Broadway Bound Musical Blogathon: Funny Girl (1968)

Posted on May 27, 2018June 7, 2018 Posted in Blogathon, Comedy, Directors, MusicalsTagged Barbra Streisand, Broadway Bound Blogathon, Fanny Brice, Funny Girl, Musicals, Omar Sharif, Taking Up Room, William Wyler18 Comments

Finally! A Blogathon dedicated to Broadway musicals and films. I would like to thank Rebecca from Taking Up Room for choosing musicals as her theme for her first ever Blogathon. Congratulations Rebecca; and, I hope this will become an annual event. Please check the link below to find more posts on a variety of wonderful musicals.

https://takinguproom.wordpress.com/

I have to be honest, for years, I was not a fan of musicals. I found the story lines boring, predictable and unbelievable. Even during the few times I actually liked a song or dance, I definitely did not enjoy the whole movie; nor, did I ever watch a “whole” movie musical. Unfortunately, I can just see Walt Disney turning in his grave. As a matter of fact, I avoided them as much as possible. However, all that changed when I forced myself to sit through a musical from beginning to end. The movie that drastically changed my disdain for all films, musical, was Funny Girl.

So how was I forced to watch this movie?

The first time I watched Funny Girl (1968), I was home, alone. As a college student, I was working pretty hard on my double major (History and Education). That glorious day, the gods smiled; and, my classes were cancelled due to hurricane warnings. So, I ended up “free” to warm up some left over chili and become a couch potato.

On television, the Tuner Movie Classics (TMC) channel had just announced their movie lineup for the day and evening. As the fates would have it, the best thing to watch on TV that day was a dreaded musical. I self talked myself into giving it a try. I learned that it was nominated for seven Oscars and four Golden Globe awards. Barbra Streisand, in her first movie role, won both awards as Best Actress. So, I watched my first musical, twenty-two years after its release date.

So, how did I have the staying power to endure watching a whole musical?

As I was getting my fatty “free day” ready, a loud weather alert began beeping as a warning banner ran across the bottom of the screen. The hurricane alert had escalated from a 3 to a 4. Hurricanes are seasonal storms in Florida. You kind of get used to them.

However, I still had some chores to do in case the hurricane disrupted power lines and water. I had little time to complete the “Hurricane Drill.” I found the candles and matches, located the flashlight and radio, located extra batteries, and filled the bathtub with water. Now, like a true Floridian, I decided to continue with my plan: Watch Funny Girl.

Unfortunately, as the storm became louder and more destructive, I became overly anxious; and I have to admit, a bit fearful. Even so, the only thing I could do was to hunkered down on the couch with the volume, turned way up. I gave Funny Girl my undivided attention.

From Broadway To Film

In 1964, Funny Girl successfully opened on Broadway with recording star Barbra Streisand cast in the lead and co-staring Sidney Chaplin. Her energetic portrayal of comedienne, Fanny Brice was brilliant. Producer Ray Stark, then turned this “Hit” Broadway show into a movie released in 1968. The legendary, William Wyler, was asked to direct. He was known for his sensitive direction of actors and his ability to display actors in profound moments that made their characters more realistic. It is almost an understatement to say he was one of the best directors in Hollywood.

A Tiny Bit of Behind The Scenes History

During the making of this film in 1967, the Israeli-Egyptian Six Day War broke out. Most of the movie’s financiers were Jewish as well as the cast. Omar Sharif is Egyptian. Many wanted Sharif fired including Streisand’s mother. Jewish director Wyler fought to keep him.

According to an article for TMC by Andrea Passafliume, Sharif relates this story in his autobiography. This is Wyler’s words, as repeated by Omar Sharif:

We’re in America, the land of freedom … and you’re ready to make yourselves guilty of the same things we’re against? Not hiring an actor because he’s Egyptian is outrageous. If Omar doesn’t make the film, I don’t make it either!”

You have to love “99-Take Willie.” To add oil to an already burning fire, Streisand and Sharif began a love affair, although both were married but separated from their spouses. To add to this, publicity released pictures and posters of Streisand and Sharif kissing. Egyptian newspapers condemned him for kissing and acting with a Jew. The film was banned and never been released in that country. I am sure their “decency codes” would not allow the film’s released for other reasons too: The suggested sexual overtones and the drinking or smoking. Unfortunately, Sharif’s citizenship was denied and his Vista revoked so that he could never return to his homeland. Clearly, he paid a high price his art that would haunt him the rest of his life.

A Summary of The Movie

This is the movie trailer. I like this trailer because it depicts the very first words spoken in the movie: Hello Gorgeous.

Eventually, Fanny will keep coming back; until, one the musicians takes pity on her. They need a substitute for a roller skating routine. Fanny can barely keep from falling down as she crashes into the other girls. She literally ruins the act; but, she was so funny the audience begs her to do a song. She and the rest of the world discovers she has a great voice, and a star is born.

Here is a clip of Fanny singing for the first time on stage

After this performance, Fanny is backstage explaining to the other show girls that Ziegfeld, himself, will knock on that door and her to be one of his “follies.” Then, someone is knocking on the door. Fanny opens the door to the most handsome man she has ever seen. She freaks out and slams the door in his face.

