Tag Archives: Connie Booth

High Spirits (1988, Neil Jordan)

High Spirits is another fine example of how excellent production values, earnest performances and a genial air can make even the most problem riddled film enjoyable.

The studio, infamously, took Spirits away from director Jordan in the editing and the resulting version isn’t his intention. The narrative is disjointed–characters get lost, their arcs collapse, in the case of the hotel employees… they don’t even get established.

The film has an utterly wonderful comic performance from Peter O’Toole near its center. Eventually, O’Toole has to give up the spotlight to Steve Guttenberg, who isn’t nearly as funny (or as good). Guttenberg’s generally likable, thanks to having an fire-breathing dragon of a wife (Beverly D’Angelo) and a pleasant way about him. Terrible outfit though. Spirits has great photography from Alex Thomson, a nice score from George Fenton, lovely Anton Furst production design and lame eighties costuming from Emma Porteus. Why Guttenberg’s wearing a heavy wool coat around indoors half the movie is beyond me.

Jordan’s direction is decent but not exceptional. The special effects and Thomson’s photography make the film after a certain point, especially the effects.

Besides O’Toole, the best performance might be Liam Neeson’s hilarious turn as a horny ghost. As his wife–and murder victim (not to mention Guttenberg’s romantic interest)–Daryl Hannah is good. She doesn’t have a lot to do though. D’Angelo’s on the low side of mediocre.

Regardless of Jordan’s original intent, High Spirits is often rather funny and exquisitely well-made. It’s fine.

CREDITS

Written and directed by Neil Jordan; director of photography, Alex Thomson; edited by Michael Bradsell; music by George Fenton; production designer, Anton Furst; produced by David Saunders and Stephen Woolley; released by TriStar Pictures.

Starring Daryl Hannah (Mary Plunkett Brogan), Peter O’Toole (Peter Plunkett), Steve Guttenberg (Jack Crawford), Beverly D’Angelo (Sharon Brogan Crawford), Jennifer Tilly (Miranda), Liam Neeson (Martin Brogan), Peter Gallagher (Brother Tony), Ray McAnally (Plunkett Senior), Martin Ferrero (Malcolm), Connie Booth (Marge), Donal McCann (Eamon), Mary Coughlan (Katie) and Liz Smith (Mrs. Plunkett).


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The Strange Case of the End of Civilization as We Know It (1977, Joseph McGrath)

The Strange Case of the End of the World as We Know It was a TV special, which might explain for the awkward structure. It has the elements of a strong spoof and some excellent scenes, but the pacing is dreadfully off.

It opens with Ron Moody’s Henry Kissinger stand-in being assassinated (no spoilers, it’s the film’s inciting event). Moody’s great in the role, with so much presence he’s the one who establishes the film. Joss Ackland then shows up as Gerald Ford. Ackland’s mildly amusing, but he’s too broad.

After Ackland, Denholm Elliot arrives in the next scene and runs a short sequence. Director McGrath does everything he can to delay the appearance of John Cleese and Arthur Lowe as the descendants of Sherlock Holmes and Watson.

Maybe McGrath’s waiting because he knows there’s not much coming.

Cleese plays Holmes like Basil Fawlty. He even repeats some of the “Fawlty Towers” physical comedy. Lowe’s great as a moronic Watson (the funniest thing in Strange Case has to be the commentary on that relationship). Connie Booth has a small role as the housekeeper and she’s funny too.

But Cleese, saddled with a moron sidekick, is supposed to be too sympathetic. The film’s never mean enough to him.

The end features cameos from various TV detectives. It’s a lengthy sequence with a couple smiles, no laughs; McGrath’s painful when he needs to show modernity.

McGrath’s direction, for television anyway, is good. But Cleese’s non-performance makes the film best avoided.

CREDITS

Directed by Joseph McGrath; screenplay by Jack Hobbs, McGrath and John Cleese, based on an idea by Hobbs and McGrath and characters created by Arthur Conan Doyle; director of photography, Kenneth Higgins; edited by Rusty Coppleman; music by Ivor Slaney; produced by Humphrey Barclay; released by Independent Television.

Starring John Cleese (Arthur Sherlock Holmes), Arthur Lowe (Dr. William Watson, M.D.), Ron Moody (Dr. Henry Gropinger), Joss Ackland (President), Val Pringle (Black CIA Man), Bill Mitchell (Klein), Christopher Malcolm (The Other CIA Man), Gyearbuor Asante (African Delegate), Denholm Elliott (English Delegate), Nick Tate (1st Australian), Josephine Tewson (Miss Hoskins), Burt Kwouk (Chinese Delegate), Stratford Johns (Chief Commisioner Blocker) and Connie Booth (Mrs. Hudson).


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Romance with a Double Bass (1974, Robert Young)

It’s hard to know where to start with Romance with a Double Bass. I suppose one could call it a comedy of errors, but the error in question is skinny dipping. First John Cleese, as a musician, goes skinny dipping and then Connie Booth, as the princess whose betrothal ball he is engaged to play at, goes skinny dipping.

Suffice to say, complications ensue.

The majority of Bass is Cleese and Booth running around naked, occasionally hidden by forest foliage, often not. It opens as a proto-“Fawlty Towers” with Cleese getting perturbed with people… but then becomes something quite different. While awkward and uncomfortable, Bass is never absurd and it’s actually quite charming.

Director Young has some nice shots, but for the most time he just lets Cleese do whatever he wants and it works. It’s mostly Cleese’s show. Even Booth eventually disappears, letting Cleese successfully take the spotlight.

CREDITS

Directed by Robert Young; screenplay by John Cleese and Young, based on a screenplay by Bill Owen and a short story by Anton Chekhov; director of photography, Clive Tickner; edited by Gregory Harris; music by Leon Cohen; produced by Ian Gordon and N. David King; released by Cinema International Corp.

Starring John Cleese (Musician Smychkov), Connie Booth (Princess Costanza), Graham Crowden (Count Alexei), Desmond Jones (Musician Razmakhaikin), Freddie Jones (Maestro Lakeyich), Jonathan Lynn (Leader of the Orchestra), Andrew Sachs (Musician Zhuchkov), Dennis Ramsden (Prince Bibulov), John Moffatt (Majordomo), Kathie O’Donoghue (Princess’s maid), June Whitfield (Prince Bibulov’s wife) and Terry Nelson (Thief).


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