Showing posts with label Helen Hunt. Show all posts
Showing posts with label Helen Hunt. Show all posts

Monday, January 23, 2017

Love Is a Journey



"I have a feeling that God is going to give you a free pass on this one. Go for it."

Father Brendan (William H. Macy)

"The Sessions," which made its debut at the Sundance Film Festival on this day in 2012, was a thought–provoking movie for me.

And, no, I am not talking about thoughts provoked by the sight of Helen Hunt in the nude, but I will make this observation on that subject — for a woman approaching her 50th birthday, Hunt was astonishingly beautiful when she made the movie. In fact, I think she would be considered astonishing for a woman of any age.

But even though "The Sessions" was about sex, that wasn't exclusively what it was about. The sexual part was more clinical than erotic.

John Hawkes played Mark O'Brien, a poet who had been handicapped since having polio as a child. The audience learned early that he wasn't paralyzed. His muscles simply didn't function as they normally would, and he had to rely on an iron lung to survive. He sought the help of a sexual surrogate (played by Hunt) in losing his virginity.

I guess the first thought I had about this movie when I first heard about it — and hadn't yet seen it — was that, while I was sorry about his condition, his desire to lose his virginity was nothing new. Boys have been looking for ways to lose their virginity — and agonizing over the pursuit of their first time — since time began.

Consequently, I regarded it as an outgrowth of the belief that somehow every person on this planet is entitled to have every possible experience that there is — and that one has been cheated somehow if denied that. But a realistic appraisal of the world and life in it has to be that those who do get to experience everything that life has to offer are few and far between.

A very small percentage get to be rich and/or famous. Most people don't get to play professional sports or perform in a rock band. Many people don't even get to live long compared to what most people would consider normal life spans. That's the way it is. Life isn't fair. All the people I have known who have died had things they wanted to do but never did. Yet I frequently hear it said when someone dies that it is lamentable that the person never did X or Y or Z — as if that were an exception to the rule.

But when I saw "The Sessions," I realized that Hawkes' character wasn't worried about losing his virginity the way adolescent boys do. It was his way of reclaiming part of his life that was taken by polio. He also sensed that he would not live much longer (in fact, he lived more than a decade after the events of "The Sessions," but still died at the young age of 49). That lent a sense of urgency to his quest.

He may well have been driven as well by the desire to experience all the things that able–bodied people do, but one did not get that sense from the movie. It was simply an experience he wanted to have — even though one of his assistants told him that sex was "overrated but necessary" — and, in keeping with his Catholic upbringing, at first tried to have it the conventional way with a marriage partner. When that didn't work out, he pursued the sex therapist route.

An intriguing side character was Hunt's husband, played by Adam Arkin, whose love for his wife was evident and his jealousy over his accurate perception that she was developing an emotional attachment to her client could be painful to watch. He knew what his wife did for a living, that it involved sexual contact with other men, and the sensation the audience got was that he usually was not threatened by her business relationships.

But her relationship with Hawkes was, for whatever reason, different.

What can I say about William H. Macy's performance? I've always liked his off–the–wall work. I saw him being interviewed on one of the late–night shows once, and he observed that, in his movie roles, "I never get the girl — but I am the most likely one to stuff her in a trash bag." You've gotta like a guy with that kind of sense of humor.

His character had a nice sense of humor in this movie as well, but he wasn't a homicidal maniac. He was Hawkes' spiritual adviser and friend.

In fact, it was his character who inspired the headline I have given this post. Near the end of the movie, he told Hawkes that he had prepared a short speech "for the forlorn" that he had planned to deliver to revive Hawkes' spirits but decided he would not when he found that Hawkes was faring better than he had expected. Hawkes encouraged him to go ahead, and Macy said, "Love is a journey."

When Hawkes asked him to continue, Macy confessed, "That's it. I told you it was short."

I liked the review Roger Ebert wrote in October 2012 when the movie had its limited theatrical release: It "isn't really about sex at all," Ebert wrote. "It is about two people who can be of comfort to each other and about the kindness that forms between them. This film rebukes and corrects countless brainless and cheap sex scenes in other movies. It's a reminder that we must be kind to one another."

Tuesday, December 22, 2015

Who Knows What the Tide Could Bring?



