Bernard Slade: From ‘Bewitched’ to Broadway

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By Ray Bennett

LONDON – Bernard Slade, who was born on this day in 1930, created TV shows such as “The Flying Nun” and “The Partridge Family” but he had his greatest success with the smash hit Broadway play “Same Time, Next Year”.

When I interviewed him, he had funny tales about his time as a Hollywood television writer and my favourite was from when he was story editor on “Bewitched”. He told me that in a script session, one of the studio suits queried a line of dialogue. Slade said he wanted to know: “Would a witch say that?” Continue reading

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Stephen Sondheim was grateful for London’s ‘fresh eye’

By Ray Bennett

It wasn’t only Broadway that Stephen Sondheim loved. In London in 2011 to mark his 80th birthday, the Tony Award-winning composer and lyricist who was born on this day in 1930, accepted a Special Laurence Olivier Award for his outstanding contribution to the stage. ‘I want to talk about the contribution British theatre has made to me,’ he said. ‘I am so grateful.’ Continue reading

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When Canadian actress Alberta Watson was just Susan

Alberta Watson - Version 2 x650By Ray Bennett

LONDON – I knew Canadian actress Alberta Watson, whose birthday was today, a long time ago when she went by her first name, Susan. To meet Susan Watson in 1977 was to fall in love. She was 21, beautiful and a force of nature.

We stalked each other around a CBC party when we first met and went out a few times. Then she took her middle name and was Alberta Watson and became a star. Continue reading

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20 David Niven movies you should see

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By Ray Bennett

David Niven, who was born 115 years ago today and died aged 73 in 1983, gave Ron Base and me the best quote of all time.

The Oscar-winning British actor was on a book tour to promote his first memoir, the brilliant “The Moon’s a Balloon”, in 1972. Ron and I, who worked at The Windsor Star across the river, went to a Detroit hotel ballroom for a lunch – a hospital fundraiser – at which Niven was to speak. We were told we could interview him afterwards. Continue reading

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Director Robert Altman on building sandcastles

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By Ray Bennett

I love the movies of Robert Altman, who was born 100 years ago today and died on Nov. 20, 2006, because some are masterpieces and the ones that are not invariably have moments of wonderment and magic that occupy the mind.

A new documentary titled “Altman”, to be released in the UK by Soda Pictures on April 3, illustrates the director’s philosophy that filmmaking is like building sandcastles – you make them and then the tide comes in and washes them away but what you made is in everybody’s memory. Continue reading

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The time I asked Robert Wagner about mortality

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By Ray Bennett

“What the hell kind of question is that?” It’s 1985 and I’m sitting with Robert Wagner, who turns 95 today, in his luxury trailer on the Warner Bros. lot where he was making the shortlived TV series “Lime Street”.

Two years earlier, I’d had lunch with him in that same trailer on the lot in Burbank where “Hart to Hart” was coming to an end. All around are photos of his family with many of his wife Natalie Wood (pictured below), who drowned at sea in November 1981 at the age of 43. Continue reading

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Stuart Margolin and James Garner: ‘a perfect friendship’

By Ray Bennett

Stuart Margolin, born on this day in 1940, was one of the great screen sidekicks working regularly with James Garner. Traditionally, in film and on TV, there have been two kinds of heroes – loners and those with sidekicks, There also have been two kinds of sidekick. Some sre there only to keep the hero from talking to himself. Others, the great ones, are there to drive the hero to distraction. Continue reading

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The astonishing range of Gene Hackman

By Ray Bennett

With most movie stars it’s not very difficult to sort out a Top 10 of your favourite films but Gene Hackman’s exceptional 40-year career has included so many terrific performances in such a wide range of films that it’s impossible. As the retired actor turns 95 today, here’s an extended list of Hackman films from his 99 acting credits that are even more watchable than most.