Then, she catches her breath and opens the door again. An awkward start to be sure. He explains how much he enjoyed her performance. Fanny is uncomfortable with the compliments from such a “gorgeous” man. She even slips and says he is gorgeous when she was thinking it. She tries to remedy her blunder by saying that she meant that his shirt is gorgeous.

Before Nicky leaves, the theater owner passes by and says a friendly hello to him. Then, Fanny reminds the owner has hired with pay. He realizes she wants to know how much pay. As he walks away, he yells back: $25.00 a week. Nicky informs him that he will pay her $35.00 a week. He explains a friend of his told him to be on the look out for fresh talent. The owner makes Fanny a counter offer: $40.00. Then, Nick offers her $45.00. The owner exasperated makes his final offer: $50.00. Nick said that $50.00 was as high as he was authorized to go.

As the owner walks away again, he shakes his head as he realizes that he is paying Fanny double from what he originally intended. Giggling Fanny asked Nick the name of his friend who has him looking for talent. Nick confesses that there was no friend. He made it up.

Fanny was rather shocked: You took a gamble?

Nick said: That’s what I do. I am a gambler.

Fanny offensively says: Yeah, but you gambled with my life.

Nick says: Isn’t that what you did tonight on that stage?

So, Nick is a charmer, sophisticated, well-educated, elegant, a world traveler, wealthy, comfortable with the upper social classes, and is a total con artist. Fanny was head over heels in love. Yet, Nick was not interested in changing any part of his life. He liked being free to do whatever he wanted, without a second thought about anyone else. As a matter of fact, Nick directly leaves Fanny to race his thoroughbred horse in Kentucky.

The next time Fanny meets Nick she is working in the Follies for Florenz Ziegfeld (Walter Pigeon). Fanny is convinced that Nick got her the job. After Fanny’s debut with the Follies, Nick sends her a dozen yellow roses and invites her out to a sleek dinner club. Fanny sadly refuses because her mother is giving a party in her honor; and, the whole neighborhood is coming. Instead, Fanny hesitantly invites him to her party located in a Brooklyn family owed bar; and to her surprise, he graciously accepts.

Nick blends in very well with friends and family. As a matter of fact, he is invited to a penny ante poker game with the local elderly ladies. They had no idea who they invited to their table. His shuffle alone should have alerted them to his expertise. However, being the charmer, he allowed them to win, even though he was holding the winning hand. He didn’t fool Fanny’s Mama Rose (Kay Bedford).

Her observations were right on the money: He fits in like a friend and not a stranger. He looks at home. He should fit in like a stranger. Fanny relies: He is a gentleman. He fits in anywhere.

Rose relies: A sponge fits in anywhere. A stranger should look a little strange.

Later, that evening Nick confesses to Fanny that he gets lonely but he loves his freedom. Fanny confesses that she is too busy to have a boyfriend. They both admit that they feel lonely at times. It is in this scene Streisand sings her now standard: People

Of course, Nick’s “work” allows him to travel; and, he must leave, again. They will not see each other for over a year. Eventually, you realize something is definitely off about Nick; but, you hope, like Fanny, you are wrong. You start feeling that these two people have to get together; but, you wonder, like any relationship, will it last.

A year later, they will meet again and go on their first date. The film is laden with Brice’s comedic one liners. Yet, it is in this scene with Nick that one of those quips, really took me by surprise. To me it was the most hilarious line in the whole movie. Nick compliments her on the color of her dress because it looks wonderful with her eyes. Fanny retorts: Yeah, well that’s just my right eye. I hate what it does with the left. Later in this same scene, Sharif and Streisand sing a duet about the basics of human relationships.

The Movie continues through their years together, good and bad; until, the marriage sadly ends. The final song, My Man, was sung on stage right after Fanny learns her marriage is practically over. This scene is such a stand alone moment in the movie. Streisand’ mesmerizing performance is unforgettable. There is a little more about this scene I would like to mention later in this post.

Dancing?

Unlike most musicals, this movie has very little dancing. The only dancing in this film happens when it was part of the story. For instance, when Fanny is asked to dance a waltz by her man crush, Nicky Arnstein (Omar Sharif), she dances. However, the camera is focused on Fanny’s overwhelmed expressions. We see her as she mentally drools over her handsome dance partner.

In addition, whenever the Ziegfeld Follies do a dance number on stage, there is some dancing; but, only because it is part of the stage act. So, this musical, like all musicals, uses song to help tell the story; however, this film does not use dance to move the story along.

Personal Favorites

There are great songs, breathtaking scenes, gorgeous costumes, and a fascinating story. Many of the musical numbers are truly unforgettable. I especially like the scene when Fanny decides to quit the show at the train station and follow Nick before his transatlantic ship sails away. The rest of her show friends try to talk her out of it. That’s when she belts out: Don’t Rain On My Parade!

Not only is this one of my favorite musicals; but, as a woman, I found it inspirational too. Brice and Streisand were forces to be reckoned with. Against the odds, they each made it and did so doing it their own way. Their confidence, intelligence and strong will power keep them going. For this movie, all of the magic and creative forces that went into making this film is what all films should try to accomplish.

Directors Know What Is Best

There are many elements to making a great film; but, having a great director is at the top of the list. An example of this is evident in the closing scene. True, to Wyler’s genius, he used the knowledge that the off camera relationship between the leading stars was ending. In the final scene, when Fanny must sing My Man knowing her relationship with Nick was over, Wyler kept Sharif behind the curtains during the scene. She knew he was there; an, they talked between takes. With every note she sung, you could almost feel her heart painfully breaking. This was perfect magic.

