Ang Vavouris'The Philadelphia Story' vs 'As Good As It Gets'
March 1st 2008 05:50
Welcome, fellow critiquers of cinema.
Tonight’s debate will decide the relative merits of two of Hollywood’s most decorated dramatic comedies.
Arguing the case of antiquated allegories everywhere, a film starring the blue-blooded Katherine Hepburn, the blue-collar James “Jimmy” Stewart and a man needing no adjectives, Cary Grant; 1940’s ‘The Philadelphia Story’.
Pleading the case of modern movies, a concoction directed by James “Hell” Brooks and featuring the blue-eyed Greg Kinnear, the imperfectly perfect Helen Hunt and, last but not least, a somewhat de-smirked Jack Nicholson; 1997’s ‘As Good As It Gets’.
‘Philly’ tells the story of Tracy (Hepburn), a socialite about to get married to second husband, George (John Howard). Mike (Stewart), a reporter for the gossip-rag ‘Spy’, covers the preparations, and first husband Dexter (Grant) is also conveniently in the mix.
‘As Good’, meanwhile, traces the dynamics between a reclusive and obsessive-compulsive writer, Melvin (Nicholson), his homosexual neighbour, Simon (Kinnear), and the waitress, Carol (Hunt), who struggles to care for her sickly son and also punctually serve the cantankerous Melvin at the only restaurant he frequents. When Simon is viciously attacked and robbed in his own home, Melvin (by default and duress) becomes the carer of Simon’s pooch during its owner’s recovery. The assault facilitates a web of favours and counter-favours that ultimately lead to a life-altering weekend away for the two men and the waitress.
Right, let’s get down to business.
First, the similarities: Statistically speaking, the two films are evenly matched. Both bagged two Academy Awards, ‘Philly’ scoring a total of six nominations and ‘As Good’ notching up seven. At closer inspection, it can be said that both contain comedic elements as well as dramatic depth, dual ambitions that have seen many a movie position itself between two chairs. These examples, however, have the meaty derrieres to successfully span the genres.
In my last post, I spoke of a classic that seemed somewhat “neutered” by censorship, ‘The Maltese Falcon’. This week’s offering, ‘The Philadelphia Story’, can also thank its form to those carrot-carrying centurions of morality. Stories of divorce, which were popular in the 1930s and ‘40s, came into being because extramarital affairs could not be shown on screen. A permanent or temporary breakdown in marriage was a common way of dodging decorum.
In this instance, the trick has produced a clever comedy of the screwball variety. The introduction of a headstrong woman to three eligible men leaves the viewer wondering whether Tracy will choose Bachelor A, B or C. The premise also creates room to superficially explore socio-economic barriers, the happiness vs wealth debate and the intrusive nature of the paparazzi, a topic as relevant today as ever (think “Leave Britney alone!”).
What can ‘As Good As It Gets’ offer? Well, at a glance, not much. Apart from the disturbing attack on Simon (carried out by bisexual male prostitutes in an unnecessarily brutal manner that raises questions about their psychology), there is little synopsis-worthy material to capture the interest of potential viewers. Man stays at home. Man ritually locks and unlocks his door three times in succession. Man goes to restaurant where waitress waits on customers. Waitress waits on sickly son. Hmmm ... Advantage: The representative of the classics.
Luckily, the Oscar-nominated screenplay, written by James L. Brooks and Mark Andrus, comes to the rescue of ‘As Good’. The story is subtle and poignant, well worthy of the slew of awards it occasioned. The events are a mix of conceivable callousness with uplifting gestures that never descend into sentimental potpourri. The nett result is both unique and satisfying.
Conversely, ‘Philly’ is far more conventional. Technically a love-quadrangle, husband-to-be George is quickly eliminated from the competition (in the mind of any viewer with an IQ greater than his/her shoe-size, at least). There are predictable surprises aplenty, and while the film does offer snappy dialogue and fortune-cookie wisdom (Tracy on marriage: “I thought it was for life, but the nice judge gave me a full pardon.”), the emphasis is on comedy over drama. It is entertainment on a high level, but, unlike ‘As Good As It Gets’, ‘Philly’ never ascends to parable-like profundity.