Obviously there are his Oscar-winning appearances in “The French Connection” (1971) and “Unforgiven” (1992) and his nominated roles in “Bonnie and Clyde” (1967), “I Never Sang for My Father” (1970) and “Mississippi Burning” (1989) plus the sequel “The French Connection II” (1975) and pleasing turns in “Superman” (1978) and “Superman II” (1980). But there are so very many more.

I met him once at the Long Beach Grand Prix in 1980 when he was the celebrity winner of the Toyota Pro/Celebrity Race with Parnelli Jones the pro winner. Not known for his patience with reporters, I approached him gingerly as he stood quietly by himself but he turned out to be completely relaxed and happy to chat.

Hackman retired in 2004 after “Welcome to Mooseport” and director Alexander Payne said at a Bafta Q&A last year that he had declined repeated attempts to get him to play what became Bruce Dern’s Oscar-nominated role in “Nebraska”.

It was a great disappointment when he retired but a great pleasure to learn from William Friedkin, who directed the actor in the “French Connection” films, at dinner at the Locarno International Film Festival a few years back, that Hackman was hale and hearty and enjoyed his family and his painting in his retirement home in Santa Fe.

Here’s my list of 20 other must-see Gene Hackman films.

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Scarecrow (above, 1973)

My favourite Gene Hackman movie in which he displays his extraordinary ability to be dangerous, sympathetic, vulnerable, and remarkably funny. He plays an ex-convict on his way back east where he aims to open a laundromat but his plans are diverted when he encounters a forlorn ex-sailor (Al Pacino) on the highway and decides to help him find his former sweetheart and their child. Directed by Jerry Schatzberg (“The Panic in Needle Park”), it co-stars Dorothy Tristan, Ann Wedgeworth and Eileen Brennan. Hackman’s striptease in a bar is a joy to see.

Royal Tenenbaums

The Royal Tenenbaums (above, 2001)

Splendidly enjoyable Wes Anderson saga about the weird and wonderful Tenenbaum family whose estranged patriarch (Hackman) returns to announce that he is soon to die. Anjelica Huston plays his former spouse with Ben Stiller, Gwyneth Paltrow and Luke Wilson as their offspring. The cast includes Owen Wilson, Bill Murray, Danny Glover, Seymour Cassel, Kumar Pallana and Alec Baldwin. Hackman is marvellous and the entire cast raise their game delightfully.

The Conversation (1974)

Superb and highly praised study of a surveillance expert who comes to suspect that the subjects of one of his assignments will become murder victims. Paced deliberately by writer/director Francis Ford Coppola as the tension mounts, it shows Hackman at his quiet and observant best. John Cazale, Allen Garfield, Federic Forrest and Cindy Williams co-star.

UNDER FIRE, Gene Hackman, Joanna Cassidy, Nick Nolte, 1983

Under Fire (above, 1983)

One of the best films about dirty dealings by the United States in Central America directed by Roger Spottiswoode. Hackman, Joanna Cassidy and Nick Nolte play journalists covering the final days of the corrupt reign of dictator Somoza in Nicaragua in the 1970s. Ed Harris co-stars.

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Bite the Bullet (above, 1975)

Richard Brooks writes and directs an epic and hugely entertaining western about a grand horserace across plains and deserts with Hackman as an ex-Rough Rider and a fine cast that includes Candice Bergen, James Coburn, Ben Johnson, Ian Bannen, Jan-Michael Vincent and Dabney Coleman.

Hoosiers (1986)

Hackman plays a basketball coach tarnished by scandal who goes to work at a small town highschool and inspires the team to go for the championships despite local whispers and naysaying. Directed by former “Hill Street Blues” producer David Anspaugh, it’s a gentle and emotional film that co-stars Oscar nominated Dennis Hopper with Barbara Hershey and Sheb Wooley. Jerry Goldsmith also had an Oscar nomination for his evocative score.

