Annie: based on the characters created by Harold Gray; adapted from the Thomas Meehan/Charles Strouse/Martin Charnin musical by Carol Sobieski; directed by John Huston; starring Albert Finney (Daddy Warbucks), Aileen Quinn (Annie), Carol Burnett (Miss Hannigan), Ann Reinking (Grace), Tim Curry (Rooster Hannigan), Bernadette Peters (Lily St. Regis), Geoffrey Holder (Punjab), Roger Minami (Asp), Edward Herrmann (FDR), and Lois De Banzie (Eleanor Roosevelt) (1982): There's something bizarre about John Huston directing this musical. I assume the paycheck was good and that it allowed Huston to check 'Direct Musical' off his Career 'To-Do' List. But he does a solid job. We can actually see people's feet during the dance sequences. He gets solid performances out of both children and adults. Even the dog does solid work.
It's all both better and grittier than the 2014 remake/rewrite. It could also use about 15 minutes of cuts. The budget for this thing approached that for the first three Star Wars films combined, so it's no surprise that it looks good. The singing is also good throughout, as are the songs. Aileen Quinn performs Annie about as well as a child actor performs anything. Hey, Punjab and the Asp are here too! And Albert Finney, while solid as Daddy Warbucks, is a little short for the role -- 5'9". So it goes. Recommended.
JFK: adapted from Jim Garrison's On the Trail of the Assassins and Jim Marrs' Crossfire: The Plot That Killed Kennedy by Oliver Stone and Zachary Sklar; directed by Oliver Stone; starring Kevin Costner (DA Jim Garrison), Gary Oldman (Lee Harvey Oswald), Brian Doyle-Murray (Jack Ruby), Sissy Spacek (Liz Garrison), Joe Pesci (David Ferrie), Tommy Lee Jones (Clay Shaw), and Donald Sutherland (X) (1991): Oliver Stone's epic conspiracy film still plays out as his most interesting and ambitious film. Visually, it's a stunner, with both scope and rapid-fire editing, often among different film stocks and aspect ratios, making it one of the most visually complex American films ever made. Stone's use of audio follows suit, acting as commentary and counterpoint to the score and to the strictly diegetic sounds of the movie. Indeed, the blur of sound between diegetic and non-diegetic coupled with the blur between film stocks and, sometimes, between recreations and the real photographs and filmed sequences from the assassination of JFK... well, style makes the point of content.
The truth in this case is a very wide quantum smear of possibilities. The narrative makes the case for a singular true story, but that's endlessly hedged by the difficulties the film shows in discovering anything concrete and unassailable other than the simple fact of the President's death. Lee Harvey Oswald remains the virtual particle at the heart of the narrative, his locations and trajectories throughout the investigation's focus seemingly multitudinous, unfixed by an actual observer.
The actors are a Who's Who of American film, from Kevin Costner doing his best Jimmy Stewart as the real-life Louisiana District Attorney who tried a New Orleans resident for being a secret CIA operative involved in a conspiracy to kill JFK to Donald Sutherland delivering a dead-pan 18-minute soliloquy linking together a vast array of disparate elements. Only the relationship troubles between Costner and Sissy Spacek as Jim Garrison's wife seem rote and stereotypical. As fact, JFK may be laughable. As film, it's terrific -- and its central point about a secret U.S. ruling elite that wants the U.S. population to live in a state of endless fear and endless war seems even more plausible now than it did when JFK came out in 1991. Highly recommended.
I Am Chris Farley: written by Steve Burgess; directed by Brent Hodge and Derik Murray; featuring interviews with Adam Sandler, Christina Applegate, Mike Myers, Dan Aykroyd, Bob Odenkirk, Bo Derek, David Spade, Bob Saget, and many others (2015): Somewhat hagiographic biography of Chris Farley nonetheless supplies both insights and context for the deceased comic actor's life and work. There's some fascinating footage of Farley from his days at Chicago's Second City and from his even-earlier stage work. The interviews throughout from family members and colleagues that include Mike Myers, Bob Odenkirk, Dan Aykroyd, and David Spade illuminate the fascination Farley held for those closest to him. Apparently, like John Belushi before him, Farley was actually funnier live than on camera. Recommended.
