Showing posts with label Forest Whitaker. Show all posts
Showing posts with label Forest Whitaker. Show all posts

Sunday, December 23, 2012

The Robin Williams Show



"Goooooooood morning, Vietnam! Hey, this is not a test! This is rock and roll! Time to rock it from the Delta to the D.M.Z.!"

I've been following Robin Williams since his "Mork and Mindy" days.

Few people have been as manic in public as Williams, and there have been few professional opportunities for him to let his wild side take over completely.

(I suppose one could argue that Williams only has one side, he is just judicious with its wildness.)

But I'm inclined to think that Williams' portrayal of disc jockey Adrian Cronauer had to be one of those opportunities. And he took advantage of it.

I've heard that most of Williams' radio broadcasts in the movie were improvised, and that would make sense.

Who else, after all, would think to say this while imitating Walter Cronkite?

"I just want to begin by saying to Roosevelt E. Roosevelt, what it is, what it shall be, what it was. The weather out there today is hot and shitty with continued hot and shitty in the afternoon. Tomorrow a chance of continued crappy with a pissy weather front coming down from the north. Basically, it's hotter than a snake's ass in a wagon rut."

How about this?

"What's the demilitarized zone? It sounds like something from the Wizard of Oz. 'Oh no don't go in there!' 'Ohhh wee ohh. Ho Chi Minh.' 'Oh look you've landed in Saigon. You're amongst the little people now.' 'We represent the ARVN army, the ARVN army. Oh no! Follow the Ho Chi Minh trail! Follow the Ho Chi Minh trail!' "

Who else would be irreverent enough to say this?

"Here are the headlines. Here they come right now. Pope actually found to be Jewish. Liberace is Anastasia and Ethel Merman jams Russian radar. The East Germans today claimed the Berlin Wall was a fraternity prank. Also the pope decided today to release Vatican–related bath products. An incredible thing, yes, it's the new Pope On A Rope. That's right. Pope On A Rope. Wash with it, go straight to heaven."

Certainly not the real Adrian Cronauer, who reportedly was nowhere near as hyperactive as Williams' character. I've heard he used no comedy in his broadcasts and simply left Vietnam when his tour of duty ended.

(Williams' Cronauer was taken off the air and given an honorable discharge provided he left quietly under shadowy circumstances.)

The real Cronauer story transferred to film wouldn't have made enough money to cover the producers' bus fare anywhere.

But the Williams treatment resulted in an Academy Award nomination.

He didn't win the Oscar (he lost to Michael Douglas). He deserved the nomination, though — it was, after all, his show, and his performance was dazzling — but he might not have been nominated if he hadn't been surrounded by a top–notch supporting cast.

Of all the noteworthy acting talent that provided that support, I think my favorite was Forest Whitaker as Eddie Garlick. Whitaker had been around for awhile — I first remember seeing him in "Fast Times at Ridgemont High" — but I had never seen him like he was in "Good Morning, Vietnam."

For lack of a better term, Whitaker was Williams' sidekick, his straight man.

"No," Whitaker said at one point, "he's not all right. A man does not refer to Pat Boone as a beautiful genius if things are all right."

At another point, speaking of the stuffed shirt character (Bruno Kirby) who took over on–air duty when Cronauer was ushered out, Whitaker said, "We got one letter from a man who thought that Hauk's comedy was 'visionary and interesting.' The other 1100 calls say that the man can't do comedy to save his dick! That's a direct quote, sir."

And, boy, could he deliver a straight line.

But he could deliver punch lines, too. Like when he was asked why Bob Hope wouldn't come to Vietnam.
"He doesn't play police actions, just wars. Bob likes a big room, sir."

Now, that's a punch.

Monday, August 13, 2012

'Fast Times' Launched Some Careers



There may be nothing that grows quite so tiresome quite as quickly when one gets older as a teen sex movie.

I guess it's always been part of the moviemaking landscape. I mean, "Blackboard Jungle," which premiered in 1955, wasn't a comedy, the way "Fast Times" was, but it was definitely a part of that teen angst genre. And James Dean's three–movie career was all about the teen experience.

"Blackboard Jungle" and Dean's career come to me just off the top of my head. I'm sure I could think of others if I sat down and reflected on only that for awhile.

And I'm equally certain that even moviemakers of the silent period made movies that focused on the young and their journey from childhood to adulthood. It's an enduring human theme.

But when one is older, such tales become less relevant — unless they can be applied to the experiences of one's children and/or grandchildren.

Thirty years ago, when "Fast Times at Ridgemont High" premiered, I was in that age range, and I thoroughly enjoyed the movie. I wasn't an adolescent — I would probably have been described as being more on the opposite end of adolescence by that time — but I wasn't that far removed from it.

