Showing posts with label Christopher Guest. Show all posts
Showing posts with label Christopher Guest. Show all posts

Tuesday, November 9, 2010

Top Ten: Best in Show's Funniest Lines

Hey, folks. This is Michael C. here from Serious Film, thrilled to be helping fill in for Nathaniel this week while he takes his well-earned vacation.

Now that I have free rein to spend a few days smudging my finger prints all over The Film Experience, item one on my to-do list is to make sure this year doesn't zip by without us commemorating a notable anniversary. 2010 year marks ten years since Christopher Guest's Best in Show came along to blow the lid off dog shows and answer such burning questions as, "If you were making an all-dog football team, which breed would you want as wide receiver?" So to mark this anniversary here are my top ten funniest lines from the movie. I am sure you will inform me in the comments which of the few hundred equally funny lines I overlooked.


Ten Funniest Lines From Best In Show

10. "We're so lucky to have been raised amongst catalogues."
If I have a favorite part of Best in Show it might be the materialistic, fashion-obsessed Swans, played by Parker Posey and Michael Hitchcock. Guest's improvisational techniques are firing on all cylinders with these characters. Like a comedic cousin to Mike Leigh, they have been built from the ground up, and there is a wealth of hilarious details to show for their efforts. From their matching sets of braces to the way they speak in catalogue shorthand to the way they let their tone of voice addressing the dog bleed into their dialogue with each other, the Swans are unforgettable comic creations.

09. "On the marquee, big letters: Us!"
This line from John Michael Higgins perfectly captures the mentality of those who have been behaving as if they are on camera long before the documentary crew showed up. Guest's films have coincided neatly with the rise of reality television, and have proven prophetic in a lot of ways. What, after all, are the opening rounds of American Idol other than a less affectionate version of Waiting for Guffman. And how often do the competition shows bring Best in Show to mind when the eccentric personalities of the competitors take center stage over the finer points of the competition.


08. "The judge in his mind...because he can pick up on the telepathy...will sometimes give...blue ribbon..."
Christopher Guest's characterization of bloodhound enthusiast Harlan Pepper is notable for being such a subtle performance in the midst of all the improvisational fireworks. Being the director, Guest didn't have to worry about vying for the spotlight so it freed him to focus entirely on getting into the skin of his character. It's quietly astonishing work; there's not a trace of Corky St. Clair to be found. In this line from Harlan, Guest zeros in on the heart of the material as he slowly drifts away from simple praise for his dog until he has convinced himself that his animal can communicate telepathically with the judge.

07. "Is there some process by which they physically miniaturize the dogs?"
If I'm not careful this whole list could easily turn into a collection of Fred Willard quotes. Looking back ten years it's clear what a perfect pairing of actor and role Buck Laughlin was for Willard. All he had to do was wait for the signal from Guest and let loose with his seemingly bottomless supply of nonsense. From speculating about miniature jockeys racing the dogs, to wondering aloud why nobody thinks to dress the hounds like Sherlock Holmes, Willard give the impression he could fill the whole of the movie with this inspired drivel without a moment's pause.


06. "The Pom broke his gait. He may as well have taken a dump."
I think I speak for most viewers when I say I could watch dog shows all day and never spot the slightest difference between the best and worst dogs in competition. That's why lines like this from John Michael Higgins are such a hoot. Best in Show wisely never pushes the events of the competition outside the plausible. Rather, Guest and company understand dog shows are innately funny with their teeny tiny details inflated to ridiculous importance. The fact that Higgins' character is positively gleeful at the Pomeranian's misfortune only adds to the funny.

05. "I'm gonna punch you in the eye 'til it turns to jelly. I'll stab you with forks 'til you bleed, how 'bout that?"
Part of the pleasure of Guest's films is that he finds room for lots of comedy pros to come in as ringers and absolutely nail a scene or two (think David Cross's UFO expert in Guffman). The blue ribbon for Show's funniest one-scene wonder has to go to Larry Miller as the aggressively unskilled crisis negotiator. A pessimistic negotiator is a funny enough idea on its own ("They always jump") but it crosses into uproarious when we get to hear him in action letting loose with this stream of graphically brutal threats.