The 2 hours and 38 minutes goes by pretty fast. Which of course is a compliment to the movie itself.

The Real Fanny Brice

This movie was made only 13 years after the real Fanny Brice passed away in 1951. She was considered as a comedic genius and had one of the best singing voices in the 20th century. She was intelligent, witty, and a consummate performer. There were few who had such a command of the stage. In person, she was elegant and very classy. Those who knew her personally, said she was always herself; and she treated everyone the same. One of my favorite quotes from Brice is actually great advice for everyone. This is her life lesson shared

Let the World know you,

As you are,

Not as you think you should be,

Because sooner or later, if you are posing,

You will forget, to pose,

Then, where are you?

No matter, what misery was in store in the life of Fanny Brice, she took it in stride and literally rolled with the punches. The “real” Fanny Brice was hugely popular on the stage and on the radio. She used her God-given talents to entertain millions; and, she always left her audience in appreciation of her enjoyable performance and usually, in much laughter.

If you have read some of my posts before, you know I love history, especially personal history. I love learning how someone, through their defeats and victories, has come full circle to find their bliss or purpose. I ordered a biography on Brice’s life that I intend to review in another post for Life’s Daily Lessons. Until then, I will leave you with the knowledge that Brice worked on her radio show, The Baby Snooks Show, from 1944 to 1951. There was only one episode that was filmed for television. The night it aired, in May of 1951, Brice died of a cerebral hemorrhage. She claimed the show worked on radio but not on television. Here is the clip of that television episode.

I often wondered how she managed the mental discipline she needed to perform as six-year-old Baby Snooks at age 59. Truly, an amazing entertainer.

Reference Links:

https://www.google.com/search?q=funny+lady&ie=UTF-8&oe=UTF-8&hl=en-us&client=safari

https://www.imdb.com/title/tt0062994/

http://identity-mag.com/films-that-have-been-banned-in-egypt/

http://www.tcm.com/this-month/article/220494%7C0/Behind-the-Camera-Funny-Girl.html

A Funny Thing Happen: Buster Keaton

Posted on February 19, 2017February 3, 2018 Posted in Blogathon, Classic Hollywood Movies, Comedy, DirectorsTagged Buster Keaton Blogathon, Third Annual Buster Keaton Blogathon20 Comments

Why Do We Still Remember Buster Keaton?

Even though it has been 100 years since Buster Keaton started making movies, his film shorts and movies keep collecting new fans every year. They have a timeless appeal to the human heart and funny bone. It is with great honor, that I can contribute this post to the celebration of one of the greatest film makers of all time. If you love movies, Keaton movies are a must to watch. To learn more about him and his movies there are several posts to read thanks to Lea S from Silent-ology. She is hosting this Keaton Tribute. You can find these posts on Keaton using the link below:

https://silentology.wordpress.com/2017/02/10/blogathon-update-the-third-annual-busterthon-is-almost-here/#more-27136

Buster Keaton helped pioneer the movie and Television industry; however, he did so much more. Besides acting,writing, directing, producing, choreographing and doing his own stunts, he mentored and continues to influence comedians and film makers today. He started making movie shorts (around 22 gag minutes) at a time when most film was thought to be a collection of pictures, flickering quickly across a reel of film. Moving pictures or Flickers, as they were called at the turn of the 20th century, were a novelty past time for potential trill seekers, vaudeville gags or even a bit of pornography.

To explore and celebrate Keaton’s stage and film work, I wanted to look at some elements of his Genius, some historical basics about theater, his movement from one performing art to another, and finally his to his last movie: Funny Thing Happened on The Way to The Forum.

Elements of Genius

Comedians like Keaton, Chaplin, and “Fatty” Arbuckle took the everyman (underdog) and bought him to heroic heights using their own brand of comedy. While Chaplin made a homeless man heroic, Keaton made the working man a hero. Keaton’s hero was a regular guy trying to do the right thing, personally and professionally; but, life kept throwing obstacles in his way which forced him to become extraordinary. Keaton’s dead pan or stoic expression when facing these obstacles became part of his trademark. How philosophically Greek of him! Stoicism is a Greek/Roman world view or belief: Regardless of what life throws at you, it is your fate; so, no whining or complaining allowed. Just accept it and move on with your life. Keaton’s stoic expression earned him the title, Mr. Stone face.

While the muscles in his face may have been set to stone acceptance, his expressive and soulful eyes screamed a myriad of emotions. If the eyes are the Windows to the Soul, Keaton’s eyes gave his audiences a grand tour. Revered actor, Spencer Tracey, claimed the best performance is found in no performance, just quite, subtle, pauses. This is definitely one of the many elements to Keaton’s genius: timing, soulful eyes and stoicism. His signature look also included a “pork pie” hat that he would eventually have to make himself. Keaton said a comedian does funny things; a good comedian makes “things” funny. That hat is one of those things.