Cisco Pike (1972)

Sex, drugs and rock’n’roll set in Venice, CA, with Kris Kristofferson as a faded star whose attempt to go straight after a jail term for dealing drugs is threatened by a crooked cop (Hackman) who blackmails him into another drug deal. Karen Black, Harry Dean Stanton, Roscoe Lee Browne co-star with Viva and Joy Bang.

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Prime Cut (above, 1972)

Gritty crime story about a tough Chicago hoodlum (Lee Marvin) who is sent to a cattle ranch in Kansas City run by a flamboyant criminal who uses his mincing machine to deal with miscreants and trades in women (including Sissy Spacek in her debut) that he keeps in his cattle pens. Seedy, sordid and hugely entertaining

Heist (2001)

Tense and inventive story with Hackman as a veteran jewel thief mixed up in a job with people he has no reason to trust. Written and directed by David Mamet, it co-stars Danny DeVito, Delroy Lindo, Sam Rockwell, Ricky Jay and Patti LuPone.

Marooned (1969)

Hackman is one of three US astronauts stranded in space in an exciting John Sturges picture that also stars Gregory Peck, Richard Crenna, David Janssen, James Franciscus, Lee Grant and Mariette Hartley. It won the Oscar for best effects that year.

Downhill Racer (1969)

Engaging sports yarn directed by Michael Ritchie about a US ski team led by Robert Redford, who won the Bafta for best actor, with Hackman as the coach.

The Gypsy Moths (1969)

John Frankenheimer’s film of James Drought’s 1955 novel about a July 4 weekend show in a small American town put on by a team of barnstoming skydivers. Burt Lancaster and Deborah Kerr are reunited 16 years after “From Here to Eternity” and the strong cast includes Bonnie Bedelia, Shree North and Scott Wilson.

Twilight (1998)

Hackman, Paul Newman and James Garner star in an elegant and elegiac tale about oldtimers mixed up in a 20-year old murder case directed by Robert Benton, who scripted with Richard Russo. Susan Sarandon co-stars along with Reese Witherspoon, Stockard Channing, Giancarlo Esposito, Liev Schreiber, Margo Martindale and M. Emmet Walsh.

The Firm (1993)

David Rabe, Robert Towne and David Rayfiel make cracking improvements to John Grisham’s thriller about a corrupt Memphis law firm and Sydney Pollack keeps a furious pace. Hackman plays a weak and vulnerable crooked lawyer as newcomer Tom Cruise and his wife Jeane Tripplehorn attempt to bring justice to bear along with David Strathairn and Oscar-nominated Holly Hunter. Hal Holbrook and Wilford Brimley are among the bad guys with Ed Harris as a determined lawman. Terrific Oscar-nominated piano score by Dave Grusin.

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Crimson Tide (above, 1995)

Tony Scott directs a version of “Mutiny on the Bounty” underwater in a sturdy and suspenseful drama that pits an old-school taskmaster submarine captain (Hackman) against a formidable younger officer (Denzel Washington) who fears that his boss has lost his judgment. Matt Craven George Dzundza, Viggo Mortensen and James Gandolfini co-star.

Get Shorty (1995)

Savvy Elmore Leonard yarn directed wittily by Barry Sonnefeld about an East-coast hoodlum (John Travolta) who is beguiled by the easy takings on hand in greedy and gullible Hollywood. Hackman plays a not-very-bright producer and the cast includes Danny DeVito, Rene Russo and Dennis Farina. Terrific soundtrack with score by John Lurie.

No Way Out (1987)

Hackman’s on the dark side as a weak politician in Roger Donaldson’s tense little thriller in which a navy officer (Kevin Costner) must beat the clock in the hunt for the real villain after the politico’s mistress is killed. Sean Young co-stars with George Dzundza, Howard Duff and Will Patton in a gripping turn as the politician’s devious but increasingly desperate aide.

