Ben Affleck in THE TENDER BAR

 Ben Affleck delivers the best performance of his film acting career in THE TENDER BAR thanks to director/actor George Clooney. Just like the film I reviewed in my previous post, LICORICE PIZZA, George Clooney's THE TENDER BAR, is a story set in 1973. Clooney's film takes place in Long Island, New York and Connecticut. Thank you, George Clooney for giving us what director/writer Paul Thomas Anderson did not in LICORICE PIZZA which also takes place in 1973 but in Southern California. LICORICE PIZZA has little racial diversity. I wrote in my previous blog that, although I found LICORICE PIZZA to be a sweet story of an unlikely romance between a high schooler who does some acting on the side and a 20-something savvy photographer's assistant who prefers to have him as a friend instead of boyfriend, I was bothered by the obvious lack of Black or Hispanic actors. And not just in lead or supporting roles in the film's large cast. The groups of extras -- background actors -- were also predominantly White. And I write that as someone who grew up in Southern California in the 1960s and 70s. Unlike the visual images you'll see in LICORICE PIZZA, you could find Black and Mexican Americans in the San Fernando Valley area of the 1970s. Whereas Paul Thomas Anderson's  LICORICE PIZZA has brief performances by two Black actors -- Maya Rudolph as a casting director and there's a Black actress who plays a waterbed salesperson -- THE TENDER BAR has Black actors as bar patrons, attendees at a father and son school breakfast, the mother of a daughter who attends an Ivy League university, her Ivy League student daughter, a professor at the university, a cop and employees at The New York Times. Again, I give thanks to George Clooney for the racial diversity.

About THE TENDER BAR -- in it, we meet little J.R. He's a member of a messy, bickering, loud family that is rooted in love. J.R. is fatherless. His parents are divorced. His alcoholic, irresponsible dad is a rock radio DJ on a New York City station. J.R. is close to his mother. She's determined to see that he grows up to get the good luck in life that she didn't. J.R.'s father figure is his Uncle Charlie. He's a bartender at the local establishment called The Dicken Bar, named after Charles Dickens. Even though he didn't graduate from college, Uncle Charlie is a well-read, wise and warm working-class character who's very attentive to J.R. Charlie gives excellent advice to J.R. from his boyhood through to when he attends college and awkwardly begins to pursue his romantic and professional dreams.

It took me a few minutes to realize I was watching Ben Affleck. He nails the Long Island, New York accent and he's taken his voice down a register or two. I admit that I'm a Ben Affleck fan. He's done some high-profile flops. He also done some fine work in films that didn't get a lot of box office attention. Like 2006's HOLLYWOODLAND in which he played actor George Reeves, an actor who'd appeared in several Hollywood classic film but didn't really become a star until he played Superman in a 1950s TV series. And there was his performance in 2020's THE WAY BACK that had him playing the alcoholic basketball coach at the Catholic high school he once attended. The screenplay was a bit uneven but his performance wasn't.

Ben Affleck has never been better than he is in THE TENDER BAR. Broadway veteran Lily Rabe is wonderful J.R.'s unlucky, loving mother. The mother is determined that J.R. will attend either Harvard or Yale and become a lawyer. Lily Rabe should be considered for a Best Supporting Actress Oscar nomination. Also wonderful is Daniel Ranieri as young, impressionable, smart and lovable little J.R. Here's a trailer for the film based on a memoir of the same name.

Tye Sheridan plays the college-aged J.R. Christopher Lloyd is a hoot as the flatulent grandfather. Briana Middleton is captivating and lovely as J.R.'s emotionally distant romance. THE TENDER BAR ia a tender, touching film. I loved it. Bravo, Ben Affleck.

On LICORICE PIZZA

 I grew in Los Angeles, specifically South Central L.A. which was way more racially diverse than portrayed in local media at the time. Our family lived on East 124th Street, one in a series of cul-de-sac blocks off Central Avenue. Our neighbors on our block were Black, Mexican American, Filipino and White. We had great neighbors. I loved growing up in Southern California. When I was a kid, there was a chain of Southern California record stores called Licorice Pizza. Think about it -- a record album was the size of a pizza and black like licorice. 

