The Watchers

The Watchers
Showing posts with label christopher plummer. Show all posts
Showing posts with label christopher plummer. Show all posts

Sunday, 7 February 2021

Christopher Plummer (1929-2021)


Like many, we at the Watchers were saddened to hear of the passing of Christopher Plummer. The respected character actor, who is (to date) the oldest winner of a competitive acting Oscar, passed away on Friday 5th February, at the age of 91.

In a career spanning seven decades, Plummer's body of work took in everything from musicals to thrillers, highbrow literary adaptations and popcorn blockbusters, voicing animated characters and bringing some of Shakespeare's biggest characters to life on stage. He was equally at home playing a Klingon general as he was playing Sherlock Holmes. 

Born in Toronto in 1929, Plummer's maternal great-grandfather was none other than Sir John Abbott (third Prime Minister of Canada). When his parents divorced, Plummer moved to Senneville in Quebec and grew up speaking both French and English. In 1950, he joined the Canadian Rep and his theatre career began, appearing on Broadway and at the Stratford (Ontario) Shakespeare Festival (somewhere he would perform until well into his 80s). He played the leading role in Henry V in 1956 in a production which travelled to the Edinburgh festival. Three years later, he would receive his first Tony nomination for his performance in JB by Archibald MacLeish, a re-telling of the Old Testament book of Job, in which he played Nickles (Satan).


Plummer made his film debut in 1958 in Stage Struck, a romantic drama directed by Sidney Lumet. Plummer plays Joe Sheridan, a writer in love with actress Eva Lovelace (Susan Strasberg). He went on to appear in TV versions of several classic plays, including A Doll's House, The Philadelphia Story, Captain Brassbound's Conversion, and Cyrano de Bergerac. In 1961, he joined the Royal Shakespeare Company in London, appearing in Anouilh's Becket, as Benedick in Much Ado About Nothing (opposite Geraldine McEwan as Beatrice) and took the title role in Richard III. 


One of Plummer's career-defining roles (whether he liked it or not, and he didn't) was as the strict Captain Georg Von Trapp in The Sound Of Music (1965). Opting out of playing Harry Palmer in The Ipcress File to take the role of the stern widowed naval officer who falls in love with the free-spirited governess (Julie Andrews) who comes to look after his children, Plummer intensely disliked working on the film. He referred to the film as "The Sound Of Mucus" and describing working with Julie Andrews as "like being hit over the head with a Valentine's card" (although they remained close friends afterwards). When asked if he had made his peace with the film, he responded "Oh, God no." although, in 2011, his opinion had softened somewhat, saying: "it's timeless and I'm grateful for it". 

For the second half of the 1960s, Plummer's filmography steers shy of any more saccharine musicals and exemplifies the versatile nature of the actor: he went from playing manipulative studio exec Raymond Swan in Inside Daisy Clover (1965) to playing Incan emperor Atahuallpa in the big screen adaptation of Peter Shaffer's The Royal Hunt Of The Sun (1969), via Field Marshal Rommel (The Night Of The Generals, 1967), Oedipus (Oedipus The King, 1968), and Squadron Leader Colin Harvey (Battle Of Britain, 1969)


In 1973, he won a Tony Award for Best Actor in a Musical for the title role in the musical Cyrano. He also appeared in The Return Of The Pink Panther (1975), playing gentleman-thief Sir Charles Litton a.k.a. "The Phantom" (replacing David Niven, who declined to return for a second film) and proving to be an admirable straight man for the madcap energy of Peter Sellers. He played Rudyard Kipling in The Man Who Would Be King (1975) opposite Michael Caine and Sean Connery, and appeared as Herod in the acclaimed 1977 mini-series Jesus Of Nazareth. In 1978's The Silent Partner, Plummer plays a sadistic bank robber engaged in a cat-and-mouse game with the bank teller who swindled him. He ended the 1970s by playing Sherlock Holmes in Murder By Decree (1979). Directed by Bob Clark and co-starring James Mason as Watson, Plummer puts in a superb performance as the sleuth who is investigating the murders committed by Jack The Ripper. 