The Package (1989)

Andrew Davis, who went on to make “Under Siege” and “The Fugitive”, directs a snappy little thriller in which Hackman plays a veteran Green Beret sergeant whose Airborne Ranger prisoner (Tommy Lee Jones) escapes as he escorts him back to the US. Joanna Cassidy, John Heard, Dannis Franz and Pam Grier co-star.

Full Moon in Blue Water

Full Moon in Blue Water (1988)

A sweet and moving story with Hackman as a widower named Floyd who owns a bar in a small Texas town on the Gulf of Mexico and struggles with a failing business, depression from his grief, and an aging father-in-law (Burgess Meredith) who suffers from dementia. Teri Garr and Elias Koteas play sympathetic workers at the bar with Kevin Cooney as a businesman who aims to take advantage of Floyd’s dilemma.

Night Moves (1975)

Hackman plays a former football player turned private detective who is hired to find the wayward teenaged daughter of a faded Hollywood starlet. Directed by Arthur Penn, it co-stars Jennifer Warren, Susan Clark, Edward Binns, Harris Yulin and Kenneth Mars with a provocative debut by the then 18-year-old Melanie Griffith.

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John Hurt on the importance to acting of imagination

By Ray Bennett

At his elegant home in Chiswick in west London, John Hurt, who was born 85 years ago today, smoked cigarettes contentedly and over a long, relaxed conversation, spoke candidly to me about  many things including the art of acting. 

Michael Radford’s screen version of George Orwell’s ‘1984’, in which he stars, was about to be released and Richard Burton, who plays Inner Party member O’Brien in ‘Nineteen Eighty-Four’, had died aged 58 that August, so naturally I asked how they got along.

‘I think Richard found that without alcohol privacy was probably an easier way to pass his time but he was still very good with people,’ Hurt said. ‘He always had his arms outwards even when he wasn’t drinking at all, which he wasn’t. In a sense, it was a bit like a wounded bull but then it wasn’t just that, there was the operation on his neck and things that aggravated him insofar as he didn’t have the power just to be who he is. We got on very well. It was almost as if we were contemporaries. It was a very good feeling.’ 

Hurt said that he and Burton also worked in a very similar way. ‘We switch on and off quite easily,’ he said. ‘Obviously, when you’re doing a very heavy film, you develop a rather unique sense of humour. When you’re not shooting, there are quite a lot of jokes going around, which Richard and I and Michael all enjoyed along with the rest of the cast and crew. I don’t think you’d find that with some of the heavy American stars because they tend to wear it on their sleeve and make you understand that it is damned hard work. I’ve always been of the opinion that it is the imagination that flies. That’s how you take an audience, with your imagination. That, presumably, is what talent is. It’s not endless observation, which of course is page one. Of course you observe, every artist observes whatever they are – painters, writers, musicians. To wear it on your sleeve … I don’t know, it seems to me the justifying something in a kind of way. I don’t quite know what.’

Hurt went on to ruminate about certain Hollywood stars: ‘Robert De Niro makes extraordinary announcements when asked by the press – you never quite know how well it’s reported – but quite clearly when asked about acting he has said, “I want it to be real.” At the time, he was doing “Raging Bull”. This is either a very naive or stupid remark insofar as Jake LaMotta was still walking about. It can’t be real. Jake LaMotta was  the real thing and there was no question about it.  What you can do is imaginatively create a reality that the audience believes. Then you get Al Pacino saying things like “My constant search is to reach that point where you do not have to act.” Acting all the way, I thought, when he said it. To me, that is page one. Of course that is the impression you wish to give so I know what he means. He means to be able to walk straight into it in a way that it has such a point of reality that you cannot distinguish. But that is the art and it is only the imagination that will get you there.’

