Sunday, May 31, 2015
Below is my review of "FLASHMAN AND THE REDSKINS", author George MacDonald Fraser's seventh novel in the Flashman Papersseries:
"FLASHMAN AND THE REDSKINS" (1982) Book Review
Set during the Old West of 1849-50 and the mid 1870s, "FLASHMAN AND THE REDSKINS" has the distinction of being the first novel in the Flashman Papers series to begin outside of Great Britain. It will not be the last, but it certainly was the first. Penned by George MacDonald Fraser and published in 1982, the novel also happens to be my favorite in the series.
Since this particular novel happened to be an immediate follow-up to Fraser's third novel, "FLASH FOR FREEDOM!", "FLASHMAN AND THE REDSKINS" began where the 1971 novel had ended – on the streets of New Orleans, Louisiana in the early spring of 1849. British Army officer Harry Flashman had just testified at Captain John Charity Spring's trial, enabling the psychotic sea captain to avoid being convicted for slave trading in U.S. waters. In return, Spring agreed to provide Flashman passage back to England. Unfortunately for both men, Fate had a different path in mind when they encountered one of Flashman’s old nemesis at a local saloon – a slave trader/planter named Peter Omohundro, whom young Flashy had encountered on a northbound Mississippi River steamboat several months ago. After Spring killed the aggressively suspicious Omohundro during a brutal saloon fight, he and Flashman ended up seeking refuge with another one of Flashy’s past acquaintances from "FLASH FOR FREEDOM!" - the red-haired Cockney-born madam named Susie Wilnick. Flashman’s reunion with Susie proved to be just as sensuous as their last encounter. After a few bouts of sex, Susie asked him to marry. Lacking in any morals, yet providing a great deal of practicality, Flashman accepted her proposal. And being a steel-minded businesswoman, Susie dealt with the insane Captain Spring in the following manner, during supper:
"But by and by he (Spring) said less and less, and that none too clearly; I was just beginning to wonder if the drink had got to him for once when he suddenly gave a great sigh, and a staring yawn, caught at his chair arms as though to rise, and then fell face foremost into the blancmange.
Susie glanced at me, lifting a warning finger. Then she got up, pulled his face out of the mess, and pushed up one eyelid. He was slumped like a sawdust doll, his face purple.
"That's all right," says she. "Brutus!" And before my astonished eyes the butler went out, and presently in came two likely big coves in reefer jackets. At a nod from Susie, they hefted Spring out of his chair, and without a word bore him from the room. Susie sauntered back to her place, took a sip of wine, and smiled at my amazement.
“Well,” says she, “we wouldn't 'ave wanted ‘im along on our 'oneymoon, would we?""
With Spring gone, Flashman no longer has a speedy means to reach England. Another chance to leave the Mississippi Valley and prosecution for slave stealing appeared when Susie announced her decision to close down her New Orleans whorehouse and take her retinue of slaves – prostitutes and servants – to San Francisco in California. The departure could not have come sooner for Flashman, as he had discovered during a stopover in St. Louis, Missouri:
"It wasn’t only the plague that worried me, either; St. Louis was the town where a few weeks earlier they’d been posting rewards of a hundred dollars for my apprehension, describing me to a T and warning the citizenry that I had Genteel Manners and spoke with a Foreign Accent, damn their impudence.”
I have been a fan of the Flashman novels for many years. But there are a few of them I would describe as truly epic. In my opinion, one of those epic novels happened to be "FLASHMAN AND THE REDSKINS". Fraser did a superb job in capturing the breath and scope of the American West in both the late 1840s and mid 1870s. His description of Flashman's wagon train journey from Independence to Santa Fe that included a hair-raising interlude at Bent’s Fort was a masterpiece. I can also say the same for the sequence that featured Flashman’s harrowing escape from the Mimbreno Apaches across the New Mexico desert, featured in the last chapters of Part One.
Fraser wrote this particular saga in two parts. Part One, entitled "The Forty-Niner", covered Flashman’s experiences in the United States and the Far West between 1849 and 1850. In this section, Flashman’s "marriage" to Susie Wilnick (he already had his wife Elspeth waiting for him back home in England) led to him becoming a wagon train emigrant and de facto captain during the period known as the California Gold Rush; the lover of Cleonie, one of Susie's slave whores; manger of Susie's Santa Fe whorehouse; a scalp hunter under the leadership of one John Joel Glanton (known to Flashman as “Gallantin”) in New Mexico's Del Norte Valley; and eventually the son-in-law of the Mimbreno Apache chief, Mangas Colorado; and husband of the latter's precious daughter, Sonsee-Array aka Takes Away Cloud Woman. After six months with his bride and her Apache relatives, which included the famous Geronimo, Flashman finally makes his escape and head northeast. While being chased by Apache warriors through the grueling Jornada Del Muerto desert, he is rescued by the famous Western tracker and guide, Kit Carson.