04. "He went after her like she was made out of ham!"
You couldn't expect me to limit myself to just one Fred Willard line, could you? This one, arriving at the sad finale to the busy bee incident, may be the single biggest laugh of the movie. Aside from his ingenious idiocy, I think part of the reason Willard so thoroughly runs away with his scenes is the fact that, for all his stupidity, Buck is the only cast member who refuses to take the proceedings seriously. He can't ignore what he knows, and what those of us watching the movie know: that they are, after all, just dogs.


03. "A pet store downstairs? What are you a wizard? A genius? Why didn't you tell me that before, you stupid HOTEL MANAGER!"
This line, shouted by an enraged Meg Swan at the height of the busy bee meltdown, never fails to inspire fits of laughter in me. At the risk of analyzing all the funny out of it, let me count the ways this is brilliant. First, the way Posey somehow manages to turn "hotel manager" into an obscenity. Second, the perfection with which she portrays the limits of egomaniacal stage parent lunacy ("You obviously don't know my dog!") Finally, the way it highlights the benefits of the improvisation. Somehow I doubt a writer sitting at a laptop could have accessed the desperation that inspired Posey to reach for "wizard" in the heat of the moment.

02. "Awww!"
That line, in case you didn't recognize it written out, is the sound of Catherine O'Hara's Cookie Fleck injuring herself by tripping over absolutely nothing. Comedians often measure a performer's commitment to a bit as a mark of their ability. By that standard O'Hara stands with the best in the business. So much so that they didn't even need to write a gag to sideline her character for the finale. Guest simply had O'Hara go down like a ton of bricks and O'Hara sold it like the pro she is.


01. "I remember you said that last year."
The competition is killer, but I've got to award best in show to this line from Jim Piddock's poor Trevor Beckwith, uttered in response to yet another tasteless joke from the albatross around his neck, Buck Laughlin. As co-commentator for the Mayflower Dog Show, Beckwith is the model of class and professionalism. So naturally his performance is a study in slow-burning indignation at being saddled with a blithering, uninformed nitwit as a co-host. This line is a throw-away that grows into a gut-buster on repeat viewings. It suggests a long-suffering history for the horribly mismatched pair. How long has he been putting up with this dim bulb's cheerful "observations"? How many times has poor Trevor been cajoled into guessing how much Buck could bench press? In one deft stroke it makes an already hilarious segment exponentially funnier.

Saturday, August 28, 2010

Flashback: Best of the 90s. (Pt 1)

Remember when I shared those 80s scrapbook pages on "Before Websites Pt 1 and Pt 2"?

Well inbetween scrapbooking two decades back and the total new digital world of the Aughts, there was the long transitional period of the 1990s. Remember when the internet was just text (Anyone? Anyone?). The last two issues of my 90s zine (that pre-website relic mentioned in the Julianne Moore interview) were published in 2000.

<-- "90s character collage" Oil on canvas. I'm confused why I included The Phantom Menace because I hated the movie. I think I wanted something "up to the minute" Ha!

I had just moved to NYC and was in the process of chucking Quark for Dreamweaver. The first version of the site was already up and rapidly taking over my life so I'm not sure why I was trying to do both web & print. It was transitional hedging maybe. Plus html was way confusing at first before apps starting doing all the coding for you. Different era.

Interior "Ten Best" pages --- >

I thought I'd share these ancient lists on "Best of the 90s" for fun. I can't really stand by half the choices now 10 years later but can you stand by all your choices from Spring 2000?