Some Art (stage comedy)

Keaton was more than just an actor/comedian; he was a performer who understood the depth and history of his Art. Just as philosophy (Stoicism) flourished in Ancient Greece and Rome; so did theater. According to the classics, there are two basic types of the human condition. These are considered divine or god-like: Sadness (includes ranges of loneliness, grief, loss, crying, and Tragedy), and Joy (includes ranges of elation, happiness, redemption, laughter, and Comedy). There is a rule for these two types; you cannot not have one without the other. Remember the symbol for theater: the connected masks of two opposite expressions: One is laughter and the other is sorrow. Some comedians have tried to define and explain comedy by using the expression, Tragedy Plus. Comedian Sid Caesar explained it this way:

If you have no tragedy, you have no comedy. Crying and laughing are the same emotion. If you laugh too hard, you cry. And vice versa.

The movie Forrest Grump is a perfect example of this: It is tragic story of a mentally challenged and physically disabled orphan boy who is raised by a single mother who is willing do anything to help her son, and does. His best friend grows up being sexually abused by her father. She loves him too; but, as an adult cannot see pass his limitations. He goes to college to play football and soon after is drafted in the Vietnam war where he finds himself, in jungle combat, holding his only real friend in his arms as he dies of his wounds. Laughing yet?

Some in Hollywood claim a person looks determine their believability on film. For instance, an odd looking person would be best suited for comedy rather than drama. Of course the ancient Greeks couldn’t disagree more. So, while looking at these pictures of Keaton, we ponder the question: could Keaton have played Hamlet or been a leading man?

Born and Nurtured in the Performing Arts

Buster Keaton parents worked the Vaudeville circuit. They were literally “on the road” doing a show in Piqua, Kansas when Joseph Frank Keaton was born on October 4, 1895.

Vaudeville is a multi-act (usually around 12 different acts) variety stage show that was popular in the USA and Canada during the late 1890s and early 1900s. Since it started with an all-male audience, it had an element of the obscenely comical. Many Vaudeville performers eventually migrated to the flickers/movies. Some were successful and many were not.

Keaton’s father had a business partner: The great magician, Harry Houdini. They owned a traveling show: Mohawk Indian Medicine Show. They performed their acts and sold a “medicine” on the side. It was Houdini who witnessed 18 month old baby Keaton tumbled down a long flight of stairs; after the fall, the toddler stood up as if nothing happened. Houdini said, referring to the fall, “that’s a Buster.” Keaton loved to tell that story; so, the nickname stayed with him for the rest of his life.

Keaton’s Dad understood the power of a pratfall in physical comedy. Besides, he must have believed that a family that clowns together, stays together. It did not take long for the toddler to became part of the act at the age of 3 years old. While being thrown into the stage screen or elsewhere, in a skit about a child being disciplined, Keaton’s Dad soon realized that a laughing baby was not as funny as a straight-faced baby. So, Keaton learned to control the urge to smile or laugh while performing the “toss about.”

From Vaudeville To Silent Movies and Life

Due to his father’s alcoholism affecting their act, Keaton’s mother took him and left Vaudeville for New York City. Keaton meets and befriends “Fatty” Arbuckle who is under contract to Joseph M. Schenck. Keaton is hired as his gag man (comedy writer) and eventually co-star. His first movie was The Butcher Boy. By 1920, he had starred in 14 movie shorts with Arbuckle.

It is in silent movies that Keaton will precisely execute his hilarious stunts and surprising gags. According to Keaton landing on his feet like a cat came natural to him. He said you have to stay limp and break a fall with a hand or foot, if not, he would have been killed years ago. I have included a video link that highlight some of his most popular stunts. Any stunt he did with trains or grabbing and holding onto a moving vehicle mesmerize me. Just remember, those stunts are done as you see them; so, there were bruises and fractures involved. He even broke his neck in a scene where tons of water fall on his head from a water tower.

Similar to one of Keaton’s movie plots, an obstacle interrupts the Young 22 year old’s life: World War I – The Great War. The last war to be fought by civilized man. Or, so they believed. Keaton served in the 40th Division in France. Luckily the “Sunshine” Division delivered supplies to the troops. It was a bit safer than fighting in ” No Man’s Land” between enemy trenches. Nonetheless, it was still seriously dangerous work. Keaton suffered an ear infection that left him with permanent partial hearing.

Keaton’s Impact on Silent Movies

So, Keaton is born in Vaudeville, eventually makes history in silent films, and goes on to influence early television and finally perform in “talkies” movies. To understand what I mean by making history in Silent movies, I’ll use the words of two experts. One is by Orsen Wells. Many film historians believe Wells made the greatest movie in film history: Citizen Kane. Wells said, The General (1926), which Keaton directed and starred, was cinema’s highest achievement in comedy and perhaps the greatest film ever made. This is high praise indeed; but, he isn’t the only one singing Keaton’s praises.

Film Critic Roger Ebert went even further with his praise: Keaton is the “greatest actor-director in the history of Film.” I totally agree with both gentleman. By influence in television, I mean he done things like write gags for people like Red Skelton and the Marx Brothers or tutored and influenced people like Lucille Ball in comedic basics and timing. Most film experts agree that out of all the films he made the following three are Keaton masterpieces. If you only watch three Keaton’s films, make sure you don’t miss these three: Sherlock Jr. (1925) / The General (1926) / The Cameraman (1928)

A Funny Thing Happened on The Way to The Forum (1966)

Keaton’s career spanned from 1898 and ended in 1966. Just a few months before his death (February 1, 1966), he was working on Funny Thing Happened on The Way to The Forum in Spain from September to November in 1965. It is based on a book by Bert Shevelove and Larry Gelbart. Their book is based on a collection of Roman plays by Plautus. However most of the book uses one play in particular, Pseudolus (192 A.D). The book evolved into a criticality acclaimed and long running Broadway musical.