Part Two – called "The Seventy-Sixer" - was set between 1875 and 1876. It centered on Flashman and his wife Elspeth’s visit to the United for the Centennial celebration. The journey not only led to a series of reunions with acquaintances from the American Civil War, but also with those Flashman had met during his first visit to the West. Flashman's reunion with a Sioux leader named Spotted Tail led directly to one with an old lover out for revenge and his minor participation in the Battle of Little Bighorn with Custer and the Seventh Calvary. Flashman's visit also led to his acquaintance of a young man who managed to – not quite break his heart – but tweak it a bit.
In my review of "FLASH FOR FREEDOM", I had complained of Fraser’s uneven portrayal of antebellum United States. I have no such complaints for this novel. Fraser did a much superior job in describing the antebellum United States and especially the West. In fact, I cannot recall finding any evidence of uneven pacing or historical inaccuracies, as I had done in the 1971 novel. What I really enjoyed about this novel was Fraser's feel for both the novel’s period and landscape. One of his best passages featured his description of Kanzas Landing, Independence, and Westport (now Kansas City) in Missouri during the spring of 1849:
"They tell me that Kansas City nowadays covers the whole section, but in those days the landing and Westport and Independence were separated by woodland and meadow. And I wonder if today's city contains more people than were crowded along the ten miles from Independence to the river when I first saw it in '49: there were thousands of them, in tents and lean-tos and houses and log shacks and under the trees and in the few taverns and lodging-places; they were in the stables and sheds and shops and storehouses, a great swarming hive of humanity of every kind you can imagine – well, I remember the Singapore river in the earlies, and it was nothing to Westport-Independence. The whole stretch was jammed with wagons and carts and carriages, churning the spaces between the buildings into a sea of mud after the recent rain, and through it went the mules and oxen and horses, with the steam rising from them and the stench of hides and dung and smoke filling the air – but even that was nothing to the noise.
Every other building seemed to be a forge or a stable or a warehouse, a-clang with hundreds of hammers and the rasp of saws and the crack of axes and the creak of wheels and the thump and scrape of boxes and bales being loaded or unloaded; teamsters snapped their whips with a "Way-hay, whoa!", foremen bellowed, children shrilled, the voices of thousands of men and women blended with it all in a great eager busy din that echoed among the buildings and floated off to be lost in the surrounding forest."
Flashman’s first meeting Sonsee-Array – Mangas Colorado's youngest daughter – struck an interesting note with me. It made me realize how much Flashman's character had matured in the eight to nine years since his adventures in Afghanistan. In the first novel, 1969's "FLASHMAN", the 19 year-old British officer had an encounter with an Afghan dancer named Narameen that led to her being raped by him. Narameen also happened to be the lover of one of his enemies. Eight years later, while in the company of John Joel Glanton and his scalphunters, Flashman met the Apache chief's daughter. First, he managed to save her from being raped by an Irishman he disliked named Grattan Nugent-Hare. When offered to "take her" himself, Flashman handled the situation with a lot more delicacy than he did with Narameen:
"You must understand the effect of this, of Flashy imposing his winning ways on that fortunate native wench. There she was, a helpless prisoner in the hands of the most abominable ruffians in North America, who had butchered her menfold before her eyes and were about to subject her to repeated rape, possible torture, and certain death. Up jumps this strapping chap with splendid whiskers, who not only kills out of hand the cad who is molesting her, but thereafter treats her kindly, pets her patiently, and absolutely asks permission to squeeze her boobies. She is astonished, nay gratified, and, since she's a randy little minx at bottom, ready to succumb with pleasure. All thanks to style, as inculcated by Dr. Arnold, though I wouldn't expect him to claim credit for it.
And mark the sequel. When other of her tribesmen, having got wind of the massacre, attack the scalp-hunters by night, she is alarmed for her protector. If he joins in the scrap – the last thing I'd have done, but she wasn’t to know that – harm may come to him, so being a lass of spirit she ensures his neutrality by clouting him behind the ear with a rock. Then, when her tribesmen have wiped out or captured most of the marauders (Gallantin and a few others alone escaped) she is at pains to preserve her savior from the general vengeance. Had he been a man without style, she’d have been the first to set about him with a red-hot knife."