Paul Thomas Anderson has directed three films that I love -- BOOGIE NIGHTS, THERE WILL BE BLOOD and the exquisitely structured PHANTOM THREAD. Over the weekend, I saw his new, critically acclaimed. Like BOOGIE NIGHTS, it set in SoCal's San Fernando Valley area. Paul Thomas Anderson take us back to 1973 to show us a predominantly White Southern California in the coming-of-age, first love comedy/drama, LICORICE PIZZA. It's driven by the smart. believable performance delivered by screen newcomer, Alana Haim. A real-life, self-proclaimed "valley girl," She's in a rock band called "Haim" and she makes her film acting debut in this Paul Thomas Anderson feature. Her sisters and parents are also in the film. She was on Jimmy Kimmel's late-night show recently and was absolutely charming. A lively, warm, gracious young lady who obviously adores her family and Paul Thomas Andeson for giving her this film opportunity. Alana Haim is wonderful in the film as the smart, independent, complicated 20-something Alana who's the object of a 15-year old high schooler's affection.

Another screen newcomer, Cooper Hoffman, plays the nearly 16 high schooler who asks Alana out on a date. She recognizes him because he's an actor who has booked film and TV work. He's a hustler when it comes to booking work for himself and he wants to start his own business. Alana turns teen actor Gary down for a date because of the age difference. But they become friends and, later, business associates. Alana was on campus as an assistant to the photographer taking high school yearbook photos.

Alana is determined to make something of herself. She doesn't want to be 30 one day and still helping a photographer take high school yearbook photos. Gary invites her to meet his mom and watch him do a TV appearance promoting the new comedy film in which he plays a member of a large family.

In the evolution of their friendship which turns into a business partnership, which benefits from her quick brain, Gary still loves her while she has borderline romances with handsome males, most of whom have fascinating jobs. This starts with the handsome dude she brings home to have Shabbat dinner with the family. Alana has a date with the William Holden-inspired character, Jack Holden. Jack, a veteran actor who just completed a film with Grace Kelly, is played with a sophisticated loopiness by Sean Penn. Jack and Alana are in a popular Encino restaurant. Also in the restaurant is the larger-than-life and Mark Robson-inspired character, director Rex Blau. He's colorfully played by Tom Waits. 

And then there's the local politician who hires Alana to be on his campaign team because of her intelligence and integrity,

Gary, on the other hand, has started his own watebed business with Alana helping with sales and driving the delivery truck. One of his customers is the totally narcissistic, self-absorbed and totally annoying Jon Peters, the movie producer and then-boyfriend of Barbra Streisand. He's well-played by Bradley Cooper. This portion of Gary and Alana's misadventures has one of my favorite characters in the film -- Jon Peters' sweet and stressed out gay personal assistant, Steve. Steve once worked for Julie Andrews ("She was difficult.") Ryan Heffington plays Steve.

The more Alana has experiences with fascinating men and sees the truth about them, she comes to realize that the regular guy ordinariness, the honesty and true affection of Gary may not be such a bad thing after all.

As a native-born Southern Californian, I was surprised by the lack of racial diversity in the film. Two Black actors have brief, one-scene roles. There's Maya Rudolph as a casting director and there's a Black actress who plays a salesperson in a waterbed store. Looking at the extras -- the background actors -- that large group was predominantly White too.

I did get a kick out the of the celebrity-inspired characters Sean Penn and Tom Waits played. In the beginning of the film is Broadway veteran (now an MVP on the CBS sitcom, BOB HEARTS ABISHOLA), Christine Ebersole. She's a hoot as Lucille Ball-inspired Lucy Doolittle. Gary was in Lucy Doolittle's movie, sort of a YOURS, MINE AND OURS (which starred Lucille Ball). I have no idea why the movie is called LICORICE PIZZA. But it is. Here's a trailer for the movie written and directed by Paul Thomas Anderson.

As I wrote earlier, what drive this feature is the fabulous film debut of Alana Haim as Alana. Oh, and if you so see LICORICE PIZZA, the airline flight scene with Alana and Gary is accurate. In those days, all passengers got a free hot meal.

On Spielberg's WEST SIDE STORY

 It's a shame that Steven Spielberg's version of WEST SIDE STORY, so far, has been a box office disappointment. However, the pandemic severely altered the way we used to flock to the movies. The carefree days and nights of taking the family to the cineplex have been put on hold. Also, it's my opinion that 20th Century Studios could've have done a better job with its publicity. In TV commercials, there should be more clips of the musical numbers such as Tony singing "Maria," the Mambo dance at the gym number and the "Gee, Officer Krupke" number. All are highlights in Spielberg's version. Ariana DeBose, so sensational as Anita, has gotten plenty of network TV show interview exposure. Recently, she hosted SATURDAY NIGHT LIVE. Rita Moreno, co-star and executive producer of the new WEST SIDE STORY, got a few network interviews. She should've gotten more. And Fox should've gotten more TV interview exposure for screen newcomer Rachel Zegler who plays Maria, David Alcarez who plays Bernardo, Mike Faist who plays Riff and Ansel Elgort who plays Tony. All gave exceptional performances.

