We bid a sad farewell to Robert Guillaume, who has died at age 89. The deep-voiced actor of great presence performed on stage in the Broadway musical “Purlie” and became best known to audiences as Benson, the butler on “Soap,” who became so beloved by audiences and by his peers that he became the first black actor to win an Emmy for comedy and his character became Lieutenant Governor to give Guillaume more scope and airtime.
My favorite of his performances was in the neglected gem, “Sports Night,” where he played Isaac, the boss of the all-sports television station. In fact, this scene is one of my favorite moments in any movie or television show ever.
I was also very moved by the way he and the show incorporated his real-life stroke into the storyline, making even more clear his courage, determination, and magnetic screen presence.
The average age at which our survey respondents said they watched their first horror film was 7.2 years old. If that average held true when expanded to the full population, that would mean that the average American kid has seen a horror movie before they finish third grade. In an article full of scary movies, that fact terrifies us more than all of them.
I enjoyed this chart showing the most searched for scary movies by state:
Interview: Michael Bernardi of “Marshall” and “Fiddler on the Roof”
Posted on October 20, 2017 at 1:08 pm
I loved seeing Herschel Bernardi play Tevye in “Fiddler on the Roof” in the 1960’s and it was a great pleasure to speak to his son, Michael, who played the role in the Broadway revival. He also appears in a brief but very compelling role in “Marshall,” the film about one of Thurgood Marshall’s early criminal cases.
What was your audition like for “Marshall?”
I was in the middle of Fiddler on the Roof on Broadway and I was in rehearsals for my first shot at playing Tevye as an understudy when I got word about this audition for a project with Thurgood Marshall. I got extremely excited and so I knew I had to do everything in my power to make that happen.
The scene in Marshall has a lot going on and there’s a lot of subtext. You don’t want to come in all over the place. It’s very specific what’s at stake in the scene. So I remember being in rehearsal, being in 1905 Eastern Europe wearing my shtetl wardrobe and then getting on a subway and walking into the world of Marshall and finding the Zen place within myself to just serve the story as much as possible. That probably helped because there was no time to overthink it. Also being in Fiddler was such an incredible resource of information, to be already immersed in that world, to really understand what that immigrant experience was and what was at stake, what people were fighting for as they arrived in America and what the cost would be if things didn’t work out. So I was very pleased with how the scene showed so many of those colors and just trying to plumb those circumstances as much as possible as in a very short time span tell that story of what was at stake for the Jewish people in that time period and at the same time fighting for the future and fighting for equality and fighting for acceptance.
What difference has your father’s legacy as an actor made in your life?
He died when I was one and a half. But there were family members that told me his story and he left behind such incredible legacy, so my entire life I’ve been blessed to have random people coming up to me just stopping dead in their tracks and going, “Your father meant so much to me and my family.” Just this look in their eyes of such reverence and love when they speak about him. I feel like the love that I may have missed out on from my father has been given to me through the love that he gave to so many people. So in that regard my entire life I’ve definitely have felt that the presence of the story of Fiddler and what that story means and has meant to millions of people.
It’s a very specific story, and yet it seems to have such universal impact.
Because we are human and because really Fiddler on the Roof was created structurally as an empathy machine. Especially that first act of Fiddler on the Roof was constructed to find that common humanity of human beings through humor and to really show that this is a family that you’re meeting that has the same worries and daily foibles and conflicts of any family that has ever lived.
I think Fiddler is about family and I think that’s why it’s so universal; it speaks to everyone’s kitchen table and then once you achieve that kind of familiarity with an audience and that audience recognizes themselves and their family in these people onstage that come from a completely different culture, you find that union. And then in the second act you can really start introducing the plight and the specific trials of that cultural group and once you make that connection then that audience can go on that ride and truly have an empathetic experience. I know that everything I write, everything that I’m involved in, that’s my greatest goal, is to endear an audience and find that commonality amongst people, not the lowest common denominator amongst people but the truth that we all share.
A great way of doing that is through comedy and making people laugh and literally having that experience of sitting in a theater and finding something funny on stage and experiencing that the person next to you and the person in the row in front of you is also laughing and that person is a total stranger, that person may be wearing a hijab, the other person may be transgender, but you are all sharing a communal experience.
It sounds to me as though live performance is especially meaningful to you.
It is a tradition, that’s the word, right? It is a tradition in my family because it wasn’t just my father who was a prolific performer on stage but also my grandparents; they originated a lot of the roles that Sholem Aleichem had brought into the mainstream in the Yiddish theater for American audiences. There are pictures of my grandfather on a stage in the Yiddish theater pulling around a milk cart and my grandmother was famous for playing the role of Yenta and this is all before all these stories were put together into the musical called Fiddler on the Roof. So that stage experience, that communion with an audience that you can feel in the moment is profound and extremely addictive and there’s really nothing like it and it can never really be captured on film. That being said when a film is truly great I think that it’s really filmmakers that understand those principles of reaching out to the audience and structuring things in a way to induce that community experience so it all comes back to theater ultimately. But filmmaking, you don’t have that present moment give and take with an audience and so it’s an act of faith.