I found it ironic that his actions in "FLASHMAN" nearly cost Flashman his life on two separate occasions. Yet, in "FLASHMAN AND THE REDSKINS", his actions ended up saving him and leading him to becoming husband to another, namely Sonsee-Array and son-in-law to Mangas Colorado. One of the novel's funniest passages featured Flashman's conversation with the Apache chief. I would include the conversation if I could, but it is rather long and would be better appreciated in its full glory. But Flashman had this to say about him:
"Sonsee-array was beside me, her hand slipping into mine, the sullen faces round us were indifferent rather than hostile, the Yawner (Geronimo) shrugged – and Mangas Colorado gave us a final curt nod and stalked away. Just the same, I couldn't help thinking that old Morrison hadn’t been such a bad father-in-law."
Before one starts thinking that Harry Flashman had learned to treat women with more respect by the age of 27, consider his earlier behavior toward Cleonie – one of Susie Wilnick's mulatto prostitutes. The two had begun an affair during the wagon train journey along the Santa Fe Trail and continued it in Santa Fe. Cleonie, who had the bad luck (and stupidity) to fall in love with Flashy; proposed that they abandon Susie and head for El Paso, Texas. He agreed. Being the complete black-hearted villain, Flashman sold Cleonie to a priest acting as an agent for a Navaho chieftain on the night of their departure for two thousand dollars:
"I picked up my gear from the summer-house when he'd gone, and went quickly down through the crowded Plaza to the livery stable, where I slung my few traps over the mule, rode out on the Albuquerque trail. I won't say I didn’t regret Cleonie's absence – clever lass, fine mount, charming conversationalist, but too saucy by half, and she'd never have earned us two thousand dollars between Santa Fe and El Paso, not in a month of Sundays."
It took Cleonie nearly twenty-seven years to seek revenge for his betrayal in Part Two of the novel.
The novel's second half featured some interesting aspects in the story. One of the novel’s funnier moments dealt with Flashman's reunions with Army officers he had met during the American Civil War – including some humorous descriptions of William Sherman and Philip Sheridan:
"So now you see Flashy in his splendid prime at fifty-three, distinguished foreign visitor, old comrade and respected military man, with just a touch of grey in the whiskers but no belly to speak of, straight as a lance and a picture of cavalier gallantry as I stoop to salute the blushing cheek of the new Mrs. Sheridan at the wedding reception in her father's garden. Little Phil, grinning all over and still looking as though he'd fallen in the river and let his uniform dry on him, led me off to talk to Sherman, whom I'd known for a competent savage, and the buffoon Pope, whose career had consisted of losing battles and claiming he’d won."
But nothing quite beat Flashman's reunion with the infamous George Armstrong Custer. Fraser best described the American Army officer’s over-the-top personality with the Flashmans' visit to a New York theater with Custer and his family:
"So we five dined frequently, and visited the theater, of which Custer was a great patron; he was a friend of Barrett the actor, who was butchering Shakespeare at Booth’s, and would sit with his eyes glued to the stage muttering "Friends, Romans, countrymen" under his breath.
That should have made me leery; I'm all for a decent play myself, but when you see someone transported from reality by them, watch out. I shan't easily forget the night we saw some sentimental abomination about a soldier going off to the wars; when the moment came when his wife buckled on his sword for him, I heard sniffing and supposed it was Libby or Elspeth piping her eye. Then the sniff became a baritone groan, and when I looked, so help me it was Custer himself, with his hand to his brow, bedewing his britches with manly tears."
In fact, during the Flashmans' first dinner with the Custers, the emotional George Armstrong got on Flashy's nerves with his constant complaints about his superiors in Washington and warbling about the Englishman's own military service. Flashman responded by having a little sport with Custer's ego in this hilarious scene at a New York restaurant:
""Luck of the service," says I, and because I was bored with his croaking I added: "Anyway, I've never been a general, and I've only one American Medal of Honor, you know."
This was Flashy at his most artistic, you’ll agree, when I tell you that I knew perfectly well that Custer had no Medal of Honour, but his brother Tom had two. I guessed nothing would gall him more than having to correct my apparent mistake, which he did, stiffly, while Tom studied the cutlery and I was all apologies, feigning embarrassment."