He said he didn’t mean that therefore actors should be lazy about observation and research but those things, to him, were the technicalities of being a performer on a high level. ‘These are things you take for granted, it seems to me,’ he said. ‘When Stanislavsky basically invented The Method, it was at a time when the Moscow Arts Theatre was pretty well at a low ebb. It was resting on its ancient laurels and along came a particularly good playwright named Chekhov so something had to be done because on the first reading of “The Cherry Orchard”, they all sat around and said, well, there are no parts in it. Stanislavsky was much too serious for Chekhov anyway, as an aid to imagination. But it was an aid. Imagination in any artist must be the quality that is the envy of the human race, is it not? It must be, because otherwise I don’t think we’d be sitting here talking. It’s not my research that anyone’s interested in. The question always comes down to how do you act? And, of course, there is no answer.’

Hurt died aged 77 on January 25, 2017.

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Martin Shaw hasn’t always been a TV copper

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By Ray Bennett

Martin Shaw, who turns 80 today, is known best for playing TV coppers in “The Professionals” and “Inspector George Gently” but he also has had a long stage career in roles from Stanley Kowalski to Lord Goring to Elvis Presley, and he loves to fly.

The Birmingham-born actor is regarded as a prickly interview subject but when we chatted in 2011 for a story in Cue Entertainment, we got along fine, possibly because we’re about the same age.

Shaw won international fame as Doyle, a young action hero in tight jeans with his hair in a huge perm alongside Lewis Collins as Bodie in the action series “The Professionals”, which ran from 1977 to 1983. The actor made clear at the time his displeasure with “The Professionals” and he had no desire to talk about it now.

Shaw, left, with the late Lewis Collins in 'The Professionals'

Shaw, left, with the late Lewis Collins in ‘The Professionals’

But when I asked him if Doyle might have grown up to be George Gently, the shrewd senior officer with short steely hair and a manner to match, he said: “Good question. It’s hard to answer because Gently is a real person, a real character, and Ray Doyle wasn’t.”

It couldn’t have happened because “The Professionals” was very much a 1970s show while “George Gently”, which commences its eighth season on BBC One this year, is set in the 1960s. Shaw said he was drawn to the role because of the way he was created by writer Peter Flannery in the pilot script.

Gently is a policeman who has been hardened by war and his wife’s murder: “George is an old-time copper. He fought in World War Two and he’s a very tough, seasoned fighter. He knows about hardship and has seen tough times.”

It was intended to be much darker than the series has become, Shaw said executives saw potential in the relationship between Gently and the younger policeman played by Lee Ingleby so it was “softened” for broader appeal: “The pilot ended with the baddie, a very mad man played by Phil Davis, being hanged. The priest said, ‘‘Do you have any last words?’ And he said, ‘Yeah. Make it fucking slow.’ Blackout. That was how dark the pilot was, but it became a different show.”

Shaw as Elvis onstage

Shaw as Elvis onstage

Shaw said the 1960s setting has allowed the show to delve into social and cultural issues of the time such as police brutality, capital punishment, racism, wife beating and abortion: “In the UK, it seems to me that necessarily everything stopped during World War Two. From 1939 to 1945, everything stopped. Then, from ’45 to ’60, everything was still at a standstill because we were in recovery. And then, suddenly, there was more than 20 years of movement and progress that developed in about 18 months.”

Before “George Gently”, Shaw had the title role in the legal series “Judge John Deed” for six seasons from 2001 and played writer P.D. James’s forensic detective Adam Dalgleish in “Death in Holy Orders” in 2003 and “The Murder Room” in 2005: “Interestingly, I’ve played more homosexuals than I have cops. But we make a lot of cop shows. It’s just what gets noticed. It’s either an observation or an indictment; it depends on your point of view. You’re either gonna be a copper, a lawyer or a doctor. That’s it.”

As a young man, he was at drama school with innovative artists such as French director Michel St. Denis, British director Peter Brook, and playwright Charles Marowitz. His early work was at the Royal Court Theatre, and with leading theatrical directors William Gaskill and Peter Hall and future filmmakers Roman Polanski and Lindsay Anderson (“O Lucky Man”): “My start, long before ‘The Professionals,’ was with all these people and it was such an exciting time to be an actor.”

