Gregory Peck on finally landing his dream role: Abraham Lincoln

Gregory Peck as Abraham Lincoln, The Blue and the Gray 1982 x600

By Ray Bennett

In 1982, Gregory Peck achieved a lifetime ambition to portray his idol Abraham Lincoln onscreen. It was a cameo appearance in the CBS miniseries “The Blue and the Gray”, which became the subject of a special issue in TV Guide Canada.

I traveled from Toronto to Southern California to interview director Andrew V. McLaglen and members of the cast such as Stacy Keach, John Hammond and, of course, Peck.

In our lengthy interview at Peck’s lovely home in the Holmby Hills in L.A., he spoke at length – unhesitating and in great detail with no resort to a book or notes – about Lincoln and his admiration for the man.

I asked him if TV Guide Canada could run his comments under his name, to which he agreed. He later sent me a note of thanks for giving him his first byline. With the UK release this weekend of Steven Spielberg’s wonderful “Lincoln” starring Daniel Day Lewis, Peck’s words came to mind.

He told me: “I have admired Abraham Lincoln since I was a boy. I learned the Gettysburg Address when I was 12, and recited it in school. I first read Carl Sandburg’s “Lincoln” in university, at Berkeley, and I was totally absorbed by it.”

Over the years, he had accumulated something like 200 books about Lincoln, he said: “That doesn’t make me a top-of-the-line collector of Lincolniana; I’m somewhere in the middle. But often, when I have a moment at any time of the day or night, I’ll reach for one of my Lincoln books, open it anywhere and have a visit with him. He is my ideal.”

Peck had always wanted to play him but nobody asked him, and he thought there had not been very many plays or films about him in recent years, at least not one he though amounted to anything in the 40-odd years since Raymond Massey did “Abe Lincoln in Illinois” and Henry Fonda did “Young Mr. Lincoln”.

He said: “He’s a difficult subject to dramatize because he’s a secular saint. You can’t praise him any more than he’s been praised; you can’t heap any more adulation on him. Nothing is more boring than a play that simply rediscovers that a man is good. You have to find a bone of contention, a source of conflict, and with Lincoln that’s not easy to do.”

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Most people seemed to think Lincoln was rather dour and glum, and his appearance certainly gave that impression, Peck said, but the man was full of humour: “He liked nothing better than a good old story-telling session; telling jokes and yarns about his rustic days on the frontier and his experiences as a young lawyer on the Illinois circuit.”

Lincoln worked on his address for a couple of weeks before he went to Gettysburg, Peck observed: “It’s a myth that he scribbled it on the back of an envelope on the train. He had worked on it several times at the White House, knowing he had that engagement. In fact, he went to Gettysburg that day, Nov. 19, 1863, with a purpose in mind: not merely to dedicate the cemetery where men from the terrible battle of the previous July were buried, but to restate for the North and for the South what the war was all about.”

The issue was not slavery, Peck said, although morally Lincoln was against it: “He often said that if he could preserve the Union all-free, he’d preserve it; if he could preserve it all-slave, he’d preserve it; if he could preserve it half-free and half-slave, he’d preserve it. Preserving the Union was the primary objective of his administration, and of his life.”

Peck described the Civil War as the most critical event in U.S. history, and the most tragic: “The casualties of 618,000 equalled the number of casualties in all of our other wars including the Revolutionary War, up to the time of Vietnam. It was a horrific slaughter of young men at a time when the total U.S. population was 34 million.”

It was a terrible sacrifice, and Lincoln bore the responsibility for it, he observed: “We’ll never know, but in my mind, it was Lincoln – with his intuition, his talent, his logic, his character and his vision – who took on the full responsibility for that conflict, because he was able to see ahead that if he did not, if someone did not, then the United States might split into two or four or six countries. We might have had the equivalent of the Balkan states on this continent.

“Abraham Lincoln is the American hero. He is what we think we are, or would like to be, in terms of character, shrewdness, intelligence, compassion and humour. He is the greatest American of all time.” ©

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FILM REVIEW: Kathryn Bigelow’s ‘Zero Dark Thirty’

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By Ray Bennett

Kathryn Bigelow’s taut and exciting “Zero Dark Thirty” tells how a single-minded CIA officer drove the decade-long hunt for Osama Bin Laden and does not stop for politics or personal lives. Unlike Ben Affleck’s CIA film “Argo”, it does not cater to the audience with anything crowd-pleasing, it simply tells the gripping and thoroughly scary story of how a super-power goes about the elimination of its declared No. 1 enemy.