Although Part Two seemed to lack the epic scope of Part One, it did feature some memorable passages. In Part One, Flashman met several Sioux warriors on the journey west, through trail guide Dick Wootton. One of them was a future leader named Spotted Tail. Part Two featured a series of events that began with Flashman's reunion with the Sioux leader Spotted Tail in Chicago, Illinois and one of his braves, Standing Bear. Thanks to that particular reunion, our fearful hero attracted the attention of a businesswoman named Mrs. Arthur B. Candy. She wanted to use Flashman's fame in a land scheme in the Dakota Territories and invited to join her in an excursion to the area. Flashman and Mrs. Candy's journey to the Dakota Territory was not very interesting, despite accompanying George Custer and the Seventh Calvary. But it did feature a colorful description of cavalry troopers boarding a Powder River steamboat in order to continue their journey to the Greasy Grass country:
"It was about ten days out of Bismarck that we came to the Powder mouth, where a great military camp was taking shape. With the arrival of Terry's advance guard, and Gibbon only a few days’ march away, there was tremendous work and bustle; the Far West was back and forth ferrying troops and stores and equipment; her steerage was a bedlam of men and gear, while our deck was invaded by all manner of staff-wallopers in search of comfort; Terry held his meetings in the saloon; messengers went galloping pell-mell along the banks; a forest of tents and lean-tos sprang up in the meadows; the woods rang and hummed with the noise of men and horses, rumours of Indian movement far to the south were discussed and as quickly discounted; no one knew what the blazes was happening – indeed, it was like the beginning of any campaign I’d ever seen."
More importantly, Flashman discovered that he had become a target of revenge. Mrs. Candy turned out to be none other than Cleonie, the former lover he had sold to the Navaho. Through her, he ended up becoming a captive of the Sioux on the eve of the Little Bighorn Battle at Greasy Grass. How Fraser's "intrepid" hero ended up escaping the Sioux and participating in the infamous battle featured an interesting little scene involving him and a real life Sioux woman named Walking Blanket Woman:
"I looked at her now, giving her the full benefit, the sweet little soul – and like all the rest, she succumbed. As I say, it's true, and here I am, and I can’t explain it – perhaps it's the whiskers, or the six feet two and broad shoulders, or just my style. But she looked at me, and her lids lowered, and she glanced across the river where the troopers were riding down the coulee, and then back at me – this girl whose brother had been killed by my people only a few days back. I can't describe the look in her eyes – frowning, reluctant hesitant, almost resigned; she couldn’t help herself, you see, the dear child. Then she sighed, lifted the knife – and cut the thongs securing my hands to the yoke.
"Go on, then," says she. "You poor old man."
Well, I couldn't reply with my mouth full of gag, and by the time I'd torn it out she had gone, running off to the right with her hatchet and knife, God bless her."
Although Flashman managed to survive the battle, he ended up as a prisoner of one Frank Grouard, who was known to the Sioux as Standing Bear. According to Fraser’s novel, Grouard turned out to be Harry and Cleonie's son, who has spent most of his years being raised by the Navaho and later, the Sioux. What Fraser did was take the historical figure of Frank Grouard – the son of a Tahitian woman and an American missionary – and incorporated him into Flashy and Cleonie's illegitimate son. However, Cleonie’s revenge plot fell to pieces, due to her son. Due to his dislike of her (and I do not blame him), Frank decided to spare his black-hearted father. And both father and son not only discovered that they shared similar traits, they also took a shining to each other. "FLASHMAN AND THE REDSKINS" featured that rare occasion in which Flashy had ever expressed any kind of emotion or regard for one of his offspring. When Frank decided to reject his offer to be officially recognized as his son, the two parted in one of the most touching scenes written by Fraser:
""Frank!" I roared.
He checked at the crest and looked back. I felt such a desolation, then, but I couldn't move after him, or say what I wanted to say, with all the sudden pain and regret for lost years, and what had come of them. I called up to him.
"I'm sorry, son, about it all."
"Well, I'm not!" he called back, and laughed, and suddenly lifted his arms wide, either side. "Look, Papa!" He laughed again, and then he had ridden over the skyline and was gone."