Today, I guess, "Fast Times at Ridgemont High" is kind of like a time capsule, a glimpse into life as it was in the early 1980s. I don't know what most young people do for after–school jobs these days — I mean, it's tough enough for their elders to find work in this environment — but the same things that appealed to teens then seem to appeal to teens today, just in updated forms.

In 1982, teenagers congregated at shopping malls, where they could buy clothes, eat, go to the movies, play pinball games (or video games like Pac Man). In 2012, I guess it's much the same.

"Fast Times at Ridgemont High" was set — mostly — in two places: The mall where the principal characters either worked or congregated, and the school most of them attended.

Of all the bad boys in all such films, Sean Penn's stoned surfer Jeff Spicoli was probably the baddest. He was the embodiment of teen rebellion at that time. The trouble was that he didn't really have any idea what he was rebelling against.

And he never really seemed to get the upper hand with his nemesis, history teacher Mr. Hand (memorably played by Ray Walston).

Penn wasn't exactly a newcomer, but he hadn't been featured enough to be pigeonholed in particular roles. He has accepted a variety of roles in the last 30 years, and he has earned the praise of the critics for his talent.

It probably didn't require much skill to play Jeff Spicoli, but it must be said that Penn got the most from what he was given. He played a very different (and, in my opinion, more demanding) bad–boy role in "Taps" the year before, but it really was "Fast Times" that launched his career.

At the heart of the story, I suppose, was Jennifer Jason Leigh, who wasn't exactly a newcomer, either, having already been in movies and TV programs for a few years.

(I suppose there is a certain amount of irony in the fact that the movie that really launched Leigh's career made its debut three weeks after Leigh's father, Vic Morrow, was killed while filming a movie of his own.)

Penn and Leigh even appeared together in a TV movie (along with future "Fast Times" co–star Anthony Edwards) the year before "Fast Times at Ridgemont High" came out. And they both kind of shot to stardom when "Fast Times" made roughly six times what it cost to make.

I guess what really made "Fast Times at Ridgemont High" different from previous coming–of–age flicks was the fact that it examined both genders plotting to make a connection with the opposite sex. Leigh, for example, was seen conversing with the more worldly Phoebe Cates frequently about such things as the way to perform fellatio.

Cates also assured Leigh (who lost her virginity early in the movie) that intercourse would not be as painful in the future.

Speaking of that, an interesting angle of the story unfolded in scenes in which Leigh had sex. The camera focused on the kinds of things she would have seen from her vantage point — the ceiling tiles or light fixtures or the graffiti in the room.

I'm not sure if any movie before "Fast Times" ever did that. Previously, the emphasis was on what the male could see from his vantage point — usually the girl's breasts.

(If you could go back and talk to audiences in 1982, most probably would have predicted that Cates would be the biggest star to emerge from "Fast Times." And, to an extent, that was correct — for awhile. Cates certainly got a lot of exposure — in more ways than one — from "Fast Times." She made many more movies in the '80s, but her productivity dropped off dramatically after that.)

The approach to sex for young males was described pretty well by Robert Romanus when he told his inexperienced buddy (played by Brian Backer) of "the attitude" a man must bring to such encounters.

"The attitude dictates that you don't care whether she comes, lays, stays or prays," he said. "I mean, whatever happens, your toes are still tappin'."

Backer and Romanus appeared in other movies after "Fast Times," but their careers never really took off the way the others' did.

Other young actors made cameo appearances — Forest Whitaker, Eric Stoltz, Nicolas Cage — and went on to enjoy greater success.

It was a successful vehicle for several aspiring stars, even if the portrayals were cartoonish at times. But in between the sometimes comic caricatures were some missed opportunities to explore social issues in some depth. Leigh's character, for example, confronted Romanus after learning she was pregnant, and she seemed to object to the idea of aborting the fetus — but she voiced her objection only to her partner's accusation that "you wanted it as much as I did."

For the younger folks in today's audience, "Fast Times at Ridgemont High" offers a peek into musical tastes of the early '80s. I can't say that I remember the Go–Gos being more than one–hit wonders (largely, that hit was "We Got the Beat," which opened the movie), but Tom Petty and the Heartbreakers were one of the groups that defined that time, and performers like Led Zeppelin, Joe Walsh, Jackson Browne, Don Henley and Stevie Nicks made names for themselves in the 1970s and continued to wield their influence in the 1980s.

Young viewers won't really get a feel for life in the '80s from watching this movie, but there is a particularly telling moment near the end that folks who remember that time may find amusing.

Working together in a pizza place in the Ridgemont Mall, Leigh told Cates she didn't want to have sex. "Anyone can have sex," she said.

When Cates asked her what she wanted, Leigh replied that she wanted romance.

"This is Ridgemont," Cates answered. "We can't even get cable TV here."