Photo caption: Little Richard in LITTLE RICHARD: I AM EVERYTHING. Courtesy of Magnolia Pictures.
Little Richard: I Am Everything traces the life of the trailblazing rock-and-roller, and it is NOT your paint-by-the-numbers showbiz biodoc. Director Lisa Cortés (Primetime Emmy winner) has superbly framed the two defining aspects of Little Richard – an unfettered confidence in his exuberant performances and an uneasy assessment of himself as a flamboyant gay man.
As one would expect, Cortés lays out Little Richard’s importance in the very beginning of rock and roll – writing hard-driving hits, many with unmistakably sexualized lyrics and performing them with then unseen animation. Before Elvis. During Jim Crow. Before African-American music was played on mainstream radio.
Most strikingly, from the very beginning, Little Richard never tried to dress or act like a heterosexual male. (Baby Boomers will recall that this was the age of an unconvincingly closeted Liberace and no other hints of homosexuality in American mass culture)
As much as we see Little Richard in later work by artists like David Bowie, Elton John and Prince, there were performers that Little Richard himself emulated. In a staggering achievement in sourcing, Cortés brings us photos and film of queer black performers of the 1940s whom Little Richard saw – and some he worked with as a teenager. I’ve seen plenty of documentaries on showbiz, LGBTQ and African-American history, and I’ve never seen much of this material.
Little Richard is a difficult case for queer people because, although he was an important role model who never DENIED being a gay man, he sporadically RENOUNCED his own sexual identity. He is a difficult case for all of us, because his music would celebrate sex as naughty fun, but then he would occasionally scare himself back into backwoods religion.
Little Richard: I Am Everything also reveals the original lyrics of Tutti Frutti, and how they were cleaned up to Tutti frutti, oh rootie.
David Bowie is joined by Mick Jagger, Paul McCartney and Tom Jones in appreciating Little Richard’s pioneering career. John Waters reveals that his own pencil-thin mustache is an homage to Little Richard’s.
Little Richard: I Am Everything touches on rock music, race in America, drugs, sex and sexual identity – and spends a lot of time on sex and sexual identity sex drugs. It’s a remarkable insightful profile of a complicated man who was himself very fun for us to watch.
Kirk Douglas – that icon of explosive virility – died at age 103. Douglas will be forever remembered for the epic Spartacus, a blockbuster hit that he produced, with his own searing performance as the star and the effect of ending the Hollywood blacklist. He could play sexy and despicable at the same time in Out of the Past, Ace in the Hole and In Harm’s Way and a profoundly decent hero in Seven Days in May. Two of my guilty pleasures are Ulysses and The Vikings, with Kirk as a shirtless warrior.
Sean Connery as Bond…James Bond
If we’re going to talk about male cinema stars with overpowering magnetism and studly charisma, we’re going to start withSean Connery, who has died at age 90.
No screen actor has more personally defined a role than did Connery with James Bond. The character of James Bond in Ian Fleming’s source novels is nothing special; Bond was made iconic by Connery’s gifts. The Bond movies are cartoonish, but Connery’s James Bond never is. Connery’s Bond is hunky, but he’s not just a hunk. He is supremely confident. He is cunning. He always assesses a risk before he takes it.
My favorite Connery performance (and the best movie he was in) is The Man Who Would Be King (1975).
Max Von Sydow as THE EXORCIST
Sixty-three years after the chess game with Death himself in The Seventh Seal, actor Max Von Sydow has finally succumbed. Von Sydow is justifiably most well known among cinephiles for his many roles in a cascade of Ingmar Bergman’s grimness, including The Seventh Seal, The Magician, The Virgin Spring, Through a Glass Darkly, Winter Light, Shame and The Passion of Anna. And in The Magician, he had to don the most off-putting of facial hair. His biggest hit, of course was as the title character in The Exorcist. Contrary to his image, he had the capacity for hilarity, which he demonstrated in Hannah and Her Sisters as a ridiculously pretentious and selfish artist. Along with that role, my favorite Von Sydow performances were in Jan Troell’s The Emigrants and The New Land as a Swedish settler in frontier America.
Carl Reiner (far right) in THE RUSSIANS ARE COMING! THE RUSSIANS ARE COMING!
No one has been more important in the evolution of American comedy than Carl Reiner, who has died at age 98. Reiner was a writer and performer on Sid Caesar’s seminal Your Show of Shows. He created one of the greatest and most influential TV sitcoms, The Dick Van Dyke Show. Reiner was the comedy partner who helped Mel Brooks form his work. And he directed four Steve Martin comedies. Reiner was the third person awarded the Mark Twain Prize for American Humor. My favorite Carl Reiner performance was inThe Russians Are Coming! The Russians Are Coming!
Olivia de Havilland in GONE WITH THE WIND
Silicon Valley native and icon of classic Hollywood, Olivia de Havilland (her real name) was raised in Saratoga and went to Los Gatos High. Her performance in A Midsummer’s Night’s Dream in the Saratoga Community Theater led directly to her appearing in the Hollywood film version of the play at age 19. She starred as the leading lady in her next film, Captain Blood, the first of a series of Warner Brothets costume romances that matched her with Erroll Flynn, with whom she had undeniable chemistry: The Adventures of Robin Hood, The Charge of the Light Brigade, The Santa Fe Trail, Dodge City, They Died with Their Boots On and The Private Lives of Elizabeth and Essex. In this period, she was loaned to David O. Selznick for her most remembered role, that of the profoundly sweet and decent Melanie in Gone with the Wind. De Havilland won her contractual freedom from Warner Brothers through landmark litigation in 1943. She went on to more serious fare and earned yhree Oscar nods in the next six years, winning for To Each His Own and The Heiress.