During the 1980s, Plummer played Iago opposite James Earl Jones in Othello, receiving his third Tony nomination. On screen, he was seen as Archbishop Contini-Verchese in the TV adaptation of The Thorn Birds (1983), as Leo Argyle in the film adaptation of Agatha Christie's Ordeal By Innocence (1984) and provided the voice of Henri the pigeon in Don Bluth's An American Tail (1986). He also played the villainous Reverend Jonathan Whirley in the big-screen version of 1950s cop show Dragnet (opposite Tom Hanks and Dan Aykroyd), and returned to Broadway to play Macbeth with Glenda Jackson as Lady Macbeth. He also appeared in the 1988 horror Vampire In Venice, playing the Van Helsing character to Klaus Kinski's Nosferatu. 


In 1991, Plummer appeared in Star Trek VI: The Undiscovered Country (1991), playing the bellicose Klingon General Chang. Injecting the script with life with each Shakespearean flourish, Plummer is better than the material but makes it work. His other roles throughout the 1990s include a racist prison chaplain in Malcolm X (1992), a ruthless business tycoon in Wolf (1994), a dogged small-town police detective investigating the mysterious death of an old woman in Stephen King adaptation Dolores Claiborne (1995), the virologist father of a mad man (Brad Pitt) in Twelve Monkeys (1995) and as television legend Mike Wallace in Michael Mann's whistleblower drama The Insider (1999). During all this screen work, Plummer still found time for the stage, playing Spooner opposite Jason Robards' Hirst in a revival of Harold Pinter's No Man's Land, and winning a second Tony Award for his performance as legendary stage actor John Barrymore in a play by William Luce, called Barrymore. 

The course of Plummer's career throughout the 2000s, whilst impressive and varied as always, could have been very different; he turned down the role of Gandalf in the Lord of the Rings trilogy (which would later be played by Ian McKellen). When asked about making such an extraordinary decision, Plummer said "I don't know why I turned it down. I think it had to do with spending four years in New Zealand. There's other countries I want to visit before I croak."


Plummer worked steadily throughout the 2000s, appearing in such varied fare as Dracula 2001 (2000) as Van Helsing, A Beautiful Mind (2001), Nicholas Nickelby (2004), Cold Creek Manor (2003), National Treasure (2004), Alexander (2004) as Aristotle, Syriana (2005), The New World (2005), Inside Man (2006), The Lake House (2006), and as the title character in 
The Imaginarium Of Doctor Parnassus (2009), which would be Heath Ledger's final film. He also continued to do voice acting, playing the antagonist Charles Muntz in Up (2009) and elder #1 in 9 (2009).


Yet despite all the plaudits and critical praise, one thing had still eluded Plummer: an Oscar nomination. That changed in 2010 when he received his first Academy Award nod- as Best Supporting Actor- for playing Russian author Leo Tolstoy in biographical drama The Last Station (2009). His co-star Helen Mirren also received an Oscar nod (for Best Actress) for playing his fiery wife Sofya, although they would both lose out: to Christoph Waltz (for Inglourious Basterds) and Sandra Bullock (for The Blind Side) respectively. 


However, it would only be another two years before Plummer was back at the Dolby Theatre and in contention for an Oscar again. He was nominated for Best Supporting Actor for his role in Mike Mills' romantic comedy-drama Beginners (2010). In it, Plummer plays Hal Fields, father to main character Oliver (Ewan McGregor), who- after his wife passes away- comes out of the closet and embarks on a relationship with a much younger man, before being diagnosed with terminal cancer. It's no surprise that Plummer's Best Supporting Actor nod was the film's only Oscar nomination: the film is imbued with rare vitality whenever Hal is on screen. 

At the age of 82, Plummer became the oldest winner of a competitive Oscar in an acting category, surpassing Jessica Tandy (who was 80 when she won for Driving Miss Daisy). His acceptance speech is a masterclass on how to do it: from his opening quip to the statuette-"You're only two years older than me, darling. Where have you been all my life?"- to his gracious roll-call of thanks, it's a perfect example of a classy, dignified speech. In addition to the Oscar, Plummer also won the Golden Globe, BAFTA, Screen Actors Guild, and Independent Spirit Award for this nuanced and quite brilliant turn. 