"We both had done the math. Kelly added it all up and knew she had to let me go. I added it up and knew that I had lost her. 'Cause I was never gonna get off that island. I was gonna die there, totally alone. I was gonna get sick or get injured or something. The only choice I had, the only thing I could control was when and how and where it was going to happen. So I made a rope, and I went up to the summit to hang myself. I had to test it, you know? Of course. You know me. And the weight of the log snapped the limb of the tree, so I couldn't even kill myself the way I wanted to. I had power over nothing, and that's when this feeling came over me like a warm blanket. I knew, somehow, that I had to stay alive. Somehow. I had to keep breathing. Even though there was no reason to hope and all my logic said that I would never see this place again. So that's what I did. I stayed alive. I kept breathing. And one day my logic was proven all wrong because the tide came in and gave me a sail. And now here I am. I'm back. In Memphis, talking to you. I have ice in my glass. And I've lost her all over again. I'm so sad that I don't have Kelly. But I'm so grateful that she was with me on that island. And I know what I have to do now. I gotta keep breathing. Because tomorrow the sun will rise. Who knows what the tide could bring?"

Chuck (Tom Hanks)

If the general story of "Cast Away," which premiered 15 years ago today, seemed familiar to you, it should have. It was based on a poem ("Enoch Arden") that was written more than 150 years ago by Alfred, Lord Tennyson when he was England's poet laureate.

It served as the basis for a number of movie projects long before "Cast Away," which premiered on this day in 2000, was made. In the silent era, D.W. Griffith made a film called "Enoch Arden," as did Christy Cabanne. An Australian movie named "The Bushwackers" was made in the 1920s.

Then, after talkies had been around for about a decade, Cary Grant and Irene Dunne appeared together in a movie called "My Favorite Wife" in 1940, which was being remade with Marilyn Monroe and Dean Martin as "Something's Got to Give" in the months before Monroe's death in 1962. When that project was canceled, a remake was made with Doris Day and James Garner called "Move Over, Darling."

Another movie from 1940, "Too Many Husbands," starred Jean Arthur and Fred MacMurray. It was remade more than a decade later as "Three for the Show" with Jack Lemmon and Betty Grable.

And 1946's "Tomorrow Is Forever" starred Claudette Colbert and Orson Welles — and was the first credited film appearance for Natalie Wood.

All those movies were inspired by Alfred, Lord Tennyson's poem, which was about a fisherman who went to sea and was shipwrecked. He was missing for 10 years, then was rescued, only to find upon his return that his wife (and presumed widow) had married his childhood friend, with whom she had had a child. Not wishing to spoil her happiness, he never revealed his identity to her and died of a broken heart.

Each adaptation had different circumstances — and, in some, it was the wife, not the husband, who was marooned on an island — but it was basically the same story — a significant other was missing and presumed dead.

The story usually picked up after that significant other had been rescued, but "Cast Away" was different. The viewers followed Chuck (Tom Hanks), a FedEx employee whose plane went down in a storm, through his years of isolation on an uncharted island.

The audience had no idea what had become of Chuck's girlfriend, Kelly (Helen Hunt), until he was rescued and brought back to Memphis (which, for those of you who do not know, is the base city for FedEx). It was then he learned that Kelly had married someone else after she had given up all hope of finding him alive. It wasn't a childhood friend. It was Chuck's dentist.

Hanks was nominated for Best Actor, which I thought was appropriate, and he lost, which I didn't necessarily think was appropriate. I thought Hunt deserved a nomination as well — not for Best Actress, because she didn't have nearly enough screen time for that, but as Best Supporting Actress (hey, if Beatrice Straight could win for five minutes of screen time in "Network," why not Hunt?). Her part was important to the beginning and the end of the story.

Of course, Hunt won Best Actress for her work in "As Good As It Gets," and she got a Best Supporting Actress nod for "The Sessions." Many actresses would consider their careers successful if they had those to put on their resumes, and I don't doubt that Hunt is proud of her career, but I have felt strongly about this for a long time now. I really believe she deserved a nomination for "Cast Away."

"I always knew you were alive," she told Chuck when they were reunited. "I knew it. And everybody said that I had to quit saying that, that I had to let you go."

Then she said the words every person would like to hear from another: "I love you. You're the love of my life."

And Chuck replied, "I love you, too, Kelly. More than you'll ever know."

When I saw her deliver this line the first time, I wished the movie had given some attention to what was going on in what had to have been a frantic search for Chuck. That must have been a poignant story. We saw Chuck's transformation from a clock–driven courier to man isolated on an uncharted island where time was, by and large, irrelevant. But we didn't see the emotional roller–coaster ride Kelly's character must have gone through in the search for evidence of what had become of Chuck.

We only got hints of what it must have been like for Hunt's character, first from her husband when he came to Hanks' welcome–home rally and then from Hunt herself.

That part of it was never really explored in those other movies I mentioned, either. That was a missed opportunity.

Tuesday, December 25, 2012

A Bonding Experience



Melvin (Jack Nicholson): Sell crazy someplace else. We're all stocked up here.