Based on the Broadway classic with music by Leonard Bernstein and lyrics by Stephen Sondheim, the original 1961 film adaptation was a a hig hit and a major Oscar winner. It won for Best Picture of 1961, Rita Moreno won the Best Supporting Actress Oscar for her dynamic performance as Anita and George Chakiris won the Best Supporting Actor Oscar for his work as gang leader Bernardo. Even the soundtrack was a best-seller. I am a hardcore lover of the 1961 WEST SIDE STORY. It was co-directed by Robert Wise and choreographer Jerome Robbins. I feel it is a work of film art. Initially, I flinched when I read that Steven Spielberg would remake it. I was skeptical. And I have loved Spielberg's work since the 1970s.

I saw Spielberg's WEST SIDE STORY Saturday night. It had me in awe and in tears several times. It's remarkable and relevant. I loved it. You know that it's a modern-day urban take on Shakespeare's ROMEO AND JULIET, so I don't need to explain the story. Spielberg's WEST SIDE STORY was supposed to be in theaters in December of 2020. The Fox Studios release was pushed back a year due to the pandemic.

Why is Spielberg's version of WEST SIDE STORY, a tale set in the 1950s, relevant? Basically, Spielberg, the father of an interracial family, has made an anti-Trump musical. Think back to when Trump called Mexicans "rapists and murderers." Remember his obsession to build a wall that would keep Latinos out of America? Steven Spielberg's WEST SIDE STORY is a cinematic statement against the racist attitudes of Trump and his MAGA tribe. All the Latino characters in this WEST SIDE STORY are played by Latino actors.

I can't call this a remake because it is so original in its revision of characters and different approach to musical numbers. For instance, "I Feel Pretty." In Spielberg's version, Anita and Maria are on the Macy's maintenance staff. They clean the store after hours. That's where they sing "I Feel Pretty." The "Cool" number, done in a parking garage in the original with The Jets and their girlfriends, is now done outside during daylight hours by just the male Jets and former Jet, Tony, trying to talk his best friend, Riff, out of committing a bigoted crime.. Also done during daylight hours is the "America" number. In that number, the dancing of Ariana DeBose as Anita is a thing of electricity and joy. It is wonderful. Here is a clip from the film.

Chino has been socially and occupationally unscaled -- and he's still a heartbreaking character doomed by racism. Josh Andres Rivera is excellent in the role.

This WEST SIDE STORY is more brutal than the original. You really see that the street fights are potentially deadly gang wars. We also have a Tony that seems like he truly was a gang member. This Tony almost killed a guy and he did a year in prison. Loving Maria is his redemption. Ansel Elgort, previously seen in the crime action thriller BABY DRIVER, registers as Tony. In emotions that wash across his face, we see how deeply he loves her. Rachel Zegler, with her angelica voice, gives us a more independent Maria. 

And then there's Rita Moreno. The amazing Rita Moreno. Doc, the kind shop owner in the original who's hired Tony as a helper, is now Valentina, Doc's Puerto Rican widow. Tony works for and learns some Spanish from Valentina. This role reminds us of what a good actress and singer Rita Moreno is. Her poignant rendition of "Somewhere" had me crying, Rita Moreno should get another Best Supporting Actress Oscar nomination for WEST SIDE STORY.

As good as Spielberg's version is, it just misses having the original's certain magic, "that little something extra" that James Mason as Norman Maine in 1954's A STAR IS BORN mentions. Still, it is a stunning and moving film that is worth seeing. The music orchestrations are beautiful.

Rita Moreno has said on network TV that she didn't work in films for seven years after she won the Oscar for WEST SIDE STORY. She worked on television. That's because Hollywood had no good script opportunities for a Latina, an actress of color, after her Oscar victory. That same happened to Black actresses Cicely Tyson, Diahann Carroll, Angela Bassett, Alfre Woodard down to Viola Davis, Queen Latifah and even Oscar winner Whoopi Goldberg. They all got Oscar nominations then had to turn to TV for steady employment because the Hollywood film scripts opportunities were scarce for women of color. Let's hope and pray Hollywood has more film work opportunities for all the outstanding Latino talent in Steven Spielberg's WEST SIDE STORY.

Another One Directed by Muriel Box

 "Beware the men in black, for they shall invade your precious plot, set in a silver sea." ~Ada, who fancies herself a psychic. 