Best Supporting Actor
[Top Ten Chronological Order, Winner in Red. Original text with the names listed. The very first one surprises me like you don't even know but we'll get to that in a minute.]
  • Tommy Lee Jones, JFK (1991)
    Tommy back when he was exciting to watch onscreen.
  • Michael Lerner, Barton Fink (1991)
    The funniest supporting turn of the decade
  • Leonardo DiCaprio, What's Eating Gilbert Grape (1993)
    The breaking point of Hollywood's It Boy.
  • Ralph Fiennes, Schindlers List (1993)
    Astoundingly frightening American debut.
Leonardo DiCaprio (Gilbert Grape) & Ed Harris (The Truman Show)
  • Samuel L Jackson, Pulp Fiction (1994)
    Much celebrated bible quoting hitman. Great.
  • Martin Landau, Ed Wood (1994)
    Great character actor doing comic justice to a legend.
  • Kevin Spacey, The Usual Suspects (1995)
    Kevin's much lauded Keyzer Soze role.
  • William H Macy, Fargo (1996)
    Almost as great as McDormand. High praise.
  • Rupert Everett, My Best Friend's Wedding (1997)
    Wasn't even nominated. What?!?!
  • Ed Harris, The Truman Show (1998)
    Terrific work from the ever magnetic actor.
That's what I said then. As you can see I wasn't yet a frothing at the mouth "Category Fraud!" crusader since there's at least two "leads" in there. In fact, for '99 I chose Haley Joel Osment (ru: Jude Law) who is obviously the lead of The Sixth Sense and in my runners up I list Rupert Graves in Where Angels Fear to Tread and how is that anything but the lead role? The weirdest nominee in this best of decade top ten is Tommy Lee Jones. I barely remember that performance -- I think he had white hair and that there was some rabidly anti-gay tone to his scenes? -- and what I do remember I don't like. I'm so confused that it's listed but that's what the pages say. The other thing that sticks out at me is that I was apparently on a first name basis with Kevin Spacey (unhh....) and I excluded Burt Reynolds in Boogie Nights (very odd).

So yeah, I'm not happy with this list at all. I'd probably only keep half of it. But I'd need to watch a few movies again.

Best Supporting Actress
[Top Ten Chronological Order, Winner in Red. Original text with the names listed]

Juliette Lewis (Cape Fear) & Patricia Clarkson (High Art)
  • Annette Bening, The Grifters (1990)
    As the delicious decadent Myra Langtree she was radiant.
  • Uma Thurman, Henry & June (1990)
    Seduced Henry, Anaïs and the world as June Miller.
  • Juliette Lewis, Cape Fear (1991)
    At just 18, stole the show from Lange, Nolte and DeNiro.
  • Judy Davis, Husbands and Wives (1992)
    Gave Allen's neurosis a whole new energy level.
  • Uma Thurman, Pulp Fiction (1994)
    The hip film's central female role. Uma nailed it.
  • Dianne Wiest, Bullets Over Broadway (1994)
    Dianne is always a treat. Against type, she soared.
  • Joan Allen, The Crucible (1996)
    Breathtaking. One of the great screen presences.
  • Julianne Moore, Boogie Nights (1997)
    Should've won the Oscar. What were they thinking?
  • Christina Ricci, The Ice Storm (1997)
    Smart sad work. Confirmed her best-of-generation status.
  • Patricia Clarkson, High Art (1998)
    How did this marvelous turn go so unnoticed?
That's what I said then. Obviously Catherine Keener would've made the list for Being John Malkovich had I waited a year to compile this. (I'm always so hesistant about brand new movies. A weird tic. And apparently I did the same thing here declaring 1999 movies ineligible for these top tens. Weirdness.) But nothing much surprises me about these supporting actresses. Love them all and the next ten would be almost as wondrous.

Best Actor
[Top Ten Chronological Order, Winner in Red. Original text with the names listed. I've recreated the illustration here just because I thought it was funny and I remember being super angry that Anthony Hopkins started going hammy and/or phoning it in starting about the mid 90s.