He credited a 1974 run in London’s West End as Stanley Kowalsky in Tennessee Williams’ “A Streetcar Named Desire” as a major breakthrough and in 1985 he played Elvis Presley in the long-running play “Are You Lonesome Tonight?” by Alan Bleasdale. Shaw was an Elvis fan but he said the show was a challenge: “I used to sit up until 3 in the morning watching the documentaries … stop … freeze frame … play bits back … and then learn my lines … get up at 6 to learn more lines. It was hard bloody work. There were so many expectations but I was constantly reassured both by [writer Alan] Bleasedale and [producer Bill] Kenwright, and the director Robin Lefebvre, who said, ‘We don’t want an impersonation. This is a performance. Get on the inside.’ It sort of evolved by osmosis and I got to be like him anyway. Then we got the Evening Standard Award, so it was obviously well received and well respected.”

Shaw onstage with Jenny Seagrove in 'The Country Girl'

Shaw onstage with Jenny Seagrove in ‘The Country Girl’

Among his greatest stage successes was his appearance as Lord Goring in Oscar Wilde’s “An Ideal Husband,” which was directed by Peter Hall and ran on Broadway for 307 performances from April 1996. Shaw was nominated for a best actor Tony Award and won the Drama Desk Award for outstanding featured actor in a play. I saw him on the West End stage at the Apollo Theatre on Oct. 11 2010 in Clifford Odets 1951 “The Country Girl” and he and co-star Jenny Seagrove were outstanding in roles played in the 1954 movie by Bing Crosby and Grace Kelly, who won an Oscar.

A keen aviator who gained his pilot’s licence more than 20 years ago, Shaw has made several documentaries for the BBC about military exploits involving planes such as “Aviators” (2006), “Dambusters Declassified” (2010), and “Jericho” in 2014.

His interest in flying started with his father as far back as he can recall: “I was born and raised in Birmingham no more than a mile or two from Castle Bromwich, which was where they made and assembled and tested Spitfires and Lancasters. From my earliest memories, the sky was always full of aeroplanes. We went flying in an old biplane from Castle Bromwich for 5 bob each  (5 shillings in old English money). It just started from that.”

A thoughtful man who prefers country solitude to city life, he reflected on the passage of time. For the “Dambusters” documentary, he navigated a plane as it flew at low level toward the dam of the Möhne reservoire, which was the target of the May 1943 raid by RAF personnel from Australia, Canada and New Zealand. When they landed, he did some pieces to camera and interviewed people at the dam: “I found that incredibly moving; far more moving and disturbing than I’d expected because it was such a peaceful and a pretty place. To imagine that I had been born at the end of a conflict with all of these lovely people around – pushing prams, and having picnics in this beautiful place – and I was part of a race that had triumphantly destroyed this area and killed thousands of people … we all talk very glibly about the futility of war but it’s never been more powerfully brought home to me than being underneath the Möhne Dam and surrounded by lovely people on a beautiful spring day. Time just makes it utterly and completely nonsensical.”

He said he is glad, though, to have lived when he did: “We’ve got the vocal memory; we’ve got the word of mouth. I think we’re possibly the last generation to have that because people after us have got these things (points at my digital devices). My grandmother used to tell me about the Wild West Show. She saw the Wild West Show in Birmingham at Bingley Hall. She saw Buffalo Bill and Chief Sitting Bull. She used to tell me when I was a little boy: ‘He rode up on a big white horse and he had a big white hat and a long pointy yellow beard and long yellow hair, and he reared up on the horse and said, ‘Look over there, ladies and gentlemen, and all the Indians came out led by Chief Sitting Bull.’ And I’ve heard that. It’s living.

The “Dambusters Declassified” and “Jericho” documentaries are available on YouTube

https://www.youtube.com/watch?v=HAlaPEfcX2Q and

https://www.youtube.com/watch?v=35qsu9HsYos

 

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