OK. In the category of women directors, perhaps her work wasn't as acclaimed and polished as that of a Lina Wertmüller, Jane Campion, Julie Dash, Chloé Zhao, Kathryn Bigelow and Barbra Streisand. But, like Barbra Streisand, she was an Oscar winner who went on to become a film director. I'm speaking of Muriel Box, a female filmmaker I've blogged about before, a female filmmaker who's curiously and regularly excluded from the conversation and documentaries about women directors. From 1949 to 1964, after Muriel Box won an Oscar for screenwriting, she directed British films that presented top British and Hollywood stars. The list of stars she directed included Peter Finch, Laurence Harvey, Sir Ralph Richardson, Glynis Johns, Peggy Cummins, Shelley Winters, Julie Harris and Van Johnson. In England during the 1950s, Muriel Box was as much a groundbreaking woman director as actress-turned-director Ida Lupino was in 1950s Hollywood.  

 Over the weekend, I found another movie directed by Muriel Box. Previously, I blogged about her films STREET CORNER (1953), 1954's TO DOROTHY A SON (the U.S. title was CASH ON DELIVERY), SIMON AND LAURA (1955), EYEWITNESS (1956), THE TRUTH ABOUT WOMEN (1957) SUBWAY IN THE SKY (1959) and RATTLE OF A SIMPLE MAN (1964).

I found her 1952 comedy, THE HAPPY FAMILY. The U.S. title was MR. LORD SAYS NO.  Director Muriel Box and her then-husband adapted the screenplay from the play, THE HAPPY FAMILY. As with her other films, most of the action is seen from the woman's viewpoint. In THE HAPPY FAMILY. we go to Great Britain in March 1951. A huge festival will take place in six months and the government is preparing London for the event. The film opens with shots of construction. The government plans to build a subway but it made a mistake in its calculations for construction. Its subway plans mean that it must demolish the longtime shop and home of Mr. and Mrs. Lord. The government will offer a compensation, but the Lords refuse to let their home and business be bulldozed. The Lords got the place when they were young marrieds, as Mrs. Lord tells us. She's delightfully played by Kathleen Harrison. The Lords started a business and had children. When the Depression hit and they were faced with going hungry, they went hungry but they made sure their kids did not. They lost a son in World War 2. There's a lot of history and love in their humble shop and home. Mrs. Lord gets unasked for advice from her friend, Ada, the self-proclaimed psychic. Mr. Lord has recently retired from 35 years working for the railway. He's played by Stanley Holloway, a Best Supporting Actor Oscar nominee for recreating his Broadway performance as Eliza Doolittle's dad in the film version of MY FAIR LADY.

Soon it becomes the colorful family of Lords versus the government -- the men in black -- as they refuse to take a compensation for the government's major miscalculation. A BBC radio reporter gets in on the story. Here's a trailer.

This movie runs a lively 90 minutes. It's quite touching at times and very entertaining. On the whole, the female characters are a hoot and the U.S. title probably should have been MRS. LORD SAYS NO.

Muriel Box won her Best Original Screenplay Oscar for 1945's THE SEVENTH VEIL starring James Mason. She co-wrote the script with her then-husband, Sydney. Before Barbra Streisand became a director, she won a Best Actress Oscar for 1968's FUNNY GIRL and a Best Song Oscar for "Evergreen," the song she co-wrote and sang in her 1976 remake of A STAR IS BORN.

Barbra Streisand Music Break

 Happy New Year. We made it through 2021. Thank Heaven! I was in a mood to hear some music from my early teen years back in Los Angeles. Right next to my Motown albums in our record collection, I had albums from a new singer getting lots of airplay on L.A. radio stations. Her CBS specials were sensational. She was a hit on Broadway and she was headed to Hollywood to star in the film version of the play that made her a Broadway musical star -- FUNNY GIRL.

I spent many a lazy Sunday afternoon listening to my Barbra Streisand records. And I still recall the thrill when I bought the FUNNY GIRL soundtrack before I saw the movie at the Egyptian Theater in Hollywood. From the soundtrack, here is Barbra Streisand singing what became one of her signature tunes -- "People."

Click onto the link below. 👇

https://youtu.be/P54IEBAmepg.

From PEOPLE, one of her early albums, Here is "How Does The Wine Taste?"

The Barbra Streisand CBS specials were "must-see" TV events in our household. We were awestruck by her star power, charisma, confidence and talent singing "Starting Here, Starting Now." This was a few years before FUNNY GIRL hit the big screens.

I hope you enjoyed my little musical trip down memory lane.