It is important to note that many elements of an ancient Roman play evolved into the elements of a successful Vaudeville stage show. Music is one of the main attractions for both types of stages. As a matter of fact, Greek/Roman plays kept a chorus of singers on stage that sang the actions or emotions throughout the play. Not surprisingly, the movie begins with the main character singing the praises of the show to the movie audience.

The song, A Comedy Tonight, expresses the fun and surprises of people popping up in disguise, puns galore, mistaken identities, uniting lovers, outwitting adversaries, courtesans, music, some dancing, slamming doors, some transgender, and basically a giddy romp of daffiness. The music in the Broadway play and movie were brilliantly composed by Steven Sondheim. The movie is a combination of a Classic plot, vaudeville format, and 1960s views on equality and love.

Keaton’s character (Erronius) is a elder Roman senator. Who is not only a bit blind and hard of hearing but also senile. He has been away looking for his children who were kidnapped by pirates. In the house next door, lives Michael Hordern (Senex) who is wealthy (Patrician) Roman citizen with a domineering wife, Patricia Jessel (Domina). They have a horny 18 year old son (Hero) who is helplessly in love with the girl (Philia) from another house next to theirs. Hero is played by a very young Michael Crawford (Phantom of the Opera). Hero has never spoken but a few words to Philia. He fell in love while watching her from his window. It makes no difference because their love is ill fated since she is of lower birth (slave-courtesan [Virgin]. Philia lives in a brothel managed by the greedy, Pimp master, Phil Silvers (Marcus Lycus).

The star of this musical comedy is Pseudolus (Zero Montel) who is Hero’s personal slave. Since the hero is an underdog (slave), it already sounds like a Keaton movie. Pseudolus is a quick witted and resourceful slave who is always looking for money in any way he can; usually by conniving, lying and trickery. What he wants most is to be freed in this 1966 musical. Pseudolus agrees “to get the girl” if Hero agrees to free him. Of course in the original play, the idea of freeing a slave would never be part of their agreement. In 192 A.D., the Roman audience would have rioted and mobbed the festival Temple at such a suggestion. Besides, if they had starting freeing slaves, which would have created Roman jobs, the Roman Empire may have not Fell as it did.

The plan is to get the girl; Hero will convince her to love him; then, they will runaway and live happily ever. However, they need a love portion to convince Philia she loves him. Remember, they haven’t actually spent time getting to know each other yet. This is a crazy, bold scheme that Psuedolus is more than ready to implement in order to be free.

While Hero’s parents are away to visit the Mother-in-Law, Pseudolus and Hero pay a visit to the ~~brothel~~ House of Marcus Lycus to find the Philia. Of course, they have to look at all the merchandise (ladies) that the House of Lycus has to offer. None of them are Philia since she is not up for sell. They discover she is promised to a Roman Captain, Miles Gloriosus. In the Broadway play, the Captain introduces himself to the audience in song, I am Parade. Even Carly Simon’s song, You’re So Vain doesn’t hold a candle to this insufferable Captain’s view of himself. Later in the movie, he sings some of this in another song, Bring me My Bride.

Psuedolus lies to Lycus and insists he must buy her for Senex; or, he will be beaten or worst. He cannot tell Lycus that it is Hero really wants to buy the girl. Since Hero is only 18 years old, he cannot buy a slave. Again, ideas from the 1960s change the original storyline. This movie was made during the Vietnam war when 18 became the average age for a soldier serving overseas. Many 18 year olds were drafted and sent to fight in Vietnam while at the same time they not allowed to vote or buy alcohol in the states.

Lycus explains to Pseudolus that he is very frighten of the Captain because a few years ago he sold him a “dud virgin.” So, it is very important that virginal Philia is perfect for this flesh transaction. Besides, Lycus doesn’t trust Pseudolus. He doubts that he has the money to buy Philia. He is correct. Psuedolus lies and tells him he came into money from his uncle who was recently killed. Here is one of many gags straight out of Vaudeville: Psuedolus’ uncle was an elephant trainer who was killed during the mating season.

However, when Lycus revels to Psuedolus that Philia is from Thrace, quick witted Psuedolus lies and tells Lycus that Thrace is in the droves of a terrible plague. So, if the Captain would be angry enough to kill him over a “dud virgin” what might he do to him for inflicting the plague on his House? Lycus rightfully becomes even more frightful and being a greedy businessman realizes His House of the Courtesan are also exposed to this horrendous disease. Cunning Psuedolus offers to take the “infected”girl from House of Lycus to the House of Senex (Hero’s Dad). And as an added a favor, he will pretend to be Lycus and face the Fearsome Captain, himself. Lycus believes he has manipulated Psuedolus to his advantage. Of course, we know Psuedolus out maneuvered Lycus.

So, Hero and Psuedolus bring Philia home. To calm her, they lie by telling her the Captain will come for her there. In the meantime, Hero is running around Rome looking for the ingredients for a love portion. However, the head slave, Hysterium (Jack Gilford), who is the best groveling, obedient slave in Rome, discovers Philia and knows Psuedolus must be behind this confused girl’s presence. He threatens to tell the master and expose the whole sham. Psuedolus uses some good old fashion blackmail to convince Hysterium to help the lovers runaway before their master (Senex) returns and finds out.