Jessica Chastain is terrific as agent Maya, who is propelled into the hunt for the Al Qaeda leader following the events known as 9/11 and becomes convinced that only she has the will to sort through a maze of intelligence to find her target. Writer Mark Boal, who won Academy Awards for original screenplay and as a producer of fellow double Oscar-winner winner Bigelow’s 2008 picture “The Hurt Locker”, has turned his in-depth reporting into a story remarkable for its cool detachment. Continue reading

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FILM REVIEW: Steven Spielberg’s ‘Lincoln’

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By Ray Bennett

Steven Spielberg has done a very bold thing with his film “Lincoln” and elected with Daniel Day Lewis to portray a truly great man over one intense period toward the end of his life rather than attempt a full biography.

They succeed magnificently and create an indelible picture of a profoundly wise and complex man who remains for many the greatest American who ever lived.

It’s one of the best movies about politics you’ll ever see and the infighting in Congress and machinations to find votes over a momentous piece of legislation are riveting. Screenwriter Tony Kushner gives a wonderful cast a full measure of meaty and often funny dialogue to chew on and they do it with panache.  Continue reading

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London Critics’ Circle Awards honour ‘The Master’

'The Master' Joaquin Phoenix cliff

By Ray Bennett

LONDON – Joaquin Phoenix (pictured) was named best actor and Philip Seymour Hoffman best supporting actor for “The Master” while Ang Lee won as best director for “Life of Pi” as Michael Haneke’s “Amour” picked up three awards including best film at the London Film Critics’ Circle Awards.

Bill Westenhofer won the technical prize for visual effects in “Life of Pi”.  Emmanuelle Riva won as best actress for “Amour” while director Haneke picked up the prize for best screenplay although “Rust and Bone” won the best foreign-language award. Anne Hathaway was named best supporting actress for her performance in ‘Les Miserables”.

A list of winners follows: Continue reading

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FILM REVIEW: Quentin Tarantino’s ‘Django Unchained’

Leonardo DiCaprio, Christoph Waltz, Samuel L. Jackson and Jamie Foxx in 'Django Unchained'.

Leonardo DiCaprio, Christoph Waltz, Samuel L. Jackson and Jamie Foxx in ‘Django Unchained’.

By Ray Bennett

In all that time Quentin Tarantino spent in his storied video store as a young man, you’d think he would have seen one or two decent films instead of the rubbish he re-peddles. There might be a funny little spoof of ’60s westerns somewhere in “Django Unchained” with all the hammy acting but at 165-minutes, this vile new excretion is bloated, gross, coarse and deeply unpleasant. Continue reading

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Entertainment industry moves to support HMV rebirth

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By Sam Andrews and Ray Bennett / This story appears in Cue Entertainment

Provided a buyer can be found, administration could be the best thing for HMV in the long run, according to entertainment industry leaders.

Executives said the opportunity to shed loss-making stores and its £176 million debt could leave the business in much better shape to survive. UK Music Chair Andy Heath told BBC Radio Four’s Today programme: “Going into administration gives HMV an opportunity for a substantial and decent rebirth.” Continue reading

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FILM REVIEW: Woe are they: ‘Les Miserables’

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By Ray Bennett

Fans of the musical “Les Miserables” guarantee that it will make you cry, and they are right. Like the stage show, the film is a near three-hour wallow in a swamp of misery with an endless litany of choruses on a variation of “Woe is me”. When I realized they were never going to shut up, that’s when I wept.

There is a big cast topped by Hugh Jackman, Anne Hathaway and Russell Crowe but bad music combined with banal words exposes every flaw in performers and only one or two come out of it well.

It’s notable that over 25 years the stage show failed to produce a hit song – usually a requirement in musicals – until one of Simon Cowell’s acolytes rendered one almost hummable. The perpetrators of the original penned something new for the film, titled “Suddenly”, but it’s indistinguishable from the rest.

Director Tom Hooper saves a great deal of expense on sets and locations by placing much of the action in the cast’s tonsils. The stage show seems designed to blast the audience through the back wall of the theatre but in the film Hooper puts everyone not so much in the front row as on the stage to be screamed at personally.

Set in the 19th century in a France beset by cruel laws and even worse toiletry, the story tells of Jean Valjean, who was sentenced to many years of hard labour after he stole a sandwich. The film begins with a sequence with some of the worst CGI in memory in which Valjean labours with several hundred other men to haul a sailing vessel by rope into a vast dock while they warble a droning syncopated number about looking down. High above them struts their overseer, Javert, who despite myriad villains to choose from, has become fixated on the unjustly imprisoned Valjean, possibly because he’s taller but more likely because it was his sandwich.

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No sooner has Valjean been released than he tries to steal the silver from a local church but fortunately for him the priest in charge has never run into a thief before and he gives him the candlesticks to keep. Valjean gets religion – there’s a lot of religion in “Les Miserables” – and swears that he will never do wrong again.