11/22/63 by Stephen King (2011): According to his Afterword, King originally conceived of this novel in 1972 but decided not to work on it then because of the enormous amount of research involved in presenting the lead-up to the assassination of President John F. Kennedy on November 22, 1963. At the time of the novel's conception, King was still a part-time writer employed full-time as a high-school English teacher, the success of Carrie that allowed him to write full-time still some time in the future.
So it's perhaps fitting that the protagonist of 11/22/63 is one Jake Epping, Maine high-school English teacher in 2011 and soon to be a time traveller to the world of Ago (as he calls it) -- September 1958.
Basically, the premise of 11/22/63 is that there's a mysterious gateway in time located in the supply closet of a greasy-spoon restaurant in 2011. The proprietor of the restaurant, a friend of Jake's, has been using the gateway for years to buy cheap supplies from 1958 stores. The gateway always goes back to the same exact time, the duration of one's 1958 visit is always two minutes in 2011 no matter how long you stay in 1958, and every time you travel back in time, everything you did on your previous visit is erased. The restaurant owner has been buying the 'same' hamburger from 1958 for years, for example.
But now Al, the restaurant owner, is dying of cancer, having failed to live long enough starting in 1958 to make it to 1963 and save JFK, which he believes will fix almost everything that went wrong following JFK's assassination. So he convinces Jake to take up the torch. Both men want solid confirmation that Oswald acted alone (in both the novel and in King's mind, Oswald's status as a lone gunman is almost completely certain), so killing Oswald before there's some nearly complete proof of his approaching guilt isn't justifiable.
Al dies, leaving Jake with a large stash of money he's picked up in repeated trips to 1963 and copious notes on where and when Jake needs to be to confirm or disprove Oswald's guilt. And off we go, with an early sidetrip to demon-haunted Derry, Maine (location, most notably, of King's 1986 novel It) before the main event.
The laws of the time bubble mean that this isn't a science-fiction novel -- the past tries to protect itself from change, and some of the rules governing cause-and-effect would seem to require a conscious, self-correcting mechanism. That's OK, as King has never been all that good at science fiction.
That he sticks us in Derry a couple of months after the main 1958 events of It also points to the fact that this novel takes place in a universe where the supernatural works. And there are other potential complications. A seemingly harmless drunk always hangs out at the 1958 exit point of the bubble. But the drunk, Al has observed, actually seems to be vaguely aware that time is being mucked with. Is someone or something monitoring Jake once he makes his way to the past? Some of his nightmares suggest this may be true.
King's plotting is sharp here, free of most of the longeurs that plagued Under the Dome and a few other recent novels. The Derry sequence seems like the best section of the novel to me, partially because we revisit It from a slightly different perspective, and partially because Jake's double-outsider view of Derry as both a non-resident and a time traveller adds another layer to It. Derry really does resemble one of H.P. Lovecraft's supernaturally skewed towns herein. The town scares Jake for the months he spends there, despite the fact that the child-killing creature from It is (mostly) somnolent by the time of Jake's stay in Derry.
Once his business is done in Derry, Jake moves on, first to Florida and ultimately to Texas to begin gathering information on Lee Harvey Oswald. King leaves plenty of room for both exposition on the Kennedy assassination and for Jake's late idyll in a small Texas town where he works as a teacher and eventually falls in love. But time (or maybe Time would be more accurate) continues to try to stop Jake. Worse, strange coincidences and nightmares start to plague him. Can history be altered in such a large way? And what will 2011 look like when Jake returns to it, if he does return?
Well, that's the point of the whole later stretch of the novel, isn't it? King keeps the plot chugging along, and the final stages of the struggle to stop Oswald are as tense as any sustained sequence he's ever written. The novel also makes the historical characters explicable if not necessarily sympathetic -- even Oswald becomes a figure of pity as well as of wrath, as do his Russian wife and young daughter. Highly recommended.