Senex (Hero’s Dad) is ordered to go back home early; since, he broke a gift for his Mother-in-law. When he returns, he finds Philia, who thinks he is her Captain. She offers herself to him. Luckily they don’t get very far before they are discovered. To explain her presence, Senex is told she is the new maid. This is when the guys sing a very sexest song, Everyone Ought to have a Maid while posing throughout Roman ruins. Psuedolus needing to get Senex out of the house before the Captain shows up uses his master’s desire for the new maid (Philia) to convince him to bathe in the empty House of Erronius, just next door; so, he could have more privacy with Philia later.

While in the House of Erronius, Senex is singing and cooing about his future conquest. It is at that moment, Erronius (Keaton) returns home after 20 years of searching for his children. I love the fact that Keaton worn a Roman hat that reminds his fans of his signature pork pie one.

a-funny-thing-happened-on-the-way-to-the-forum-film-images-4fa3f98b-8e1a-4201-820e-327eb534335

In one of the funniest scenes in the movie, Erronius (half blind and deaf) is stopped from entering his house by Hysterium who just left his singing master in the bath. Erronius tells Hysterium of his kidnapped children by pirates. He explains that he has traveled the world to find them. Even though twenty years has passed, he will know that they are his children because they both worn a ring like his: The rings have a gaggle (at least seven) of geese carved into each of them. Hysterium is desperately trying to keep the old senator from entering his house. Senex is singing so loudly that even near deaf Erronius says it sounds like his house is haunted. Hysterium immediately repeats to him that he cannot enter that house because his house is haunted. At that moment, Pseudolus overhears them. He hears Erronius say he needed a soothsayer. Psuedolus disguising himself as a soothsayer tells the senator to run around the seven hills of Rome seven times in order to get rid of the haunting. Here is a clip of that scene.

Keaton’s First Scene in Funny Thing Happened On The Way To The Forum

Keaton was very ill while making this movie. Most of his stunts were done by others. However, that is not how Keaton “rolled.” There is a scene where Keaton runs into a branch of a tree and falls hard to the ground. It is typical Keaton stunt because you don’t see it coming; and, it is hilarious. Keaton did that stunt himself without warning to the director or anyone else. I think Keaton knew that this movie was his swansong. He passed away a few months after the movie wrapped in November of 1965. He passed away from lung cancer on February 1, 1966. The movie was released in October of 1966. His third wife of twenty six years, was with him at home. People said he was restless and played cards the night before he died. He had come full circle in his life. He started in Vaudeville in 1898 and ended his career making a movie that is as vaudeville as you can get in 1965. Comedy and Tragedy coming together and making perfectly divine laughter and sadness.

btsfunnythinghappenedwaytoforumbuster_large

He deserves Paradise who makes his companions laugh – Koran

None of the images are owned by me

References:

Links:

SONG LYRICS BY STEVEN SONDHEIM: Comedy Tonight (Prologue)

http://www.lyricsfreak.com/s/stephen+sondheim/comedy+tonight_20170416.html

SUMMARY OF ORIGINAL PLAY: PSUEDOLUS BY PLAUTUS (ancient Roman playwright, April of 192 B.C. [Third Day of Feastival])

https://en.m.wikipedia.org/wiki/Pseudolus

The Art of A Gag: by Every Frame A Painting https://m.youtube.com/#/watch?v=UWEjxkkB8Xs

Biography link

http://www.biography.com/people/buster-keaton-9361442

Norman Jewison: Canada’s Beloved Director

Posted on February 4, 2017April 20, 2017 Posted in Blogathon, Canadians, DirectorsTagged #OCanadaBlogathon, Norman Jewison19 Comments

O Canada! A vast country that shares its southern border with the United States. A country that has such unusual weather that some describe it as 9 months of Winter and 3 months of Fall. A country that tries to explain to the rest of the world why the sport of curling is fascinating. While at the same time, their National sport, hockey, symbolizes their struggles in the below zero freeze. A country with a strong world leader that is sexy too, Justin Trudeau. A country so far off the controversial radar that William Shatner has to remind people that he is a Canadian. A country that is so laid back that even peace loving U2 front man, Bono claims: The world needs more Canada! So, here it is! A blogathon that celebrates many Canadian artists who have contributed enormous amounts of work to the Arts and entertainment industries and ultimately and happily, to us.

Thank you Kristina of Speakeasy (https://hqofk.wordpress.com) and Ruth of Sliver Screenings (https://silverscreenings.org/tag/ocanada-blogathon/ ) for hosting this #OCanadaBlogathon. This truly is a celebration of those Canadians who helped shaped cinema and television. The main focus of my blog, Life Daily Lessons, is to examine the arts in its various forms in order to learn more about our human journey and connectedness. With this in mind, I chose director, Norman Jewison from a long list of Canadians. I recognized his name because I have collected many of his movies. Even though I know very little about him personally, a great deal of his work has touched my life and made that cosmic connection to me as an individual.