Although the novel featured a vast array of historical figures that included Dick Wootton, Spotted Tail John Joel Glanton, Mangas Colorado, Geromino, Kit Carson, Ulysses S. Grant, Frank Grouard, Crazy Horse and most memorably, George Armstrong Custer; Fraser did not fail his readers in providing some interesting fictional characters. Since the novel had picked up where"FLASHY FOR FREEDOM!" left off, Fraser allowed his readers to briefly reacquaint themselves with one of his best creations, the infamous Captain John Charity Springs. Another veteran from "FLASHY FOR FREEDOM!" turned out to be the Cockney-born New Orleans madam, Susie Wilnick, who had a larger role in this novel as Flash Harry’s 3rd or 4th wife (I lost count). I adored Susie. She was a sentimental, sensual and hard-headed businesswoman. She knew Harry for the rogue he truly was, but did not care. Even when she suspected him of sleeping around her stable of whores, she managed to pay him back by sleeping with the head of their teamsters – an Irish-born former Army officer named Grattan Nugent-Hare. Nugent-Hare turned out to be another interesting character created by Fraser. Although soft-spoken and practical, he turned out to be another rogue (who had left Santa Fe with some of Susie’s money) – only he lacked Harry's sense of style. Flashman's second bride in the novel turned out to be the Apache princess, Sonsee-Array aka Takes Away Clouds Woman – Mangas Colorado fictional daughter. She was an interesting, yet haughty and demanding thing who fully appreciated Harry’s sexual prowess. The real Mrs. Harry Flashman (namely Elspeth) had a major role in the novel's second half. And she was just as charming, sexy and simple-minded as ever – even in her early fifties. There are times when I suspect that Elspeth might not be as stupid as she appears to be. I really enjoyed reading Harry's suspicions that she may have had a tumble in the grass with Spotted Tail during a conference between the U.S. government and the Sioux and Cheyenne nations.
One last fictional character that played a major role in "FLASHMAN AND THE REDSKINS" was Cleonie Grouard, one of Susie's prostitute slaves. She first caught Flashman's attention during the wagon journey from Independence to Santa Fe. Once their affair had caught hold, Flashman ignored Susie's other whores and focused his attention upon her, impressed by her style and looks. It did not take Cleonie very long to put down Flashy's one time tumble with another slave named Aphrodite:
""We all know – that is, if Aphrodite is to be believed." She gave me an inquiring look, still with that tiny smile. "I, myself, would have thought she was rather . . . black . . . and heavy, for Master’s taste. But some men prefer it, I know." She gave a little shrug. "Others . . ." She left it there, waiting."
While their affair continued in Santa Fe, Cleonie also exposed Flashman's lack of any real love for Susie:
"You do not love Miz Susie. And soon you will be leaving her, will you not?"
I found it interesting that Cleonie was shrewd and clever enough to spot Flashman's true feelings regarding the other prostitutes he had slept with and Susie . . . and yet, she failed to sense his lack of any love toward her. Had love on her part truly blinded her? Perhaps. I also suspect that Cleonie's own ego and pride made it difficult for her to even consider that Flashy felt the same about her, as he did about Susie, Aphrodite or any of the other whores in Susie's stable. I am not saying that she deserved the fate that Flashman had dished out to her – being sold to the Navahos and enduring five years of captivity. She did not. And Flashman certainly deserved the fright that he had endured from of her vengeance, some 27 years later. But . . . I have never liked Cleonie. Not really. My dislike has nothing to do with some belief that she was a poorly created character. On the contrary. I believe that Fraser did an exceptional job in creating her character. But after reading"FLASHMAN AND THE REDSKINS" for the umpteenth time, I cannot help but feel that she was one egotistical bitch.
Do I have any quibbles about "FLASHMAN AND THE REDSKINS"? Well . . . yes. Although well written and with a strong finish, the novel's second half is not as strong or epic as the first half. Flashman's adventures at Bent's Fort in the novel's first half led to the fort’s destruction and his meeting with a group of mountain men:
"I dug in my finger-nails and pulled, and pulled, until I could no more. I rested my face on one side, and above the scrubby grass in my line of sight there were the legs of a pony, and I hardly had time to think, oh, dear Jesus, the Indians . . . when a hand took me by the shoulder and rolled me over, and I was blinking up into a monstrously-bearded face under a fur cap, and I pawed feebly at a fringed buckskin shirt that was slick with wear, and then the beard split into a huge grin of white teeth, and a voice said:
"Waal, ole hoss, what fettle? How your symptoms segashooatin'? Say, ifn thar wuz jest a spoonful o' gravy to go with ye, I rackon yore baked just 'bout good enough to eat!""