So, after two rounds, it is one victory apiece. The competition is to be decided by the X-factor of each movie, it seems.
Firstly, ‘Philly’ can be lauded for its bubbly one-liners. The dialogue is fast and witty, making the movie feel fresh more than half a century after its creation. Paradoxically, its age and late stars add elements of nostalgia and a sense that this production is something special that can never be recreated. The pairing of Hepburn, Grant and Stewart with a powderkeg of a script was always going to be a potent combination.
Of course, ‘As Good’ is not exactly short on X-factor, either. Jack Nicholson’s aura and copyrighted smirk can hold their own against the personalities of past giants. And while neither Greg Kinnear nor Helen Hunt are likely to warrant busts in the thespians’ Hall of Fame, they are both talented actors who do their best work when not directly in the spotlight but supporting a living, breathing institution like Nicholson. Hunt’s depiction of a struggling single mother rightly won her a certain golden statuette.
Additionally, ‘As Good’ has this trump card; it contains the most romantic line ever spoken on screen - when Melvin, rather circuitously, explains to Carol that she makes him “want to be a better man”. The sentiment obviously loses something in the translation from movie to review (plus the context of the statement, which I shall not reveal here, plays an important role), but trust me when I say that this nugget alone makes the audience’s time worthwhile.
Unfortunately, the same cannot be said of this comparison. I’m a lazy, lazy man in some ways, and deciding which film has the superior X-factor is simply too arduous a task ... which means that, for the first time in the glorious history of Filmtastic’s ‘Old vs New’, we have a distasteful tie on our hands.
But don’t blame me or my laziness - blame those dastardly makers of these wonderful movies, one no more spectacular than the other. They cram them full of accomplished stars and humorous repartees and memorable, moving moments, until we can no longer tell which sparkles brighter. Scarlett Johansson or Jessica Alba? Hendrix or Led Zeppelin? Hamburgers or pizza? The choice is maddening.
I refuse to make it.
- Victor Figeczki
Next: ‘North by Northwest’ vs ‘The Matrix’.
(And, no, that’s not a misprint - in case you were wondering).
Tonight’s debate will decide the relative merits of two of Hollywood’s most decorated dramatic comedies.
Arguing the case of antiquated allegories everywhere, a film starring the blue-blooded Katherine Hepburn, the blue-collar James “Jimmy” Stewart and a man needing no adjectives, Cary Grant; 1940’s ‘The Philadelphia Story’.
Pleading the case of modern movies, a concoction directed by James “Hell” Brooks and featuring the blue-eyed Greg Kinnear, the imperfectly perfect Helen Hunt and, last but not least, a somewhat de-smirked Jack Nicholson; 1997’s ‘As Good As It Gets’.
‘Philly’ tells the story of Tracy (Hepburn), a socialite about to get married to second husband, George (John Howard). Mike (Stewart), a reporter for the gossip-rag ‘Spy’, covers the preparations, and first husband Dexter (Grant) is also conveniently in the mix.
‘As Good’, meanwhile, traces the dynamics between a reclusive and obsessive-compulsive writer, Melvin (Nicholson), his homosexual neighbour, Simon (Kinnear), and the waitress, Carol (Hunt), who struggles to care for her sickly son and also punctually serve the cantankerous Melvin at the only restaurant he frequents. When Simon is viciously attacked and robbed in his own home, Melvin (by default and duress) becomes the carer of Simon’s pooch during its owner’s recovery. The assault facilitates a web of favours and counter-favours that ultimately lead to a life-altering weekend away for the two men and the waitress.
Right, let’s get down to business.
First, the similarities: Statistically speaking, the two films are evenly matched. Both bagged two Academy Awards, ‘Philly’ scoring a total of six nominations and ‘As Good’ notching up seven. At closer inspection, it can be said that both contain comedic elements as well as dramatic depth, dual ambitions that have seen many a movie position itself between two chairs. These examples, however, have the meaty derrieres to successfully span the genres.