Jewison’s Early Work

Jewison was born in Toronto, Ontario on July 21, 1926. After earning his B.A. from Victoria College at the University of Toronto, his first job in show business started in 1952 working with various television projects for the CBC (Canadian Broadcasting Corporation). That eventually led to a job in New York City working on a television show, Hit Parade, at the old Ed Sullivan Theater. His first movie as a director was in 1962, 40 pounds of Trouble with Tony Curtis and Suzanne Pleshette. The following year, he directed Doris Day, James Garner and Arlene Francis in The Thrill of It All (1963). The following year he again directed Doris Day in Send Me No Flowers (1964) with Rock Hudson and Tony Randall (The last film for all three together). In 1965, he directed yet another romantic comedy, The Art of Love, starring Dick Van Dike, James Garner, Elke Sommer and Angie Dickinson.

Jewison’s life as a director was about to drastically change in 1965 with the released another movie that same year. Only, this was very different movie than his romantic comedies. Jewison was asked to replace director Sam Peckinpah on a project called The Cincinnati Kid. The story line involves a poker player, Steve McQueen, who wants to prove he is the best by challenging the reputable best, Edward G. Robinson. Although Jewison referred to this film as his “Ugly Duckling” this drama was his golden opportunity to begin working on films with much more serious themes.

But, before he started to work on one the best dramatic movies ever made in the 60s, he directed one of my all-time favorite comedies. It was based on a true story that ended up in Nathaniel Benchley’s book, The Off-Islanders. The movie The Russians Are Coming, the Russians Are Coming (1965) is based on his book. It stars a wonderful character actor, Alan Arkin as the Russian Submarine Officer, Lt. Yuri Rozanov. Oh yes, I confess. I am still crushing on Adam Arkin today. This was his debut appearance on film. He was so good in this comedy that he was nominated for an Oscar for Best Actor. It also stars comic legend Carl Reiner along with a long list of accomplished and gifted performers such as Eva Marie Saint, Brian Keith, Jonathan Winters, Paul Ford and many others.

Three Movies that are close to his heart and his humanity

There are few movies that made an impact on movie goers concerning racial tensions of the 60s,70s, and 90s like Jewison movies. For me, the question is how did a Canadian acutely depict the disturbing prejudices and Jim Crow laws of the Old South, USA (In The Heat of The Night and A Soldier’s Story). Jewison tells his story of a hitchhiking trip to New Orleans while going through other Southern states. While on his trek through the state of Missouri, near the end of WWII (1945), an impressionable, 18 year old Jewison got a ride from a man in a red pick up truck. What he discovered on this ride would leave its mark on his psyche forever.

In case you didn’t know, Jewison is not Jewish. His mother is a British immigrant to Canada and his Canadian father is of the Scotch-Irish heritage. The “kind” driver of the red truck bragged that his truck was used in a recent lynching earlier that day. It was used to dragged the victim through the streets. Jewison was shocked and sicken not only for the atrocity of the acts but also by the man’s obvious pride in participating in such brutality. I would love to hear Jewison’s response to the following question: What if the truck driver discovered his name and did not believe that he was not Jewish? I wonder how this story would have changed? I am sure Jewison may have thought of that too.

This tragic injustice haunted his later work, if it did not actually inspired it. He made three movies that addressed racial injustice in the United States. The first movie he made based on this theme was, In The Heat of The Night (1967). It is a murder mystery that stars Sidney Poitier, Rod Steiger, and Warren Oats. Not surprisingly, Jewison is not the only person on this film that had a harrowing experience in the South. Poitier agreed to do this film if it was not filmed in the South. In 1964 on a visit to Greenville Mississippi, he and Harry Belafonte delivered $70,000 in donations to Civil Rights workers. At one point, the KKK followed them and nearly ran them off the road. Poitier also demanded that in the scene where the haughty Philadelphian police detective Virgil Tibbs (Poitier) is slapped by a bigoted cotton plantation owner, Tibbs slaps back, hard. It is a another memorable scene in movie history. In The Heat of The Night won an Oscar for Best Movie and Rod Steiger won an Oscar for Best Actor.

The second movie, A Soldier’s Story (1984), stars Howard E. Rollins, Jr. and Adolph Caesar. Near the end of WWII, a black officer is sent to Louisiana to investigate the murder of a black sergeant. A black officer is “unheard of” in the Jim Crow South. Prejudices and racism are explored through the bitter and hostile white reaction to the investigating officer. It was nominated for three Oscars: Best Picture, Best Supporting Actor (Adolph Caesar), and Best Screenplay Adaptation.

The third movie, The Hurricane (1999), stars Denzel Washinton, Vicellous Reon Shannon, Deborah Kara Unger and Liev Schreiber. This movie depicts the true story of middleweight boxer, Rubin Carter, who is falsely accused and sent to prison for 3 life sentences for 3 murders committed in a New Jersey bar. Unlike the first two movies this one is not set in the South. It is based on Carter’s autobiography, The Sixteenth Round: From Number 1 Contender to 45472 and a book by authors Sam Chaiton and Terry Swinton: Lazarus and the Hurricane. This movie touches on the politics of racism in America too. Although Denzel Washington was nominated for an Oscar for Best Actor, he did not win; but, he did win the Golden Globe for Best Actor. Jewison and the movie was also nominated for Golden Globe awards.

Jewison’s own words best sums up these three movies. Jewison: So, I make a lot of movies. I love them all; but, the ones dearest to me are the ones that address Civil Rights and social injustice. Since Director Jewison’s movie list contains 44 movies, I obviously cannot post about each one of them in this blog. But, I have posted a link in the References if you choose to look them over and possibly watch some you might have missed.