I don't know why I have always enjoyed watching "As Good As It Gets," which made its big–screen debut 15 years ago today.

Maybe because it is so in–your–face honest. I sort of think it was that quality that made "As Good As It Gets" so appealing — even if, at times, it became brutally honest.

The story dealt with an unlikely threesome — an obsessive–compulsive, a waitress and a gay artist — who shared a bonding experience.

Melvin: Carol the waitress, Simon the fag.

It was at a time when Hunt was a hot property in Hollywood. She had been on a hit TV series ("Mad About You"), and she had had a hit movie ("Twister") before she made "As Good As It Gets" — and she was in another hit movie ("Cast Away") a few years later. But she had never been nominated for an Oscar before.

That changed 15 years ago.

Nicholson's credits speak for themselves. He had not only been nominated for Best Actor Oscars before he made "As Good As It Gets," he had actually won one — for "One Flew Over the Cuckoo's Nest."

On that occasion, he made movie history — of a sort. It was the first time in more than 40 years that a movie had won Oscars for Best Actor, Best Actress, Best Picture, Best Director and Best Screenplay.

With "As Good As It Gets," Nicholson made a different kind of history. He and Hunt both won Oscars, which isn't nearly as uncommon as a sweep of the big five, but it is still a rather rare achievement.

Of the two, Hunt's triumph may have been the more surprising. Nicholson, as I said, took home the Oscar more than 20 years earlier (and again for Best Supporting Actor in the 1980s), but Hunt, a first–time nominee, was at least a bit of a surprise, I suppose, considering that one of her rivals was Kate Winslet for her performance in the titanic blockbuster "Titanic" and three other women who were movie veterans.

But Hunt really brought qualities to her role that weren't necessarily in the script.

Everyone remembers Nicholson's lines — like his response to a fawning receptionist who wanted to know how he managed to write female characters so well ("I think of a man, and I take away reason and accountability").

Or the time Nicholson told Hunt she made him "want to be a better man."

Heck, even the title of the movie comes from one of his lines — speaking to a psychiatrist's waiting room filled with patients, he said, "What if this is as good as it gets?"

But Hunt's lines were frequently the most sincere. Most likely, they were intended as setup lines for Nicholson, but so often Hunt did things with her eyes or her voice that conveyed so much more — and told the audience so much more about the character.

Tuesday, May 10, 2011

Tornado Season



I grew up in central Arkansas. If there is a heart in the so–called "Tornado Alley" in America, that must be where it is.

They take tornadoes seriously in Arkansas, as they do in neighboring states like Oklahoma, because they have a long history of dealing with them. Tornadoes are the loose cannons of meteorology. They pop up almost without notice and tend to be short–lived, but, oh, are they destructive.

We've needed no reminders of that lately, having just experienced the deadliest day in my lifetime in terms of tornado activity.

I recall a devastating tornado that came through my hometown when I was about 5 years old. My parents had gone out for the evening — probably for dinner and a movie — and they had left my brother and me with a teen–aged girl who lived a couple of miles down the road from us.

This girl had watched us before. We lived in the country, and it was a convenient arrangement. My brother and I liked her — well, I guess I can only speak for myself. My brother was about 2 years old, but he seemed to like her, as I remember. Anyway, her name was Gail.

At some point that evening (probably early, but I don't think I had learned to tell time yet), it turned windy and stormy. I remember listening to the radio with Gail (my parents didn't have a television in those days) and hearing the tornado warnings that were being issued — and wondering why Gail had turned as pale as a sheet. I guess the words in the broadcast were really beyond my years.

Anyway, she called her father and asked him to come pick us up and take us back to their house — because there was a storm cellar there. He was at our house in no time, and the three of us made a mad dash to his pickup truck. We piled in, he turned the ignition, and he drove like a crazy man, trying to outrun the tornado — which was practically on top of us.

If its path had been unobstructed, it might have picked up that truck and tossed it who knows where. I don't know how powerful it was. I don't think the famous Fujita scale was in use at that time, but it must have been pretty strong. The area where we lived was kind of hilly, and the tornado must have bounced off the terrain. I remember looking up through the windshield and seeing the tornado go directly over us.

The noise was deafening. The truck shook some. But nothing worse than that happened to us.

The storm proceeded into town, plowing through a residential section and leveling several homes by the time we arrived at the sitter's house. At that point, the danger had passed us by, I guess, but we still got into the storm shelter, anyway, and stayed there for what seemed like hours. When we emerged, the wind was still blowing — although not as violently as before — and my strongest memory is of my sitter and her siblings catching shreds of paper and announcing the addresses on envelopes and magazine labels.