Dick Powell and Rhonda Fleming in CRY DANGER
Actress Rhonda Fleming has died at age 97. She was known as the “Queen of Technicolor” when movie studios exploited her blazing red hair, blue eyes, ivory complexion and uncommon beauty in a series of Western, sword-and-sandal and adventure films; in this period, she was a candidate for the world’s most beautiful woman, along with her age peers Gene Tierney, Lana Turner and Marilyn Monroe. But Fleming’s very best acting work was in black-and-white, in Spellbound, Out of the Past, Cry Danger and While the City Sleeps. My favorite Fleming performance is in Cry Danger, where she plays the girlfriend of the guy who had framed the hero (Dick Powell) – an irresistible woman of uncertain loyalty.
Brian Dennehy
The actor Brian Dennehy stood a bear-like 6’3”and could have filled his career by playing menacing heavies (and he had his share of those). But Dennehy had uncommon range, as evidenced by his most well-remembered roles – Rambo’s nemesis in First Blood and the alien in Cocoon. My favorite Dennehy movie roles were the crooked sheriff in Silverado and Harrison Ford’s morally complicated boss in Presumed Innocent. Dennehy was even a bigger star on stage – he won Tony Awards for his Willy Loman in Death of a Salesman and his James in Long Day’s Journey into Night (the role Ralph Richardson played in the movie).
Fred Willard (left) in BEST IN SHOW
Fred Willard, as much as anyone, invented the deadpan mockumentary, starting with his talk show sidekick, Jerry Hubbard character in 1977’s Fernwood 2 Night with Martin Mull. Willard’s zenith was in This Is Spinal Tap and the Christopher Guest ensemble mockumentaries that followed: Waiting for Guffman, Best in Show, For Your Consideration, A Mighty Wind and Mascots. He finished up by playing yet another uncontrollable character, Phil Dunphy’s dad on Modern Family.
Here are some tidbits from Willard’s unashamedly unprepared dog show commentator Buck Laughlin in Best in Show:
If you put them in a race, who would come in first? You know if you had a little jockey on them, going like this imitates jockeys hitting the side of the horse].
And to think that in some countries these dogs are eaten.
I went to one of those obedience places once… it was all going well until they spilled hot candle wax on my private parts.
[sees the trophy] I’ve taken a sponge bath in smaller bowls than that.
Chadwick Boseman in MARSHALL. Photo credit: Barry Wetcher ;ourtesy of Open Road Films
Chadwick Boseman, an emerging superstar after his iconic role in Black Panther, was able to humanize real life icons like Jackie Robinson, Thurgood Marshall and James Brown. My favorite Boseman performance was in Marshall.
More overlooked movies to watch at home: the funniest and saddest movie – all in one – and two jaw-dropping documentaries. Plus an amazingly charismatic star in a classic noir…from Poland! Scroll down for remembrances of Jerry Stiller and Little Richard.
ON VIDEO
SPACESHIP EARTH, Courtesy of Spaceship Earth
Spaceship Earth: The latest from Silicon Valley native filmmaker Matt Wolf, this documentary traces an audacious scientific quasi-experiment of the 1990s, the Biosphere 2, perhaps the Last Stand of the Renaissance Man. Just released this weekend, Spaceship Earth can be streamed from iTunes, Hulu, Vudu, YouTube and Google Play.
Cold Case Hammarskjöld: This eccentric and irresistible documentary purports to solve a historical mystery, buts it”s an excuse for the filmmaker to hop around Africa talking to aged fixers and mercenaries. It’s both an investigatory documentary and a send-up of the genre. Available on most streaming platforms.
Night on Earth: this Jim Jarmusch indie has one of the very funniest scenes and one of the very saddest scenes – in the same movie. Night on Earth is comprised of five vignettes, each in a taxi and each in a different city: Los Angeles, New York, Paris, Rome and, of all places, Helsinki. It’s now available to stream from the Criterion Collection and Amazon. Do not confuse this 1991 Jarmusch film with the 2020 miniseries of the same name.
Ashes and Diamonds: This Polish thriller is one of my Overlooked Noir. A masterful director and his charismatic star make this a Can’t Miss. Last week I wrote when Turner Classic Movies aired it, but if you missed it, you can stream Ashes and Diamonds from Amazon and iTunes.
The most eclectic watch-at-home recommendations you’ll find ANYWHERE:
On May 16, Turner Classic Movies will air The Crimson Kimono, another sensationalistic and deliciously exploitative cop noir from the great Sam Fuller. Always looking to add some shock value, Fuller delivered a Japanese-American leading man (James Shigeta), an inter-racial romance and a stripper victim. The groundbreaking aspect of The Crimson Kimono is that Fuller’s writing and Shigeta’s performance normalized the Japanese-American character. This film is on my list of Overlooked Noir.
James Shigeta (Right) in THE CRIMSON KIMONO
REMEMBRANCES
Jerry Stiller, along with his wife and professional partner Anne Meara (scroll down), was a comedy pioneer. He’s best remembered for playing George Costanza’s father on TV’s Seinfeld and for being Ben Stiller’s real life dad. But Stiller sandwiched some good work in movies (The Taking of Pelham One Two Three, The Ritz, Hairspray) between the early and later phases of his work.
The Rock pioneer Little Richard has died. I fondly remember his hilarious turn in Down and Out in Beverly Hills as the neighbor to Richard Dreyfus’ family, Orvis Goodnight. He appeared in one of the very first rock n roll movies Don’t Knock the Rock (1956), a same-year followup to Rock Around the Clock. His music was featured in hundred of films and television shows.