Plummer returned to Stratford, Ontario, to play Prospero in The Tempest, and also appeared in a film version of Barrymore, recreating his Tony-winning performance. He appeared as Henrik Vanger in David Fincher's version of The Girl With The Dragon Tattoo (2011). He also provided the voice of Arngeir, an elder spokesman for the Greybeards, in The Elder Scrolls V: Skyrim. He also appeared in Hector And The Search For Happiness (2014), Danny Collins (2015), The Man Who Invented Christmas (2017) [as Ebenezer Scrooge], and once again played Herod, this time in animated Christmas film The Star (2017).


In November 2017, it was announced that Plummer would be taking the role of billionaire oil magnate J. Paul Getty in Ridley Scott's All The Money In The World, a crime thriller dramatising the kidnapping of Getty's grandson John Paul in Rome in 1973. He would be replacing Kevin Spacey who was being removed from the film due to multiple allegations of sexual harrassment against him. The decision to replace him was made with just over a month to go before the film's release. Plummer had  two weeks to memorise his lines before jetting to Rome. It took eight days to reshoot all of Getty's scenes (twenty-two in total) and cost approximately $10m. 

Plummer's performance is superb: he infuses Getty with an odd kind of familial warmth yet is absolutely steadfast in his refusal to pay the ransom money for his grandson's return. It's an interesting dichotomy to see a man who has seemed to have a genuine concern for the boy blithely dismiss the request as if it's a mere trifle. Plummer received his third Oscar nomination- again for Best Supporting Actor- for his performance (like Beginners, his was the only Oscar nod the film got); at 88, he became the oldest Academy Award nominee for acting (although lost out to Sam Rockwell for Three Billboards Outside Ebbing, Missouri).


In 2019, Plummer reunited with Daniel Craig, his co-star from The Girl With The Dragon Tattoo, for Knives Out, a mystery drama written and directed by Rian Johnson. In it, Plummer plays renowned crime writer Harlan Thrombey, patriarch to a dysfunctional family, who gather to celebrate his 85th birthday. Thrombey's death is the catalyst for the investigation, but Plummer appears throughout in flashbacks, showing that more than one person at the house might have had reason for wanting to off the old man. Knives Out is a particularly good puzzle-box mystery and the casting is part of that. Plummer's last screen role was in The Last Full Measure (2019), but his voice will be heard in Heroes Of The Golden Masks (2021).

Whether playing sci-fi or Shakespeare, Christopher Plummer always brought a dignity and a gravitas to the role. He was a superb character actor and will be missed. Our thoughts are with his friends and family at this time. 


Friday, 27 December 2019

Review: Knives Out (UK Cert 12A)


Renowned mystery writer Harlan Thrombey is found dead in his attic study. It looks like he's died by his own hand? But is that really what happened? Gentleman sleuth Benoit Blanc is hired by an unknown benefactor to investigate Harlan's death and finds that foul play has indeed been done. But who in the household would have murdered the old man? In traditional Agatha Christie style, more than one person had reason to want him dead. Blanc must utilise his skills to work out what really happened... 

Rian Johnson (Looper, Star Wars: Episode VIII - The Last Jedi) directs an all-star cast star- including Chris Evans, Daniel Craig, Christopher Plummer, and Jamie Lee Curtis-  in a fitfully funny, cleverly plotted mystery that will have audiences talking long after the credits finish. 

When Johnson was editing the film, he tweeted out a series of movie posters which he was using as inspiration for Knives Out. These included the all-star Christie adaptations of the 1970s and 1980s (including Murder On The Orient Express, The Mirror Crack'd, and Death On The Nile) as well as comedy murder mysteries (Clue and Murder By Death) and period thrillers (Gosford Park). You can feel those influences throughout - the all-star cast, the trail of clues, cross-examinations in large rooms, the old overstuffed house- but Johnson puts his own spin on these, and on the tried-and-tested tropes of the genre. 