I no longer have any strong feelings about him. The quality dropoff was so severe that even know 15 years later I see his name in casting items and I feel nothing more than "Why'd they go with him? Laziness in thinking about their options?". Like, what was he doing in The Wolf Man? I feel like you give that same part to some hungry actor his age who never got inundated with huge offers and they're going to reward you with something special even if the movie bites. I don't mean to sound cruel about Sir Hopkins and I did name him Best Lead Actor of the Decade and that's saying something. He'll always have 1991-1993 when every performance was an event!]
  • Anthony Hopkins, Silence of the Lambs (1991)
    Perhaps overcelebrated but it's a juicy star turn.
  • River Phoenix, My Own Private Idaho (1991)
    A transformation that made him an icon.
  • Denzel Washington, Malcolm X (1992)
    Should have easily bagged him the Oscar.
  • Daniel Day-Lewis, In the Name of the Father (1993)
    Does anyone else miss this guy? Great actor.
  • Anthony Hopkins, Remains of the Day (1993)
    Unquestionably fine. Does repression like no one else.
  • Nicolas Cage, Leaving Las Vegas (1995)
    His last great performance before big budgets beckoned.
  • Sean Penn, Dead Man Walking (1995)
    Completely believeable difficult turn as a repentant killer.
  • Ian Holm, The Sweet Hereafter (1997)
    A performance as complex as the film. That's high praise.
  • Ian McKellen, Gods and Monsters (1998)
    Should have won the Oscar. What were they thinking?
  • Edward Norton, American History X (1998)
    Fierce work that confirmed his best-of-generation status.
That's what I said then. And said rather repetitively, too. I used some of those exact same lines for Best Supporting Actress. Where was my editor? Oh, yeah. That was me. Elsewhere in the magazine I proclaim Kevin Spacey in American Beauty Best Actor of 1999 and now I would definitely rewrite history to pretend that I chose Jim Broadbent in Topsy Turvy (who I at least nominated. Yay, me). I had also forgotten that DDL made so few movies in the 90s (only 5) despite becoming a big star with the first of those (The Last of the Mohicans). And then he made even less in the Aughts (4) ! Does this mean we can only expect 3 movies from him from 2010-2019? And if so, does one of them really have to be a Sherlock Holmes sequel since he works so infrequently?

I'm also a bit surprised that I didn't give the top prize to River Phoenix as I was quite obsessed with My Own Private Idaho in the 90s. River Phoenix would've turned 40 last week. One has to wonder what would be different in the movies had he lived. Which star would never have risen up instead. Which roles we're familiar with would he have ended up playing?

I'm disappointed looking back that I didn't list Christopher Guest whose "Corky St. Clair" in Waiting for Guffman is arguably the finest comedic character creation of the 1990s. He should've made the list.

River Phoenix (My Own Private Idaho) & Christopher Guest (Waiting For Guffman)

You know what to do in the comments. Your lists please... and how have they changed over the past ten years. What did you love or hate then that you've changed your mind about now? And let's say you were born in the late 80s or in the 1990s. Which of these movies have you always meant to see but just haven't got around to yet?

p.s. If you're new to the blog and want to see more recent "best ofs" you can check out Best of the Aughts or my awards for 2009.
*

Sunday, June 27, 2010

Take Three: Jennifer Coolidge

Craig here with another Take Three.



Is there not a hint of Mae West's bawdy style? A splash of Bette Midler's brash cheek? A glint of Raquel Welch's gilded glamour? Even a dash of Lucille Ball's daffy demeanor about Jennifer Coolidge? Let's leave out the Pamela Anderson and Anna Nicole Smith associations; they're old, lazy and boring. Coolidge is the new doyenne of daft.

Take One: Blonde ambition

Legally Blonde (2001) was all about Elle and la vie en rose of course, but it took just enough time out from its lawyerly pursuits to make way for a little bit of solid support: Jennifer Coolidge's manicurist, Paulette Bonafonté, assists Elle into the pink; Elle, in turn, teaches Paulette the ways of the Bend & Snap. Coolidge's comic timing is impeccable. And whilst she doesn’t have a great deal to do in the film her characterful scenes with Witherspoon were fun. Coolidge lifted the slightly jaded, what-has-the-world-given-me? veteran of love type to brazen, buxom heights. The film made good use of her comedy credentials - she gave Legally Blonde plenty of bend and a lot of snap. Wouldn't it have been great to have her in nearly every scene?