It was really astonishing how far some of those pieces of paper (presumably) had traveled in a short time. At least, it seems so in hindsight. At that time in my life, I presume, I had no concept of the distance between places.

Anyway, I developed a healthy respect — at an early age — for tornadoes.

My parents must have picked us up at some point that evening. I have no memory of it. It had been kind of a harrowing evening for all of us.

Later, after I had grown up, I lived in Oklahoma for awhile. We had some pretty severe storms during the time I lived there, and we had a few tornado episodes, but nothing devastating hit the area in which I lived in the time I lived there. For that, I was grateful — especially since some particularly nasty storms went through the area a couple of years after I left.

Tornadoes have done considerable damage in Oklahoma since I moved away, and the movie that premiered 15 years ago today — "Twister," which was set in Oklahoma — is the only film I have ever seen that realistically re–created the experience of an encounter with a massive, deadly storm.

I never saw it in the theater, but I suspect it would have been a lot like a movie I saw with my mother — 1974's "Earthquake." The experience was enhanced by an audio system called Sensurround in which low–frequency sounds gave viewers the physical sensation of an earthquake.

I don't think they were still using Sensurround in 1996. Come to think of it, I can't remember the last time a movie was advertised as including Sensurround. If memory serves, it was kind of cumbersome and costly in the mid–1970s, and most theaters decided, in the end, not to invest in the equipment that was necessary.

With few theaters using Sensurround technology, it simply didn't make sense to make films that utilized it.

If Sensurround had still been in use when "Twister" was released, I'm sure it would have made the theatrical experience as terrifying as the real one can be.

I didn't see any flying cows when I was 5 years old. I'm sure that would have been a memorable — not to mention traumatizing — moment for me. I remember having nightmares at about the same time after seeing the winged monkeys in "The Wizard of Oz."

Even without Sensurround, I think the film's main attraction was the special effects — and to experience that as fully as possible, it probably was necessary to see the movie on a big screen. Not matter how large one's TV might be, I always figured the dialogue in "Twister" was realistic. I've never traveled with any "storm chasers" so I can't speak from experience on that one. But the dialogue struck me as authentic — even if some elements of the story were a bit forced.

That isn't meant to take anything away from the cast.

Helen Hunt was as charming as ever — and had better things ahead of her. Two years later, she won an Oscar for her performance in "As Good As It Gets."

Bill Paxton, who played her ex– (and, the story hinted, future) spouse, was something of a hot commodity in Hollywood in those days. A year earlier, for example, he had played one of the astronauts aboard the ill–fated Apollo 13 — one of the top–grossing films of 1995.

A year after "Twister," he played a character who appeared to be loosely based on Dr. Robert Ballard, the man who located the wreckage of the Titanic in James Cameron's blockbuster movie of the same name.

Some of the other cast members were headed for bigger things. Jami Gertz, who played Paxton's girlfriend in "Twister," has enjoyed some success on TV. Philip Seymour Hoffman, who played a fellow storm chaser, has been in several noteworthy films. He also won an Oscar.

But, in 1996, nothing was bigger than their adventures chasing storms in Oklahoma on America's silver screens.

Monday, June 15, 2009

Helen Hunt's Birthday



When Helen Hunt was 13, she appeared on "The Mary Tyler Moore Show" as the daughter of TV news writer Murray Slaughter.

In the episode, pompous news anchor Ted Baxter pays Murray to write an article for him, with the condition that no one is to know that Ted didn't do the writing himself. Murray keeps his end of the bargain, even though he longs to take credit for his work — particularly when he hears his daughter speak admiringly of Ted's writing.

I don't think that was the first time Hunt appeared on TV. But it was the first time I had seen her. I was 17. And I was smitten.

I was still smitten when I saw her several years later as the co–star on the popular TV series, "Mad About You." Not just because of her beauty but because of her talent.

My admiration for her talent continued to grow. I admired her work in "As Good As It Gets," "Twister" and "Cast Away." With the possible exception of "As Good As It Gets," I don't think she has appeared in a film that has earned lasting recognition as a movie classic. But she has brought an honest and touching quality to every character she has played, and that has made her film and TV appearances rich and memorable.

I know I'm not the only one who recognizes, as Jack Nicholson's character said in "As Good As It Gets," that Hunt is "the greatest woman on earth." In fact, I'm sure there are others who are worthy of that title.

But, as Nicholson's character went on to say, "The fact that I get it makes me feel good about me."

And that is part of Hunt's charm.

Today is her 46th birthday. I hope we will see much more from this beautiful and talented actress in the years to come.