Category: Carol Kane

THE PRINCESS BRIDE

By Marc S. Sanders

The Princess Bride, Rob Reiner’s whimsical storybook fantasy come to life by means of a grandfather (Peter Falk) reading to his bedridden grandson (Fred Savage), has taken on an everlasting life of its own.  Though it’s not my favorite movie, it’s way up there for my wife, adjacent to Grease 2. I find it to be cute, but lacking a pulse on occasion.  Sorry, but for me a lot of the characters and moments are simply sleepy.  Maybe it’s literally too much of a bedtime story. Still, I do not frown on its pop culture touchstones since its release forty years ago.

Famed screenwriter William Goldman adapts his book that includes heroics and romance, along with swordplay and fire swamps haunted with R.O.U.S’s.  

A beautiful girl called Buttercup (Robin Wright, in her debut role) falls in love with a farm boy named Westley (Cary Elwes) who tends to any of her demands by responding with the simple catchphrase “As you wish.”  Though, just as the pair confess their affections for each other, Westley is thought to be killed by pirates.

Five years pass and Prince Humperdinck (Chris Sarandon) has declared that Buttercup is to be his bride.  The lady has no say in the matter and stands fast that she will never love again as long as Westley is gone. 

Buttercup is taken captive by three strangers. Vizinni, proud of his brilliant mind, Inigo Montoya an expert swordsman bent on avenging the six fingered man who killed his father, and Fezzick, the lovable giant.  (Respectively portrayed by Wallace Shawn, Mandy Patinkin, and Andre The Giant). 

But wait!!!! A masked man dressed in black takes up pursuit to rescue the kidnapped girl.

Everything looks familiar in The Princess Bride.  What has made the film so special is the attempts for comedy based on one liners and puns.  Billy Crystal is Miracle Max, the old healer, but with his Jewish New Yorker schtick for a personality.  Carol Kane compliments him well as the nagging wife.  Prince Humperdinck has people to kill and frame and a kingdom to overthrow, all while planning to marry Buttercup.  He’s swamped!  I love the sermon focused on “MAAWIDGE” delivered by the kingdom’s clergyman (my introduction to Peter Cook).  These moments of dry comedy make up for some unexciting leading characters.

Try as I might I have trouble understanding what Andre and Patinkin are saying beneath their dialects.  That’s an issue that takes me out of the movie. Patinkin moves gracefully with action, but his personality is sleep inducing.  Even with a Spaniard’s accent, he comes off very flat.  Christopher Guest is also here as Humperdinck’s right-hand man.  With This Is Spinal Tap! and his own mockumentaries, especially Waiting For Guffman, Guest’s appearance here is a bit of a letdown.  The guy is a perfect comic but he’s so dry and unexciting here.

Cary Elwes is dashingly handsome with his blond locks and a wry grin.  The sword fight with Patinkin is one for the ages, despite the blah music behind it and the artificial looking rock like set.

The soundtrack plays like a kid’s electric keyboard and the sets, while decorated impressively, still look like they are residing in a soundstage warehouse.  The beauty of fantasy is the escape.  The imagery must look convincingly like another world entirely.  Here I could never get past the fact that nearly everything from the fire swamp to the pit of despair and the castle looks like something from my fourth-grade play.  The costumes work.  The environments look too crafted out of spray-painted cardboard and paper mache, though. 

Robin Wright is the princess.  She’s beautiful, but there’s not much demanded of her from Goldman’s script except for a graceful English accent.

My favorite is Vezinni.  Wallace Shawn is simply doing Wallace Shawn and that’s absolutely fine by me.  The bratty Jewish guy with the lisp who operates with the most energy in the cast next to Crystal and Cook.  The best scene of the whole movie doesn’t include the screaming eels or a sword fight.  It’s actually when Shawn shares a moment with Elwes in a battle of wits.  Goldman writes his best dialogue here as Vizinni explains layers upon layers of logic because anything that Westley can think of can only be “INCONCEIVABLE!”  This scene plays like the best of Saturday Night Live or The Daily Show.  Truly one of my favorite comedy moments ever.

I like The Princess Bride.  I just don’t love it like so many ardent fans.  My hang ups just keep me out of the picture, and I think about what I want for dinner rather than where my full attention should be – the rescue of Buttercup.

Nevertheless, I love Rob Reiner for making such a film.  Too often the standard princess in the castle formula is reserved for Disney blueprints.  Goldman and Reiner colored outside the lines to lend comedic self-depreciation to the regular tropes.  I only wish they heightened their efforts a little more.

