursed by loving them.  Only a lucky few escape this particular curse  -- Kidman, Winslet -- and then usually only by denying someone else that I'd rather call an Oscar winner! I'm sorry I/we did this to you Bening, Pfeiffer, Close, Turner, Moore, etcetera!

Speaking of Oscar winners, Gwyneth Paltrow revived some fan love when she absolutely killed in her guest spot on Glee months ago as the Lindsay Lohan mocking, Cee Lo singing, substitute Spanish teacher. Last night she was back to reprise the role, this time offering up some sex ed. Her first scene involving a cucumber and a condom was quite hilarious but she peaked early. The rest of the episode was an uncomfortable preachy weirdly discombobulated mess. Just like every other episode.

Let us fantasize about having so many musical-fix options available on TV and at the movies that we need have no great love for it. Yet we do. Gwyneth's voice is emotionally expressive and can flip from exuberant to sad and is really quite beautiful so the internet nastiness about her possible new record deal is just the typical hatesnark that ever plagues the great Web. If you can listen to her cover of Fleetwood Mac's "Landslide", or rather her cover of the Dixie Chicks cover of that song,  and think that she doesn't have musical chops, you should probably see an Otologist. Salon thinks Gwynnie's character, or at least what she's emblematic of, is ruining Glee. I get the argument but it's really hard to single out one troublesome element since Glee is quite obviously, emphatically and even proudly the Worst "Best" show on television.

To borrow from RuPaul herself, "Can I get an 'amen'"?

Or a second opinion?

Costuming Helena, Finding Sherlock, Winning Oscar

INTERVIEW
As one half of the first costuming team I ever noticed as a young movie fanatic, interviewing JENNY BEAVAN was a special treat. She's currently enjoying her ninth Oscar nomination for her work on The King's Speech. This is her third solo nomination. She and her former partner John Bright costumed the Ishmael Merchant & James Ivory period dramas that I grew up obsessing over: A Room With A View, Howard's End, Maurice and the like. When Jenny and I spoke to discuss her current Oscar run for The King's Speech, however, it was less period drama and more modern comedy. "I'm guessing as to what you're saying" she told me while technical difficulties had us both comically shouting into our phones / computers until the situation was resolved.

We began at the beginning.

Merchant/Ivory is after all, a very good place to start, both for a young film buff in the 80s and a costume designer embarking on a huge career in the movies.  "That was my start in the whole thing," Beavan recalled, noting that the films were great fun to do.

The Merchant & Ivory Days
John Bright's name was peppered throughout her conversation. In fact, she had just seen him earlier that day. I had long wondered why they stopped working together. "We were known as Jenny Bright and John Beavan," she says about their close partnership. "I mean, he is just one of my absolutely best friends and also my most important collaborator. Believe me we're still collaborating. Just not so officially."

As it turns out Bright owns and runs Cosprop, a hugely important costume house which specializes in period wear,  an enormous job in and of itself though he still does the odd film. I mention how much I love his work on the ravishing The White Countess (2005) with elicits a barrage of superlatives from Beavan. "Absolutely brilliant!" 

Howards End (1992), a masterpiece.

We discuss a particular moment in Howards End that I'm very fond of. The Schlegel sisters (Emma Thompson and Helena Bonham-Carter) walking home one evening run into Mr Wilcox (Anthony Hopkins). One can't get enough of the beauty of that movie. The clothes are so modest but there's such sensuality to them and something so resonant and bohemian about the sisters. Beavan credits the screenplay with the specificity that makes character costuming easier and the actresses with the film's modernity.

Beavan, having logged a lot of time in costume dramas, thinks there's real power with staying utterly within period. If you step away from the period, she explains "it looks wrong and then you get a sort of worry in the audience."  Producers, particularly the America ones, she shares, don't like to see hats in the movies. And sometimes you just have to use hats. "Everybody wore hats up until the 1950s in England!" she says with feigned exasperation.

My grandmother would never go out without a hat on. She wouldn't have felt dressed.

After the golden period of the Merchant/Ivory films, Beavan's official partnership with John Bright ended and  the designer got a chance to "fly a bit more my own." That's what one might call an understatement.

READ THE REST for thoughts on Helena Bonham Carter's style, "finding" Sherlock Holmes and more.

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Friendly Neighborhood Spider-Man

With the official fully costumed first release from Sony we know that they're calling the Spider-Man reboot The Amazing Spider-Man (2012).

I love how Spider-Man is always so scrunched up or compressed in photos and drawings when he isn't all stretched out swinging on webs. He only has two physical modes and one of them is the one wherein he seems to be giving himself claustrophobia.

That's a neat photo but I've been totally giggling at the paparazzi shots of the filming. Fight scenes always look so ridiculous in still photos before special efffects and sound effects and score are added. Plus Spider-Man looks less amazing and more, uh, "Friendly" in these photos if you know what I mean.

[set photos from Socialite Life.]

Are you beginning to change your tune on this one with the neat texture and worn details of the costume and the terrific cast or do you think there's still no point?