Performances are solid throughout. Daniel Craig affects a mellifluous Southern accent as gentleman detective Blanc, initially a taciturn presence with a mind as sharp as one of Harlan's many knives. He lays on the charm as he works through the case, ably assisted by two policemen: Lieutenant Elliott (LaKeith Stanfield) and Trooper Wagner (Noah Segan). Elliott is a traditional by-the-numbers cop, trying to get answers against Blanc's occasional flights of fancy. Wagner provides comedy relief as a star-struck nerd who fanboys over Harlan's works. The three performances work together very well.

Jamie Lee Curtis is tough and forthright as eldest child Linda, married to a shifty sod named Richard (a delightfully unctuous performance by Don Johnson), whilst there are laughs to be had by Toni Collette as a slightly airheaded lifestyle-guru-cum-influencer (imagine Gwyneth Paltrow and her Goop enterprise and you're not far off). Michael Shannon gives a wounded air of melancholy as Harlan's son Walt, publisher of his father's works. Katherine Langford and Jaeden Martell play members of the younger generation of Thrombeys but their characters aren't particularly fleshed out, being more "types" than people (more on that in a moment). Seen almost exclusively in flashback, Plummer makes for a warm yet strict character (in the sense that, once his mind is made up, it isn't being changed) and it's interesting to see his interactions with various family members. 

Rounding off the cast nicely are Chris Evans as Harlan's playboy grandson Ransom (the polar opposite of Captain America), and Ana de Armas who plays Harlan's nurse Marta. Marta is recruited by Blanc to help with the investigation, as Marta has a rather unusual trait which Blanc describes as "a regurgitative reaction to mistruths". She is physically incapable of lying, because she vomits if she does. This comes into play a few times during the film, only once graphically, but it provides a darkly amusing counter to the cerebral workout that Blanc goes through to work out who the killer is. 

As a murder mystery, it's well plotted - the dripfeed of information, misinformation, red herrings, half-truths and downright lies comes at a good pace, and there's a couple of times where the rug is pulled out from under you as what you've seen (or, more accurately, what you THINK you've seen) proves to not be the case. It's not convoluted, it doesn't disappear up its own fundament, doesn't rely on cheap tricks or obfuscation, and doesn't rely on a massive leap of logic to solve it. I was impressed by that. I also didn't work out the solution, but the solution presented didn't feel wrong. There are some clever moments that, on a repeated viewing (thus knowing the solution), will have greater significance. 

One thing, however, that lets the film down for me slightly is the politics. Some sly bits of subtle commentary are interesting and work well (for instance, the Thrombeys claim Marta is "part of the family" but they don't seem to know which country her family's originally from: Cuba, Ecuador, and Paraguay are all mentioned) but some bits get a bit too on-the-nose. Langford's character Meg is described as attending a liberal arts college, so automatically gets called a "snowflake" at one point, whilst Martell's character Jacob is permanently attached for his phone and is described as an alt-right sympathiser and troll. All very pertinent in these polarised and divisive times. But on both of these cases, we're just told this rather than shown it. There's also a conversation between Richard and some of the others, re: Trump, which again feels a little unnecessary- Richard has already been shown to be an absolute raging douchebag so to drive that point home by having him espouse the usual Republican line about immigrants (and humiliating Marta into the bargain) felt a bit pointless to me. 

That's a minor niggle, and not enough to ruin the film for me. It's a well-cast, beautiful-looking film (kudos to the production designer, the art designer, the set decoration and the costume designer) and the central mystery is engaging and expertly-constructed. A fine whodunit, and a late addition to my Nice List for 2019. 

Rating: 4 out of 5

Tez

Wednesday, 17 January 2018

Review: All The Money In The World (UK Cert 15)


In 1973, John Paul Getty III- grandson of oil tycoon and richest man in the world J. Paul Getty- was kidnapped in Italy, and a ransom demand for $17 million was issued. Just one problem: Getty refused to pay a penny. Paul's mother Gail and one of Getty's negotiators, Fletcher Chase, travelled to Italy to try and negotiate Paul's release without the old man's help. This unbelievable real-life story is the basis for All The Money In The World, directed by Ridley Scott. 