And here is where Fraser nearly grounded the novel to a halt by devoting a page-and-a-half to the mountain men’s dialect, which the author described as "plug-a-plew". I would give more samples of their dialect, but frankly Fraser had provided too much of it, by allowing the mountain men to reminisce about Bent’s Fort in a conversation that nearly lasted two pages. Honestly, I really could have done without it. Also, was it really necessary to use a historical figure like Frank Grouard as the love child of Flashman and Cleonie - two fictional characters? I realize that Fraser must have found his character fascinating, but . . . he could have easily created another fictional character to serve as their son. I also had a problem with the route Fraser had chosen for Flashman and Susie to take to California. Early in the novel, Susie made it clear that she planned to relocate her establishment to Sacramento, California:
”It sounded reasonable, I said, but a bit wild to establish a place like hers, and she chuckled confidently.
"I'm goin' ready-made, don't you fret. I've got a place marked down in Sacramento, through an agent, an' I’m movin' the whole kit caboodle up the river to West next Monday – furnishin's, crockery, my cellar an' silver . . . an' the livestock, which is the main thing.""
And how did Susie plan to move her establishment from New Orleans to Sacramento?
"Why, up to Westport an' across by carriage to – where is it? – Santa Fe, an' then to San Diego."
All I can ask is . . . why? Why did Fraser have Flashman and Susie attempt that convoluted trail from New Orleans to Sacramento? They could have easily traveled by steamboat from New Orleans to the Red River and later, to Texas. From Texas, they could have traveled to Santa Fe in New Mexico. And from Santa Fe, they could have traveled along the Gila River Trail to San Diego, California. All they had to do was travel up the coast to San Francisco and later, Sacramento. Or . . . . a less convoluted route could have taken them upriver to St. Louis, Missouri. From there, they could have taken another steamboat across Missouri River to Westport. From there, all they had to do was following the Oregon Trail to Fort Hall in present-day Idaho and take the California Trail all the way to Sutter's Fort. From there, they would have an easy journey from Sutter's Fort to Sacramento. Instead, Fraser laid out a more convoluted route. And I suspect that he did so in order for Flashman to be captured by the Mimbreno Apaches and spend six months with them.
I could easily consider "FLASHMAN AND THE REDSKINS" as my favorite novel in the Flashman Papers series, due to its setting. After all, I have always been a big aficionado of the history of the American West. And I will admit that the novel’s setting is one of the reasons why I have enjoyed it so much. The novel does have its share of small problems. I believe that Fraser got carried away in his description of mountain men following the scene that featured the destruction of Bent’s Fort. If I must be honest, I believe that the author went a bit too far in using a historical figure like Frank Grouard as the son of Flashman and Cleonie – two fictional characters. I thought it was unnecessary. Susie's planned route from New Orleans to Sacramento, via Santa Fe and San Diego, seemed convoluted. And the second half is not as interesting as the first half (a common flaw in many Flashman novels). But "FLASHMAN AND THE REDSKINS" is a delicious and well-written saga filled with fascinating historical figures like Mangas Colorado and George Armstrong Custer; as well as interesting and well-written fictional characters such as Susie Wilnick, Grattan Nugent-Hare and Cleonie Grouard. The novel also offered a well-documented look at the United States – especially the American West - before and after the Civil War. Quite frankly, I consider it to be one of George MacDonald Fraser's finest works.
Thursday, May 28, 2015
Below are images of "PRIDE AND PREJUDICE", the 1940 adaptation of Jane Austen's 1813 novel. Directed by Robert Z. Leonard and adapted by Aldous Huxley, Helen Jerome and Jane Murfin; the movie starred Greer Garson and Laurence Olivier:
"PRIDE AND PREJUDICE" (1940) Photo Gallery
Sunday, May 24, 2015
"SOME LIKE IT" (1959) Review
It has been called one of the greatest film comedies of all time . . . and possibly the greatest. Billy Wilder's 1959 comedy, "SOME LIKE IT HOT" has been the topic of many books and documentaries on both Hollywood and the director's career. I have seen the movie more times than I can remember. And for the first time, I have decided to publicize my feelings on it.