Five More Personal Favorites of Mine:

1) Moonstruck (1987) A romantic comedy that stars Cher, Nicholas Cage, Vincent Gardenia, Olympia Durkakis, and Danny Aiello. Jewison said Cher had infallible comic timing. She believes all Directors are mad and crazy; and, Jewison agrees with her. Three Oscars were won for this movie: Cher (Best Actress in Leading Role), Olympia Dukakis (Best Actress in Supporting Role) and John Patrick Stanley (Best Writing). It is rare to see a comedy receive a Best Picture award from the Oscars. This was the first year that all nomintees for Best Director did not come from the United States. Jewison lost to Director, Bernardo Bertolucci, for The Last Emperor.

2) Fiddler On The Roof (1971) A musical drama based on a Russian Jewish family during the time of the Pogroms (offical persecutions). It stars Topol, Norma Crane, Leonard Frey, Molly Picon, and Paul Mann. Tevye (Topol) has five daughters that he must find husbands. The three eldest daughters wish to pick their own husbands for love. Tevyve must face the challenging changes happening to his family while trying to hold to his valued traditions and customs. I know everyone is buzzing about a recent musical, La La Land; so, maybe more neo-musicals are coming back to big screen. If they are even half as good as Fiddler on The Roof, they should be very successful. There is another musical Jewison directed, Jesus Christ Superstar. This not one of my personal favorites although the music is awesome. For Fiddler on the Roof, John Williams won an Oscar for the Best Music. It also won Oscars for Best Sound and Best Cinematography. It was nominated for 5 more Oscar categories including Best Picture, Best actor, Best Actor in a Supporting Role, Best Director, and Best Art Direction-Set Decoration.

3) The Thomas Crown Affair (1968) A romantic heist thriller that stars Steve McQueen and Faye Dunaway. If it wasn’t for the superbly charged chemistry between the two lead actors this may have not have made my Jewison favorite list. Let’s just say, I have never looked at a game of chess the same way again. Jewison said Steve McQueen was the most difficult actor he had ever worked with. McQueen is suppose to have told a writer on another film, Cincinnati Kid, that he is better at walking than he is at talking. That could be interpreted with a double meaning.

4) And Justice For All (1979) Courtroom drama staring Al Pacino, Jack Warden, Lee Strasberg, John Forsythe, Jeffery Tambor, and Christine Lahti. This film has one of Pacino’s most memorable performances. It is nearly the last scene in the movie. Oddly enough, it is also was the first scene to be filmed. He is a lawyer who defends innocent clients and not so innocent clients, even guilty ones too. This is an intense and smartly written movie about the justice system itself.. Valerie Curtin and Barry Levinson were nominated for an Oscar for Best Screenplay and Pacino for Best Actor in a Leading role. If you are a Pacino fan or wanted to know why he has so many critics loving his performances, you have to see this movie.

5) Agnes Of God (1985) It stars Jane Fonda, Anne Bancroft, and Meg Tilly. This is a murder mystery that pits Faith against Facts. A young, other worldly nun (Meg Tilly) is found in her room with a dead baby. She has no memory of how the baby died. However, she will later claim an angel impregnated her; so, a psychiatrist (Jane Fonda) is called in to investigate. The young nun is protected by the Mother Superior (Anne Bancroft) who wants her left alone. Is Mother Superior trying to cover up something? The movie did not win any Oscars; but, it was nominated in 3 categories: Meg Tilly for Best Actress in a Supporting Role, Anne Bancroft for Best Actress in a Leading Role and Best Music. The whole time I watched this movie I was constantly wondering if it miraculously happened as the young nun had believed it or would an alternative truth finally be discovered.

Indirect Life Lesson From Norman Jewison

Jewison gave excellent advice about being a good Director. That same advice could easily be applied to a person’s life. So, in the following comments or paraphrasing of them, if you switch out the words Director or Directing with the word life, you will discover wisdom that could be applied to an individual’s life.

Directing movies (living life) is like being at war. Everybody is telling you something different. There are always obstacles in the way. You have to fight for what you believe in. You have to defend yourself constantly. It is a matter of confidence. With a lack of confidence and indecisiveness, everybody will take over…

Most important for a Director (life) is to keep working…

How else can you learn new things? Which is the point. .

Thank you Norman Jewison for making all those movies. Thank you for establishing The Canadian Centre for The Advanced Film Studies in Toronto in 1986. Thank you for The Norman and Margaret Jewison Charitable Foundation that continues to give millions to other charities. Thank you Canada for honoring Jewison with two distinguished awards: The O.C. (Officer of The Order of Canada) on December 14, 1998 and the C.C. (Companion of The Order of Canada) on November 1, 1991. Finally, thank you Norman Jewison for making the world a better place through your artistic works and love. Basically, thank you for being Canadian. What would the world be without Canada and Canadians like you? As Bono claimed: The world needs more Canada!

References

A list of Jewison’s movies, Biography and Images

http://www.imdb.com/name/nm0422484/bio?ref_=nmmi_bio_sm

lifesdailylessonsblog

Category: Directors

Broadway Bound Musical Blogathon: Funny Girl (1968)

A Funny Thing Happen: Buster Keaton

Norman Jewison: Canada’s Beloved Director