I want to start this review by addressing the elephant in the room. It's no secret that the film underwent extensive reshoots a month before its release, recasting the role of J. Paul Getty after the multiple allegations of sexual misconduct made against Kevin Spacey. Christopher Plummer (Scott's original choice for the role of Getty) was brought in to replace him, and there were nine days of reshoots in November 2017 to re-film the twenty-two scenes Getty appears in.  

To say that Christopher Plummer is an adequate replacement would be to do the gentleman a great disservice; Plummer steals the show. He is absolutely brilliant as Getty. He pulls off a weird balancing act: his Getty is weirdly effusive, welcoming his family in and having a strong relationship with Paul when he was younger; yet, he's also emotionally distant, caring more about the acquisition of wealth (in one particularly callous scene, Getty blithely spends $1.5million on a painting whilst Paul is at the point of being mutilated by his captors). It's a fascinating performance- Getty never comes across as miserly (despite washing his own underwear) or greedy, but he's still as much of a villain as the kidnappers. While we will probably never see Spacey's take on the character- Scott has said that Spacey's footage won't be officially released-  this is still a truly remarkable performance. 

But Plummer's is not the only superb turn in the film; Michelle Williams is equally strong as Paul's mother Gail. A Getty by marriage only- and divorced from Paul's father- she is thrown into a nightmarish world yet remains steadfast and determined to get her son back. Gail is no wilting wallflower, no passive hand-wringing damsel in distress- she's assertive and can play the game when she needs to; when an Italian newspaper receives a gruesome package pertaining to Paul's kidnapping, she cannily agrees to them publishing full details- so long as she can be paid in newspapers (one thousand copies are subsequently delivered to Getty's English country estate, to shame him into action). It's an assured performance and- in an awards season full of fascinating, complex female characters- is a particular highlight. 

Mark Wahlberg is pretty decent as Fletcher Chase, although he's not given an awful lot of character. He's a negotiator, he's been divorced multiple times and... that's really all we know. He gets a particularly strong scene towards the end where Chase- exasperated by Getty's intransigence- lays into the old man. Charlie Plummer (no relation to Christopher) is good as Paul; he's not a loud, bratty, entitled kid, he's a gentle, almost timid person. There are several tough scenes where Paul really goes through the wringer and you really feel for him. There's also a strong performance by Romain Duris as Cinquanta, one of Paul's kidnappers (who is sympathetic to the boy and tries to help him out). 

This is a sumptuous, good-looking film. Dariusz Wolski's cinematography is particularly good; the opening shot as Paul wanders through Rome before the abduction is beautifully done; scenes at Getty's English estate are opulent, all wood panelling and classical art. There are several standout sequences- the police raid on the compound is thrilling, and the final sequence involving Paul, Gail, Fletcher, the police and the kidnappers all running round the narrow, misty streets of a small Italian town is similarly pulse-racing. 

I do wonder how many people will go and see All The Money In The World just because of the Spacey controversy. I certainly can't imagine the decision to recast and reshoot so close to release was taken lightly, and- given such a tight turnaround- the entire crew is to be commended for getting everything shot and edited and ready in time. To be honest, it doesn't really matter why you're going to see the film. It's an intriguing story that's incredibly well told. 

Rating: 4.5 out of 5

Tez 

Monday, 27 February 2012

The 84th Annual Academy Awards




I love the Oscars.

This won’t come as any surprise to anyone who’s been watching or listening to the show, but it’s true. I love the Oscars. And I make time for them. Since 2002, I have watched the Oscar telecast and been amazed, moved, stunned and occasionally bored rigid by the night.

Last night/this morning was a night of few surprises but a lot of heart.

The biggest surprise seems to be The Girl With The Dragon Tattoo winning for Best Editing. Most of the other big awards went the way they were supposed to. But more of that later.