Directed by Billy Wilder and co-written by him and I.A.L. Diamond, "SOME LIKE IT HOT" is a remake of a 1935 French film called "FANFARE D'AMOUR", which was based upon a story by Robert Thoeren and Michael Logan. "FANFARE D'AMOUR"was first remade in 1951 by director Kurt Hoffmann as "FANFAREN DER LIEBE". However, the French and German versions did not feature gangsters as an integral part of their plots. "SOME LIKE IT HOT" told the story of a pair of struggling jazz musicians who end up witnessing the Saint Valentine Day Massacre - at least a fictionalized account of it. When the Chicago gangsters, led by "Spats" Columbo see them, the two flee Chicago for their lives by taking a job as members of an all-girl band heading for Florida . . . disguised as women. The musicians, Joe and Jerry, become enamored of a "Sugar" Kane Kowalczyk, the band's vocalist and ukulele player. And both struggle for her affection, while maintaining their disguises. In order to win Sugar's affection, Joe assume a second disguise as a millionaire named "Junior", the heir to Shell Oil. As for Joe, he has attracted the attention of a real millionaire named Osgood Fielding III. But when "Spats" Columbo and his men make an unexpected appearance at a gangster's convention at their hotel, all hell breaks loose.
Does "SOME LIKE IT HOT" deserve its reputation as one of the greatest film comedies of all time? I believe it does. In fact, it happens to be my personal favorite comedy of all time. Fifty-two years have passed since it was first released and it is just as fresh and hilarious as ever. More importantly, "SOME LIKE IT HOT" features some twisted humor that does not seem dated at all. Mind you, there have been other movies and television series (think "BOSOM BUDDIES" of the early 1980s) with a gender bender theme. But not one of them have been as funny as "SOME LIKE IT HOT". Not even 1982's "VICTOR/VICTORIA" - which is a close second for me - is not as funny. Both movies featured the insidious possibilities of cross-dressing. But whereas the 1982 movie is a bit more obvious and a little preachy in its attempt to convince moviegoers to accept what is presented on the screen,"SOME LIKE IT HOT" is a lot more subtle and funny, thanks to Wilder and Diamond's script. In fact, the movie's last line said a lot more about the consequences of cross dressing than any other movie ever had. I only have one complaint about Wilder and Diamond's script. From the moment "Spats" Columbo and his men arrived in Florida, I found the movie's plot and pacing somewhat rushed. Only Marilyn Monroe's poignant rendition of "I'm Through With Love", Pat O'Brien, Nehemiah Persoff and the last scene saved the movie's final fifteen to twenty minutes.
Production-wise, "SOME LIKE IT HOT" seemed pretty top-notch. Production manager Allen K. Wood did his best to re-create the late 1920s for the film. I certainly had nothing to complain about Edward G. Boyle's sets and Ted Haworth's art direction, both earning Academy Award nominations. Although a part of me find the idea of "SOME LIKE IT HOT" shot in color somewhat appealing (see the photograph above), I must admit that Charles Lang's black-and-white photography (also an Oscar nominee) looked very attractive - especially his photography of San Diego's famous Hotel Del Coronado standing in as the Florida hotel where Sweet Sue's band performed. Legendary Hollywood veteran Orry-Kelly won the film's only Academy Award for his costume designs. I must admit that I found them very impressive and captured the late 1920s beautifully. I only wish that the women's shoes worn with the costumes had been just as accurate. Looking at Marilyn Monroe's famous walk along the train station platform, I could easily tell that her shoes were circa 1958-59. And I could say the same for the hairstyles worn by the female cast members.
Speaking of the cast,they were superb . . . every last member. The supporting cast provided brief, but memorable moments from the likes of Billy Gray as a young hotel bellhop lusting after Joe (as Josephine), Nehemiah Persoff as the colorful crime boss Little Bonaparte, Beverly Willis as band member and lover of raunchy jokes Dolores, Dave Barry as the band's "dignified" manager Beinstock and a delicious Pat O'Brien as the sardonic police detective Mulligan. The movie also featured a funny performance from Joan Shawnlee as the band's tough talking leader, Sweet Sue. And George Raft was effectively menacing as bootlegger/gangster "Spats" Columbo. I have only seen Joe E. Brown in perhaps two roles . . . and one of them was Osgood Fielding III, the sweet and hilarious millionaire whose heart is captured by Jerry aka "Daphne". I have a deep suspicion that Osgood may have been one of Brown's best movie roles ever. And he also had the good luck to utter one of the funniest and memorable last lines in Hollywood history.