In my last post, I spoke of a classic that seemed somewhat “neutered” by censorship, ‘The Maltese Falcon’. This week’s offering, ‘The Philadelphia Story’, can also thank its form to those carrot-carrying centurions of morality. Stories of divorce, which were popular in the 1930s and ‘40s, came into being because extramarital affairs could not be shown on screen. A permanent or temporary breakdown in marriage was a common way of dodging decorum.
In this instance, the trick has produced a clever comedy of the screwball variety. The introduction of a headstrong woman to three eligible men leaves the viewer wondering whether Tracy will choose Bachelor A, B or C. The premise also creates room to superficially explore socio-economic barriers, the happiness vs wealth debate and the intrusive nature of the paparazzi, a topic as relevant today as ever (think “Leave Britney alone!”).
What can ‘As Good As It Gets’ offer? Well, at a glance, not much. Apart from the disturbing attack on Simon (carried out by bisexual male prostitutes in an unnecessarily brutal manner that raises questions about their psychology), there is little synopsis-worthy material to capture the interest of potential viewers. Man stays at home. Man ritually locks and unlocks his door three times in succession. Man goes to restaurant where waitress waits on customers. Waitress waits on sickly son. Hmmm ... Advantage: The representative of the classics.
Luckily, the Oscar-nominated screenplay, written by James L. Brooks and Mark Andrus, comes to the rescue of ‘As Good’. The story is subtle and poignant, well worthy of the slew of awards it occasioned. The events are a mix of conceivable callousness with uplifting gestures that never descend into sentimental potpourri. The nett result is both unique and satisfying.
Conversely, ‘Philly’ is far more conventional. Technically a love-quadrangle, husband-to-be George is quickly eliminated from the competition (in the mind of any viewer with an IQ greater than his/her shoe-size, at least). There are predictable surprises aplenty, and while the film does offer snappy dialogue and fortune-cookie wisdom (Tracy on marriage: “I thought it was for life, but the nice judge gave me a full pardon.”), the emphasis is on comedy over drama. It is entertainment on a high level, but, unlike ‘As Good As It Gets’, ‘Philly’ never ascends to parable-like profundity.
So, after two rounds, it is one victory apiece. The competition is to be decided by the X-factor of each movie, it seems.
Firstly, ‘Philly’ can be lauded for its bubbly one-liners. The dialogue is fast and witty, making the movie feel fresh more than half a century after its creation. Paradoxically, its age and late stars add elements of nostalgia and a sense that this production is something special that can never be recreated. The pairing of Hepburn, Grant and Stewart with a powderkeg of a script was always going to be a potent combination.
Of course, ‘As Good’ is not exactly short on X-factor, either. Jack Nicholson’s aura and copyrighted smirk can hold their own against the personalities of past giants. And while neither Greg Kinnear nor Helen Hunt are likely to warrant busts in the thespians’ Hall of Fame, they are both talented actors who do their best work when not directly in the spotlight but supporting a living, breathing institution like Nicholson. Hunt’s depiction of a struggling single mother rightly won her a certain golden statuette.
Additionally, ‘As Good’ has this trump card; it contains the most romantic line ever spoken on screen - when Melvin, rather circuitously, explains to Carol that she makes him “want to be a better man”. The sentiment obviously loses something in the translation from movie to review (plus the context of the statement, which I shall not reveal here, plays an important role), but trust me when I say that this nugget alone makes the audience’s time worthwhile.
Unfortunately, the same cannot be said of this comparison. I’m a lazy, lazy man in some ways, and deciding which film has the superior X-factor is simply too arduous a task ... which means that, for the first time in the glorious history of Filmtastic’s ‘Old vs New’, we have a distasteful tie on our hands.
But don’t blame me or my laziness - blame those dastardly makers of these wonderful movies, one no more spectacular than the other. They cram them full of accomplished stars and humorous repartees and memorable, moving moments, until we can no longer tell which sparkles brighter. Scarlett Johansson or Jessica Alba? Hendrix or Led Zeppelin? Hamburgers or pizza? The choice is maddening.
I refuse to make it.
- Victor Figeczki
Next: ‘North by Northwest’ vs ‘The Matrix’.
(And, no, that’s not a misprint - in case you were wondering).
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