Billy Crystal was on top form, taking hosting duties for the ninth time. He made for an affable and charming host with the occasional barb thrown in for good measure (his little crack about being in Christian Bale’s eye-line before the volatile actor came on to announce Best Supporting Actress was rather nice). He also made a very touching personal tribute to former Academy producer Gil Cates, who passed away in the last year, before the ‘In Memoriam’ segment.

It may just have been me, but the ceremony felt a lot more streamlined this year. It may be due to the fact that there were nine films nominated for Best Picture, but they dispensed with individual segments for each of the Best Picture nominations; instead, they played together as a montage before the main prize was announced. Similarly, there was no full performance of the songs nominated for Best Original Song; a bit of an odd oversight considering there were only two songs, and I would have paid good money to see the Muppets on the Oscar stage. All of this brought the running time in to approximately three-and-a-quarter hours (including copious ad breaks).



On to the awards themselves.

Unsurprisingly, The Artist took Best Picture. It also took Best Director (Michel Hazanavicius), Best Original Score (Ludovic Bource), Best Costume Design (Mark Bridges) and Best Actor for Jean Dujardin. As you may know, I plumped for George Clooney in the Best Actor category but, hey, five out of six ain’t bad (and I did better than last year!). The Gallic exuberance of Hazanavicius and Dujardin in their acceptance speeches was truly touching and they are both very worthy winners.

Not to be outdone, the other paean to the art of the movies, Martin Scorsese’s Hugo also took home five technical awards (Best Cinematography, Best Art Direction, Best Sound Mixing, Best Sound Editing and Best Visual Effects)- again, all well-deserved. Even without the 3D addition, Hugo is one of the most visually stunning films of the last twelve months.


No surprises in the other acting awards with Meryl Streep picking up her third Academy Award, after twenty-nine years, for The Iron Lady; Octavia Spencer ‘freaking out’ after being awarded Best Supporting Actress for The Help and Christopher Plummer giving a very dignified and lovely acceptance speech when he picked up Best Supporting Actor for his role in Beginners (which makes him the oldest actor not only to win Best Supporting Actor but to win a competitive acting Oscar; at 82, he surpasses Jessica Tandy who won at the age of 80 for Driving Miss Daisy)

The guest hosts for each award, as usual, varied in quality. My personal favourites were Chris Rock presenting the award for Best Animated Feature (in those two minutes, he showed more edge and charisma than he did when he actually hosted the Oscars); Emma Stone and Ben Stiller presenting Best Visual Effects (with Stone skewering some of Stiller’s previous Oscar appearances, which I have personally found increasingly insufferable) and the cast of Bridesmaids who paired off to present the three Short Film sections. There was also some wonderful banter between Robert Downey Jr and Gwyneth Paltrow as they presented Best Documentary Feature.

All in all, an absolutely wonderful night celebrating the best in movies.

---------------- 
Below is the full list of winners at the 84th Annual Academy Awards:

Best Picture: The Artist

Best Director: Michel Hazanavicius (The Artist)

Best Actor: Jean Dujardin (The Artist)

Best Actress: Meryl Streep (The Iron Lady)

Best Supporting Actor: Christopher Plummer (Beginners)

Best Supporting Actress: Octavia Spencer (The Help)

Best Original Screenplay: Woody Allen (Midnight In Paris)

Best Adapted Screenplay: Alexander Payne, Nat Faxon, Jim Rash (The Descendants)

Best Animated Feature: Rango

Best Foreign Language Film: A Separation

Best Original Song: ‘Man Or Muppet’ from The Muppets

Best Live Action Short Film: The Shore

Best Animated Short Film: The Fantastic Flying Books Of Mr Morris Lessmore

Best Documentary (Short Subject): Saving Face

Best Documentary (Feature): Undefeated

Best Visual Effects: Hugo

Best Sound Editing: Hugo

Best Sound Mixing: Hugo

Best Art Direction: Hugo

Best Cinematography: Hugo

Best Original Score: The Artist

Best Costume Design: The Artist

Best Make-Up: The Iron Lady

Best Editing: The Girl With The Dragon Tattoo


Congratulations to all winners!

And now, if you'll excuse me, I'm off to bed - it's been something of a long night.

Tez