Rated PG-13 for mature thematic material including some bloody medical images
Some strong language
Drinking and drunkenness, smoking
Severe illness, medical situations with some graphic images, issue of assisted death
A theme of the movie
Date Released to Theaters:
October 20, 2017
Date Released to DVD:
January 1, 2018
“Plucky or pitiful?” a man asks his wife as they drive toward a grand British estate to beg for funding to provide wheelchairs for the severely disabled. They meet with a crusty old aristocrat (Diana Rigg, always a treasure) who says that normally she has no trouble turning people down but she feels she must say yes to them. And, because they are so dashed plucky, so do we.
Robin Cavendish called himself a “responaut,” a jaunty, adventurous term for a man who was completely paralyzed by polio in his 20’s. And this jaunty, adventurous, paralyzed man’s story is told, perhaps a little too lovingly, by his filmmaker son in “Breathe,” about Cavendish, who revolutionized the mobility and accessibility of the severely disabled in mid-century Britain.
But this film is less about his activism than it is about his love story. Robin (Andrew Garfield) married Diana (“The Crown”), and their unswerving devotion and determined spirits are the heart of the film.
Like “The Theory of Everything,” which it resembles, the movie opens with our hero doing something active. He races along in a car and then swings a cricket bat, trying to catch the attention of the bored beauty sitting by the tea table. Soon they are married and off to Kenya, where he is a tea broker and she goes along with him for the fun of it. They are blissfully happy until, just after she tells him she is pregnant, he becomes very ill with polio, paralyzed from the neck down, and given just three months to live.
She manages to get him back to England, where he is put in a ward with other paralyzed men. He cannot speak. He cannot move. He cannot think of any reason to see Diana or the baby or to try to live. When a priest comes by with platitudes, he manages to spit at him.
But Diana’s devotion and his restored ability to speak inspire him to insist on going home. Nothing like that has ever been tried before and the doctor in charge forbids it. Another patient bets him a fiver that he won’t last. But he does. And he works with a friend to invent a wheelchair with a respirator that gives him mobility.
First-time director Andy Serkis (the motion capture actor from “Planet of the Apes” and “Lord of the Rings”) has a disarmingly light touch. The escape from the hospital is accompanied by the kind of musical score we might expect in a heist film with more humor than tension. Plus, if there’s anything better than one Tom Hollander in a movie, it is two Tom Hollanders, utterly charming playing Diana’s affectionate but eccentric twin brothers. Most of the dialog is delivered with an understated smile, the kind of “Hullo, darling,” we used to get in movies of the 1930’s. I found that endearing. This is very much a love story, not just between Diana and Robin but between a son and his parents.
Parents should know that this film includes severe illness and paralysis, some graphic and disturbing images, some sexual references and situation, and the issue of assisted death.
Family discussion: What made Robin different from the other patients? Do you agree with his decision about when to die?
If you like this, try: “The Theory of Everything” and “The Intouchables”
Rated PG-13 for thematic content, some sexual references, language and drug material
Some strong and crude language
Drinking, drugs, substance abuse
Extended peril and violence, many characters killed, snake bite
Date Released to Theaters:
October 20, 2017
Date Released to DVD:
February 5, 2018
They literally fight fire with fire. Unlike “structure fires,” burning buildings doused with water, wildfires in non-residential areas are contained by setting a line of fire to stop them from spreading. Sometimes it does not work. “Only the Brave” is the story of the Granite Mountain hotshots, the “alpha” team of 19 Arizona firefighters who were killed in 2013. Like “The Perfect Storm,” this is a real-life story that spends three-quarters of its time making us love the characters and then heart-wrenchingly shows us how painful it was to lose them.
Josh Brolin, who has spent some real-life time as a firefighter, plays Eric, the leader of the group that, as the movie begins, is the second team, not allowed to set the fires on “the line.” “You guys are type two and we’re hotshots so why don’t you do what deucers do best, which is stay in the back and mop up our ?” sneers the leader of the alpha team. Eric and his group want very much to be certified as alphas and they train hard, the more experienced members of the team as the newcomer, Brandon (Miles Teller), good-naturedly dubbed “Donut” by the team for his zero score when quizzed on the rulebook.
“It’s not easy sharing a man with a fire,” a wife explains. The same qualities that make these men (they are all men) good at what they do can make it difficult for them to be the good husbands and fathers they strive to be. For Brandon, the discipline and support of the team makes it possible for him to stay away from his past life of slacking and substance abuse. But for some of the others, the intensity of the fire fighting experience is something of an addiction and it is difficult for them to go back to normal life with their families, who can never really understand what they face and what they do.
The moments of struggle are touching, as Brandon’s discovery that he is going to be a father inspires him to change his life and Eric’s wife Amanda (Jennifer Connelly) tries to stay close to a husband who is not ready to share what he has been through. The movie’s greatest strength is in its presentation of the music of man-talk, indirect, mock-aggressive, often crude, but always in service of the most profound commitment and loyalty. For a moment, we get to be a part of that group of hotshots, and it is piercingly sad to lose them.
Parents should know that this is the true story of firefighters with a lot of peril and many sad deaths, some strong language, sexual references (some crude) and situations, pregnancy, drinking, and some drug use and references to substance abuse.
Family discussion: What qualities does someone have to have to be a hotshot? Why didn’t Brendan want painkillers at the hospital?
If you like this, try: “The Perfect Storm,” “Backdraft,” and “Ladder 49″