In no time, he has parlayed the silver into a large factory in a town where he also is the mayor but he fails to see how his employees – miserable, overworked and underpaid – are mistreated. Enter Fantine (Hathaway, above with Jackman), a desperate waif with a child in a horrible orphanage who is accused falsely by her co-workers and then cast out into the street. To pay for her child’s keep, she sells her hair and her back teeth but then is forced to sell herself. Fantine resembles a long-time concentration camp victim, bloody and bruised, but horny Frenchmen are persuaded that in a parallel universe she could be Catwoman. Their sated lust tips poor Fantine into an even deeper slough of despond that only an Oscar could assuage and she sings at length about her woe.

The self-pity is dolloped out in equal portions amongst all the principals and Jackman gets to repeat his big numbers more than once. Director Hooper makes sure that in most of his scenes Crowe is in high places so that he’s not mistaken for the toddler soldier Gavroche. But when he sings it’s as if Lord Nelson burst suddenly into song atop his Trafalgar Square column.

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When he’s not high up, Javert proves himself to be as inept a policeman as Inspector Clouseau without the laughs. Although he has redoubled his efforts to find Jean, he fails to recognise him many times and also overlooks the far more heinous antics of a couple of pantomime clowns who seem to have stumbled in from another movie.

They are the ostentatiously nefarious Monsieur and Madame Thénardier,  over-acted gruesomely by Sacha Baron Cohen and Helena Bonham Carter, who kidnap children and commit robbery and mayhem but never catch Javert’s eye. Eddie Redmayne and Amanda Seyfried play youngsters who fall in love at first sight but are separated quickly so they can sing woe are they, and the brightest spark in the film is newcomer Samantha Barks, pictured left, who plays the lovelorn Eponine. Hooper makes her sing her big number in torrential rain, the better to underline the fact that, you know, woe is she.

By the time the barricades have been charged and Valjean and Javert have had their big stand-off, the banality is overwhelming. When at the end Fantine re-appears to take Valjean to meet his higher power, she’s not gained much weight but she is all scrubbed up and by that time, exhausted, it’s just possible to imagine, as Valjean does, that she’s a little bit enchanted.

Opens: UK: Jan. 11, Universal; Cast: Hugh Jackman, Anne Hathaway, Russell Crowe, Amanda Seyfried, Eddie Redmayne, Helena Bonham Carter, Sacha Baron Cohen, Samantha Barks; Director: Tom Hooper; Writers: William Nicholson, Alain Boublil, Claude-Michel Schoenberg, Herbert Kretzmer, based on Cameron Mackintosh’s production of Boublil & Schoenberg’s original stage musical “Les Miserables”, from the novel by Victor Hugo; Director of photography: Danny Cohen; Production designer: Eve Stewart; Costumes: Paco Delgado; Editors: Chris Dickens, Melanie Oliver; Producers: Tim Bevan, Eric Fellner, Debra Hayward, Mackintosh.  Directed by Tom Hooper.  Executive producers: Angela Morrison, Liza Chasin, Nicholas Allott, F. Richard Pappas; Production: Relativity Media, Working Title Films, Cameron Mackintosh; Rating: UK: 12A / US: PG13; 157 minutes.

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‘Lincoln’ with 10 tops Bafta nominations

Lincoln

By Ray Bennett

Steven Spielberg’s “Lincoln” (pictured) led the British Academy Film Awards nominations with 10 followed by the musical “Les Miserables” and fantasy film “Life of Pi” both with nine.

Nominations for “Lincoln”, which 20th Century Fox will release in the UK on Jan. 25, included best film, Daniel Day Lewis as leading actor and Sally Field as best supporting actress. Continue reading

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Best in film in 2012: ‘Lincoln’ tops my list

'Lincoln' Daniel Day Lewis fb1

By Ray Bennett

For the first time in a long time there are several films this year that would make an excellent choice as best picture along with a raft of great performances. Below are my picks.

My yardstick has been to assess filmmakers, performers and composers who raised their game, who did the unexpected, and whose contribution to a film made a marked difference. Continue reading

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FILM REVIEW: Tom Cruise in ‘Jack Reacher’

Jack Reacher fb1

By Ray Bennett

For the millions of fans of crime writer Lee Child’s bestselling novels, Jack Reacher is 6-foot-5 with a barrel chest and fists like hams. Tom Cruise is not.

For the majority of Cruise fans who have not read the books, this is irrelevant. As producer, the star has simply bought himself a mystery story and a character who is a gifted detective and an unstoppable force.

Director and writer Christopher McQuarrie (who won an original screenplay Oscar for “The Usual Suspects”, 1995) has turned Child’s novel “One Shot” into a vehicle for Cruise but it’s an average crime picture with little excitement or suspense. Continue reading

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