I miss Rob Reiner.  It’s a terrible loss and the tragic fate he shared with his wife is not only unfair to them but to the world of moviegoers and beyond.  He delivered bi-partisan opinions on politics, always looking to improve his country.  The height of his career might have been in the 1980s & 90s (This Is Spinal Tap, Stand By Me, The Princess Bride, A Few Good Men, Misery, The American President, When Harry Met Sally…) but he always remained a treasured filmmaker and occasional actor in surprising roles (The Wolf Of Wall Street, Sleepless In Seattle).  He’ll also always be “Meathead.”  Sadly, when I return to these special and often groundbreaking movies, there’s now a tragic mark on the experience.  How can I not think about what Reiner would still have contributed to the world had his life and ongoing legacy not been ripped away so brutally and unnaturally? 

It’s truly inconceivable.

SCROOGED

By Marc S. Sanders

Bill Murray with director Richard Donner delivered their contribution to the Charles Dickens assortment of A Christmas Carol iterations with a modern update called Scrooged.  Until now, this movie eluded me.  Yet I can’t deny it has all the ingredients for a sure-fire green light to make the movie.  Bill Murray? Doing Ebenezer Scrooge?  Stop everything people!  Get this ready for December.  STAT!

Unfortunately, it misses the mark.  

Now, I’m supposed to like this miser by the end of the story, right?  So then why is Murray’s personification so annoying and unappealing by the end? If I was his nephew, I’d rescind my invitation to come over for Christmas dinner.

The best and most hilarious part of Scrooged occurs in the beginning following the easily recognizable Danny Elfman instrumentals.  Santa and his elves are happily making toys when suddenly terrorists attack the North Pole and Lee Majors jumps out of nowhere ready to bear arms with ol’ St. Nick and his crew.  I was sad to realize this was only a TV commercial for the station programming that Murray’s character oversees.  If there is a God, he’ll reveal the location of the lost film for The Night The Reindeer Died.  Earlier this year I saw Lee Majors needlessly squandered away in the terrible Fall Guy adaptation.  It crushes me that he got this same kind of treatment over thirty years prior.

Bill Murray is the uncaring and thoughtless Frank Cross.  When we meet him on Christmas Eve day, he’s firing an executive (Bobcat Goldthwaite) for simply disagreeing with him.  Also, in typical overplayed Bill Murray fashion, Frank insists that his assistant Grace (Alfre Woodard) ignore the needs of her family during the holiday and get work done with him.  Grace of course filling in for the Bob Cratchit role.  

Following a few other gags to parade the comedian’s antics around, Frank is encountered with the Jacob Marley stand in, played by John Forsythe.  At this point I’m still with the picture even if the breadcrumbs are easy to follow.  Forsythe, in his grotesque makeup, works well against the clown who leads this movie.  (Not a bad scene together between Charlie and Bosley. “Hello Angels!”).

It’s when the follow up ghosts make appearances that my mind ponders what I’ll be writing about in this review.  Ghosts of Christmas Past (David Johansen) and Present (Carol Kane) enter on cue and right away I grew bored and uninterested.  

Johansen is a cabbie, or just another screeching screamer like Murray.  He’s laughing at Frank’s demise and past missed opportunities, but I’m not seeing what’s funny or even heartbreaking.  Neither theatrical mask of comedy or tragedy is functioning.  Carol Kane does her typical schtick with the high-pitched baby talk voice, dressed in a fairy get up.  Beyond that familiar routine, she commits every kind of Three Stooges smack and painful tug on Frank’s face that you can imagine.  Why of all things does she rely on a toaster to upper cut the jerk in his face?  I mean why a toaster???? If the comedy works, then I should not be wondering why a toaster or a pie or two by four or an anvil.

There’s nothing wisely written here.  The screaming and the smacking get old very fast and it gets in the way of a potential love story passed by that the script was promising for the Frank Cross character and his crush Claire (Karen Allen, whose smile always lights up a room).  I never felt like Bill Murray was ever listening to Karen Allen in the scenes they share.  Did they even rehearse this stuff?  Too often, Bill Murray seems to just be winging it, and it wouldn’t make a difference if Karen Allen even memorized her lines.

Scrooged starts out with fresh, quality made National Lampoon material but then waddles into the same typical chapters of Dickens’ holiday story.  However, while it hammers the familiar story beat by beat and you tell yourself there’s the Fred character and there’s the mute kid covering for a crippled Tiny Tim and there’s Yet To Come, you got Bill Murray who was granted too much artistic license to improvise, and has thus squeezed out all of the sensitivity and spirit that we expect from A Christmas Carol.

I’m sorry but I think I liked this Frank Cross a whole lot more before he was visited by the ghosts.  This is one Scrooge who should’ve been allowed to sleep through Christmas.

PS: If anyone can find a DVD print of The Night The Reindeer Died, I’m ready to review it.