Wednesday, April 29, 2015
"THE WORSHIP OF SALLY DRAPER"
The following words regarding a certain character on the AMC series, “MAD MEN” is bound to result in me receiving a good deal of hostile responses … or none at all. I am so sick to death of fans putting Sally Draper on a pedestal.
I am sick of it. Ever since Season Three, when show creator Matthew Weiner made her a more prominent characters, fans have been putting a character that aged from nine to sixteen on a pedestal. Why, I have no idea . To me, there is nothing special about Sally. She has always struck me as a typical kid who will probably grow up with her own set of virtues and bullshit . . . just like her parents, her siblings, and nearly every other character on this show.
After the last episode, (7.10) “The Forecast” aired, I managed to encounter two articles that waxed lyrical over Sally. In one of them, “MAD MEN: Viva la Sally Draper”, author Julianne Escobedo Shepherd claimed that Sally will be forced to spend the rest of her life overcoming her parents’ personalities. Now, I realize that neither Don Draper aka Dick Whitman or Betty Draper Francis are perfect. In fact, they are far from perfect . . . like every other character on this damn show. Including one Sally Draper.
Watching Sally in “The Forecast” made me realize how ridiculous are those claims that Sally is more mature than her parents. Do not make me laugh. I saw that Sally was unable or unwilling to cast any blame on her old friend, Glen Bishop, after she witnessed his reunion with Betty. Ten years earlier, Glen commenced upon an infatuation for Sally’s mother that apparently has yet to abate. But instead of commenting on Glen’s obvious attempt to flirt with Betty, Sally went into a tailspin over Betty’s friendly response to Glen. Later in the episode, Sally had dinner with Don and her friends at a restaurant, in which one of her friends began flirting with Don. Who responded with a good deal of friendliness without making a scene. In the end, it was Sally who made a scene by blaming Don for the exchange and ignoring her friend’s attempt at flirtation. The fact that Sally was unwilling to blame her friends for what happened between them and her parents, only tell me that not only is she still immature, but also a world-class scapegoater.
In The Washington Post article called “MAD MEN: Is Sally Draper Our Last Hope For Change?”, author Soraya Nadia McDonald speculates on whether the character will become some symbol of change on the show. Duh! Sally is the youngest major character on this damn show. By 2015, she will be at least 61 years old. Of course she is the future for a show in which the setting ends in 1970. However, this also means that whatever Sally manages to achieve with her life, she will still have to deal with her frustrations, disappointments and especially her own personal flaws. These personal flaws may or may not affect others. They will certainly affect her. And those flaws will be with Sally until the day she dies or when “MAD MEN” goes off the air.
I have notice in this latest article on how McDonald went out of her way to insult both Don and Betty … and at the same time, put Sally on a pedestal. I swear … both the media and the fans seemed to regard Sally in the same manner in which Mildred Pierce regarded her daughter Veda. Through rose colored glasses. These same fans have a penchant for ignoring Sally’s penchant for scapegoating. I first became aware of this problem back in Season Four, when she solely blamed Betty for the end of the Drapers’ marriage. Sally possesses other flaws - namely her penchant for bullying - especially her younger brother Bobby; her “sass”, which makes her a world-class needler in my eyes; and her slightly cruel sense of humor. Sally reminds me of certain classmates from my younger years in elementary and high school, whom I heartily disliked or I had regarded with a good deal of wariness. But if there is one person whom Sally reminds me of . . . it is her paternal grandfather, Archie Whitman.
This is the character who is supposed to be the series’ “Great White Female Hope”? Sally Draper? A character, whose flaws are constantly ignored by the “MAD MEN” fandom? There are some who are talking about a spin-off featuring Sally as an adult. Honestly? That is one show I will never watch. How can I drum up the interest to watch a series about a character I have never harbored a high opinion of in the first place? What I am trying to say is that in the end, I am getting sick and tired of the“Glorification of Sally Draper”. The sooner “MAD MEN” is off the air, the less chance I have of encountering this phenomenon. God, I hope so.
Saturday, April 25, 2015
Below are images from "MURDER ON THE ORIENT EXPRESS", Sidney Lumet's 1974 adaptation of Agatha Christie's 1934 novel. Albert Finney starred as Hercule Poirot.
"MURDER ON THE ORIENT EXPRESS" (1974) Image Gallery
Wednesday, April 22, 2015
"DODSWORTH" (1936) Review
I might as well place my cards on the table. William Wyler has been one of my favorite Old Hollywood directors for as long as I can remember. One particular movie that had impressed me as a teenager and a woman in my 20s was his 1936 film, "DODSWORTH". However, a good number of years had passed since I last saw it. Realizing this, I decided to view the movie again for a new assessment.