She has her fair share of fun dialogue. "I'm just a middle-aged high school drop-out with stretch marks and a fat ass" is Paulette's line in resigned philosophy. But the obvious catty joy Coolidge revels in as she delivers "so what's this Vivian got that you don't have - three tits?" gets my winning vote.

Too much snap! Too much snap!

Paulette's tragi-comic yet cheerful naivety was a great asset to the film. We need her there as contrast, a timorous foil for Witherspoon's youthful perkiness; she's the older, though maybe not-the-wiser, generation Elle; and at heart a mouse in a lioness body. Watching Coolidge in the film got me thinking - wouldn't she be perfect choice if someone were to do a comedy remake of Alice Doesn’t Live Here Anymore? I'd back this casting. It'd be a dream lead role for this deserving supporting actress.

Take Two: My stepmother is an AA-lien

Herzog's recent The Bad Lieutenant Port of Call: New Orleans (2009) was, cast wise, a treasure trove of future Take Three contenders: you may well see Val Kilmer, Eva Mendes, Shea Whigham, Michael Shannon, Irma P.Hall or Brad Dourif receiving thrice the love here soon. But Coolidge was the really unexpected cast addition, so she claims this one. I must have been looking elsewhere during the opening credits (playing spot the reptile?) because I didn't know she was in it. But I was happily surprised to see her pop up as Nicolas Cage's boozy stepmother. She bucked her familar trend of blonde ditz-queen here and worked wonders in a rare serious role. (Maybe the connection is that Coolidge has a house in New Orleans, and she may have desired a spot of home work.)

Sacrificing her trademark flirty pout and all trace of make-up in the name of artistic endeavour she's almost unrecognisible. It's a small but interesting part. Whether she's trolleyed on beer, teetering on the edge of her dilapidated mansion's verandah, whilst facing off with Cage, or engaging in a lengthy slagging match with Mendes, Coolidge is wholly convincing in the film as a drugged-out, beer-stewed former babe. She added another facet to her career. And more power to her for taking on such an uncharacteristic, vanity-free role.

Jennifer (moon)shines despite the lack of visible glamour in Bad Lieutenant

Take Three: Best on show in Best in Show

"We both have so much in common. We both love soup. And, er, we love the outdoors. And talking and not talking. We could not talk or talk forever... and still find things to not talk about."

Some old guy, Rhapsody in White and Jennifer in Best in Show

Ah, the ways in which Coolidge, as Sherri Ann Cabot, one of Best in Show's (2000) many competitive dog owners, is endearingly funny ("Ya know what, I'm the one having to push him away"). She appeared in two other Christopher Guest com-sembles (A Mighty Wind, For Your Consideration) but she delighted most in this one. It's a role not a million miles away from Legally Blonde's Paulette (if it ain't broke, don't fix it, eh?) - and it seemingly aped Anna Nicole Smith's penchant for, erm, the more mature man - but Coolidge lends a fresh charm to Sherri Ann, and essays the role with a poised, spaced-out affability.


You can see early on how Sherri's heart just isn't in it; she loves her dog, not her husband - but could she really care less about show trials? It's no wonder she finds love with Rhapsody in White's trainer Christy Cummings (Jane Lynch), for whom she provides "unconditional love... and decorative abilities". Sitting on the sidelines and chipping in with an ad lib or two may look easy, but is tricky to get spot on. Coolidge nails each scene and very nearly steals the whole movie.


She's given so many wonderfully jubilant turns in both film and TV. Stick a pin her richly-comic résumé then sit back and bask in the sheer joy of watching a Jennifer Coolidge performance. It's a pleasure to praise solid comedic (and occasionally dramatic) support when it's carried out with such cheeky abandon and effortless good humour. I'd willingly watch her in anything.

When's Jennifer going to get a starring vehicle of her own to shine in?