But the movie truly belonged to Marilyn Monroe, Tony Curtis and Jack Lemmon. Monroe won a Golden Globe award for her performance as the love-sick chartreuse, "Sugar" Kane Kowalczyk. She may or may not have been difficult during the movie's production, but she more than earned that Golden Globe award. She was funny, poignant, sweet . . . and slightly mercenary - especially in her character's pursuit of the fictional Shell Oil heir, "Junior". It is heartening to see that so many have finally learned to appreciate Tony Curtis' talents as an actor. While co-stars Monroe earned a Golden Globe and Jack Lemmon earned an Oscar nomination, Curtis ended up with the "short end of the lollipop". Pity, because he was just as funny as the seductive trombone player Joe. But I found his portrayal of the fictional "Junior" even funnier and he managed to utter the second funniest line in the movie. Bull fiddler Jerry aka "Daphne" led to a second Academy Award nomination for Jack Lemmon . . . and he deserved it. One, he formed a great comedy team with Curtis (with whom he would reunite six years later in "THE GREAT RACE"). Two, watching him assume the airs of a woman had me rolling on the floor with laughter. But what really cracked me up were his acceptance of the possibility of becoming Osgood's next bride, while basking in the throes of their night together at a Cuban restaurant. It was a superb comedic moment for Lemmon and I would not be surprised if it was the very one that led to his nomination.
What else can I say about "SOME LIKE IT HOT"? Okay, it is not perfect. I was able to spot a few flaws in the costumes and one in the plot. But it is the closest to a perfect film comedy I have seen so far. And remember . . . this movie had been made fifty-two years ago. William Wyler's remake, "BEN-HUR" ended up sweeping the Oscars for that year. Pity. I have never been a fan of that movie. And if it had been up to me, I would have given the top awards to "SOME LIKE IT HOT".
Thursday, May 14, 2015
"VILLIFICATION OF MACE WINDU?"
I just came across an essay in which the writer suggested that Jedi Master Mace Windu may have been slightly jealous of Jedi Knight Anakin Skywalker's power with the Force . . . and this would explain his "distrust" of Anakin in the third chapter of the Prequel Trilogy, "STAR WARS: EPISODE III - REVENGE OF THE SITH".
What was it about the Mace Windu character that led so many STAR WARS fans to create some ludicrous ideas about him? Mace jealous of Anakin? Up until the Jedi Council had learned of a connection between Sidious and someone in Palpatine's circle in the Extended Universe (EU) novel, "Labyrinth of Evil", Mace was firm in the idea that Anakin was the Chosen One. He had been since Anankin's participation in the Battle of Naboo and hinted this opinion to Jedi Knight Obi-Wan Kenobi in "STAR WARS: EPISODE II - ATTACK OF THE CLONES".
I have to wonder. In one scene of "REVENGE OF THE SITH", Mace had sharply ordered Anakin to sit down after the latter angrily responded to the news that other members of the Jedi Council would not promote him to Jedi Master. Did this scene anger many fans? Did they honestly believe that Mace had no right to admonish Anakin for the latter's angry behavior? Was this scene the reason why so many fans have expressed hostility or created these lame ideas about Mace over the years? By the way, here are some other idiot theories:
*Mace wasn't that strong in the Force, but was a skilled warrior
*Mace could have never defeated Palpatine on his own (according to Lucas, he, Yoda and Anakin were powerful enough to defeat Palpatine).
*Mace liked to tap into the Dark Side, in compare to other Jedi Knights and Masters.
*Mace was responsible for Anakin's turn to the Dark Side, because he had ordered Anakin to remain at the Temple during the attempt to arrest Palpatine.
*Mace was the one who had erased the Kamino files from the Jedi Archives and was, therefore, the Jedi traitor (this dumb theory popped up after "ATTACK OF THE CLONES was released).
*Mace's purple lightsaber represented his light and dark side (what represented Obi-Wan or Yoda's light and dark sides, I wonder?)
What was this stream of negativity directed toward Mace Windu by STAR WARS fans? Why did so many of them dislike him so much? Many fans had behaved as if Mace had no business being a Jedi Master. Was it because many fans did not like the idea of Samuel L. Jackson in one of science-fiction's biggest sagas? Did they believe that the only Jedi Master portrayed by an African-American actor had no right to behave in a superior manner to the white Chosen One? Or did these fans simply saw Jackson as John Shaft or Nick Fury? Who knows? But I have very little regard for them.
Sunday, May 10, 2015
Below are photos from "STATE OF PLAY", the 2009 remake of the 2003 political thriller. Directed by Kevin MacDonald, the movie starred Russell Crowe, Ben Affleck, Rachel McAdams and Helen Mirren:
"STATE OF PLAY" (2009) Photo Gallery