“Why must men betray themselves with doubts?”
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Burton’s Oscar-nominated, impassioned performance is impressive, however, and his on-screen chemistry with Simmons (borne out in real life) is potent.
Ultimately, however, this one is only must-see viewing for fans of the genre or those who like to watch all Oscar winners. Redeeming Qualities and Moments:
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“I love you, with all the longing in this lonely world.”
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“A woman, too, must make the barren land fruitful. She must make life grow where there was no life. Just as the Mother Nile feeds and replenishes the Earth, I am the Nile.”
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Review: Elizabeth Taylor was a notorious diva throughout the making of this film, which most definitely translates onto screen. To her credit, she puts forth a Cleopatra both hopelessly entitled and surprisingly sympathetic — albeit not without a healthy dose of campiness; my favorite unintentionally hilarious scenes include her infamous carpet-roll-out emergence, her “Mother Nile” speech (see quote above), and her appearance in countless over-the-top outfits and hairstyles. Other performances throughout the film — this was an all-star cast, for sure — are fine as well; despite not working from a coherent script, and/or having much of their scenes left on the cutting room floor, the characters seem reasonably well-formed — at least, enough to understand the general tenor of the complex, back-stabbing politics at play in this era. Speaking of politics, watching this film in 2017, one can’t help taking note of the portrayal of Caesar as a Trump-like dictator. When Caesar complains that he “must wish what needs commanding”, one of his senators asks him in horror, “Do you suggest that the Senate no longer deliberate the welfare of Rome? Do you suggest an end to the process of Roman Law?” — to which Caesar replies, “I must be the law!” without any hint of awareness that his request is unreasonable. When Caesar humble-brags by insisting, “I want no more meaningful privileges and considerations, no more honors designed to pacify me. I’d far rather have nothing — remain what I am at heart, a humble man, anxious only to serve.”, we once again hear eerie echoes of the current U.S. President (“I think I’m much more humble than you would understand,” Trump stated in all earnestness to Barbara Walters during an interview). Suffice it to say that this film remains an especially timely and potent reminder about the cyclical nature of humanity — including our group-like tendency to adore spectacle and ‘royalty’, the seemingly inescapable lust for power and domination, and the corrupt inner workings of love and politics. Note: Diehard fans will likely want to read producer Walter Wanger’s memoir My Life With Cleopatra: The Making of a Hollywood Classic. Redeeming Qualities and Moments:
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“Something ain’t right: you’re childless, and my son drinks.”
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“I, too, believe that everyone should have a chance at a breathtaking piece of folly once in his life.”
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Oscar-winning Revere is appropriately stoic as Velvet’s supportive mother, who knows first-hand what it means to chase a sporting dream despite all odds.
Less engaging — though he tries hard — is Rooney as the troubled son of Revere’s former coach, who spends the entire film waffling between loyalty to Taylor’s family and a penchant for less savory pursuits.
Ultimately, one’s enjoyment of this film will depend on their tolerance for its folksy charm and feel-good storyline, as well as their overall love of anything horse-related. (Call me a wet blanket, but all I could think about was when Velvet would fall and get seriously hurt. Does she? I won’t say a word.) Note: Watch for Angela Lansbury — the same year as her debut in Gaslight (1944) — in a small role as Velvet’s love-sick older sister.
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“I don’t want to be the same as everybody else! That’s why I’m a Mod, see?”
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Response to Peary’s Review: Given that most film fanatics these days weren’t alive in the 1960s, Quadrophenia may hold less personal appeal — though it remains a potent depiction of a “character we can all identify with”, someone who “represents all youths in the throes of growing pains, in desperate search for their identities”. As uncredited screenwriter Pete Townshend said in an interview:
Perhaps most representative of adolescent angst is beautiful Steph (Ash), an embodiment of the toxic MGTOW movement in that she “marries up” as soon as a new bloke holds dominance or interest. Daniels’ pain and bewilderment at Ash (and at life in general) are completely understandable, given he’s someone who “doesn’t fit in anywhere because he tries too hard to be different” and is “always more excited, angrier, or more frustrated than anyone else; to him every moment has great significance”. His final sequence with Ace Face (Sting) is an appropriately crushing denouement. Redeeming Qualities and Moments:
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“I love you, my daughter, and wish to marry you.”