Based upon Sinclair Lewis' 1929 novel and Sidney Howard's 1934 stage adaptation, "DODSWORTH" tells the story of a Midwestern auto tycoon named Sam Dodsworth, who decides to sell his auto manufacturing plant and retire at the urging of his wife Fran. Feeling trapped by their small-town social life, Fran also convinces Sam to start off his retirement with a trip to Europe. Sam comes to regard the trip as an opportunity to see the sights. Fran has different ideas. She views the trip as an opportunity to escape her Midwestern life and enjoy the pleasures of European high society. She manages to achieve this with a succession of European Lotharios by her side. The different desires and expectations of the pair eventually fractures their marriage for good.
When all is said and done, "DODSWORTH" is basically a portrait of a failing marriage. A part of me wondered why"DODSWORTH" had never been filmed during Hollywood's pre-Code era. Sinclair Lewis' tale seemed aptly suited for that particular period in film history. I tried to remember how many movies I have seen or heard about a failing marriage and divorce and realized they were few in numbers. Another aspect of "DODSWORTH" I found interesting was director William Wyler and screenwriter Sidney Howard's attempt to portray the Dodsworths' marital breakup with as much maturity as possible. One could easily blame the Fran Dodsworth for the marriage's eventual failure, due to the character's vanity, infatuation with European high society and infidelity. But I read somewhere that both Wyler and Howard (especially the former) went out of their way to portray Fran with as much sympathy and complexity as possible - especially in the movie's first half.
I do believe that Wyler, Howard and the movie's cast did an excellent job in their attempt to create a realistic and mature film. I found scenes in the film that seemed to exemplify this attempt at mature melodrama. They include Ruth's embarassing last conversation with Captain Clyde Lockert, the good-looking British Army officer she had flirted with aboard the ocean liner that took her and Sam to Europe; the Dodsworths' last conversation before Sam returns to the U.S.; and their frank conversation about Fran's affair with aging playboy Arnold Iselin upon Sam's return to Europe. But the two best scenes - well shot by Wyler and superbly performed - featured Fran's even more embarassing encounter with Baroness Von Obersdorf, the elderly mother of the young Baron Kurt Von Obersdorf, whom she wished to marry; and Sam and Fran's last moment together in which the former decides to end their marriage permanently. Watching this movie, it was easy for me to see why "DODSWORTH" managed to earn seven Academy Award nominations - including a Best Director nomination for William Wyler and one for Best Picture.
Two of those nominations were for technical achievements. Richard Day not only earned a nomination for the movie's art direction, he also won. And I could see why, especially in the images below:
Day's work seemed to feature a clean, yet stylish look that was evocative of the Art Deco period of the 1920s and 30s.
At least two cast members earned Oscar nominations for their performances. Walter Huston earned a well-deserved nomination for his natural and down-to-earth portrayal of the very likeable and mature retired tycoon, Sam Dodsworth. A surprising Best Supporting Actress nomination was given to Maria Ouspenskaya in a small role as Baroness Von Obersdorf, the woman whom Fran Dodsworth hoped to call "mother-in-law". I cannot deny that Ouspenskaya was very effective as the frank and no-nonsense German aristocrat who crushed Fran's dreams of marriage to the younger Kurt Von Obersdorf. But I rather doubt if I would have considered her for an Oscar nomination. The movie also featured competent performances from Mary Astor, Kathryn Marlowe, John Payne, Spring Byington and Gregory Gaye. The two more memorable performances - at least for me - came from a young David Niven as the well-born British Army officer, who teaches Fran a lesson about flirtation and Paul Lukas as the much older Lothario, Arnold Iselin, who seemed amused by the chaos he causes within the Dodsworth marriage. But for me, Ruth Chatterton gave the best performance in the film. Despite the negative manner in which her character was written, her portrayal of the vain Fran Dodsworth provided the film with backbone, drive and a great deal of first-rate drama. "DODSWORTH" would be nothing without the Fran Dodsworth character . . . and Chatterton's superb performance. And yet . . . the actress did not receive an Academy Award nomination.
In the end, "DODSWORTH" is a very well made movie. Actually, it is quite superbly made. I can see why it earned those seven Oscar nominations. But despite the excellent direction, acting and writing .. . I ended up hating this film. I hated the unbalanced portrayal of the Dodsworth marriage. I hated how the story placed all of the blame for the marriage's failure on Fran. If Wyler was trying to portray Fran in a more flexible light, he and Sidney Howard failed miserably in the end. I hated how Howard's screenplay portrayed Fran's flaws in a seriuos light, whereas Dodsworth's flaws - namely his own penchant for self-absorption at home - was portrayed as comic relief. I hated the fact that Sam Dodsworth ended up with a younger and more beautiful woman who seemed to be portrayed as an ideal woman, despite her divorce status. I especially hated the fact that Dodsworth was portrayed as a nearly ridiculously idealized himself - the self made man who still adhered to good old-fashioned American values, while Fran was portrayed as an incredibly flawed woman who had failed to live up to American society's ideal of a married woman.
I realize there are many women moviegoers who really enjoyed this film. But this is one woman who disliked it. And"DODSWORTH" might be one of the few William Wyler films I may never have a desire to watch again.