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“I’m making jokes because I’m scared, but I’ve never been more serious in my life.”
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Regardless of her appearance, Taylor’s overall situation simply doesn’t garner much sympathy, primarily because we barely meet the supposed object of her affections (Braswell) before he’s gone again. Beatty adds a bit of pathos to the role of a gambling addict, and the film come alive during an early sequence when he takes Taylor on the town.
But from there, we’re simply waiting for an inevitable romance between the two gorgeous co-stars to ensue, despite their professed disinterest. Redeeming Qualities and Moments:
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“He hears but cannot answer to your call.”
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— is “ambitious, flamboyant, and at times imaginative, but eventually the succession of wild, colorful, and sometimes disgusting images wears you down”. He argues that “the picture’s about 40 minutes too long”, and that “another problem is that the score by Pete Townshend (with help from John Entwhistle and Keith Moon) doesn’t compare to the best Who music.” I’m in agreement with Peary’s assessment, and find it surprising that Ann-Margret — playing Tommy’s “tormented, heavy-drinking mother” — was nominated for an Oscar (presumably due to her multiple age-portrayals and impressively high level of dramatic “commitment”).
With all that said, this film is much too creatively staged and shot not to be seen at least once — and fans will likely enjoy repeat visits. Redeeming Qualities and Moments:
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“I’m very happy to say we think the people of this country should be proud of these kids, notwithstanding the way they dress or the way they wear their hair — that’s their own personal business.”
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Response to Peary’s Review: There is much to enjoy about this engaging, smartly crafted documentary — but perhaps most impressive is how thoroughly the filmmakers provide as many perspectives on the event as possible. We hear from disgruntled neighbors, but also surprisingly generous and kind locals, such as those who stepped up to help feed the hungry crowds, or the cheery Port-a-San janitor who states he is “glad to do [his work] for these kids”. We see plenty of “turned on” participants having the time of their lives — but also listen to one distressed young woman desperate to escape the crowds. We hear a tireless worker sharing a hilariously rambling anecdote about trippers (“You wouldn’t believe some of the kids that come in here. They’re really spaced out. Last night, this cat, this cat comes in and says, ‘If anger is red and envy is green, what color is jealousy?’ And I mean, he’s really spaced out! And you just don’t go fucking people’s heads up when they’re spaced out! So I said, uh, “Black, right? Because jealousy is poison.'”) — but she then admits to feeling concern about her sister:
Speaking of home, we see kids lining up to make calls at a crowded telephone booth; sleeping like sardines on top of cars; skinny-dipping; caring for young children. We also see the tremendous amount of trash left behind after the concert (a detail most documentaries would shy away from); I was reminded of Frederick Wiseman’s films, which cover all facets — both important and seemingly insignificant — of what it takes to make an event or place run smoothly. One thing that distinguishes Wadleigh’s film from Wiseman’s, however, is his innovative use of split-screen imagery to show diverse perspectives on either a single moment or different points in time. The juxtaposition of concerned middle-aged neighbors with a shot of teens skinny-dipping is deliberately provocative, while other combinations simply help to convey the vastness of the event. Split-screen and super-imposition is especially extensive during musical sequences — to powerful effect, given that we can see both performers and viewers at once. IMDb notes that this stylistic choice was driven by necessity:
Interestingly, the musical performances ALMOST seem secondary to the ethnographic footage — though there are plenty of powerful songs, most notably Jimi Hendrix’s legendary riff on “Star Spangled Banner”. Interested viewers can read much, much more about this event — and the musical line-up — in numerous books or websites. Click here for a minute-by-minute overview of who performed when. Redeeming Qualities and Moments:
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