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Welcome to "Cinema Herald". My aim is to bring movie reviews to a somewhat different level. I don't know about you guys but I'm sick and tired of Critics who dissect a movie to bits. Who cares about all that deep stuff, sometimes you just want to know if you'll be entertained or not. Is it worth me spending $10? Now don't get me wrong, sometimes when we watch a movie, it does require us to put on our thinking caps and I'll do that from time to time depending on the film I review but for the most part, I just want to know if I'm going to have a laugh or a cry or even crap my pants - in other words, will it take my mind off the fact that I'm broke and my rent is due for a few hours? Movies are a public service...they are to help us escape for a few hours and forget that we're overworked and under paid.

DVD Vault: Ragtime (1981) The great James Cagney's last film

July 12th 2010 03:52
Category: Drama
Ragtime, directed by Milos Forman, is based on the 1975 historical novel of the same name by E. L. Doctorow. The novel introduces a myriad of fictional character from three families who interact with famous historical figures in America during the turn of the Century - significantly during the period where "Ragtime" - a melding of African American and European classical music marked by a "ragged" rhythm or beat, was at its peak. Fittingly it's symbolic of a clash of cultures and subcultures at a time where the lines that were deeply etched and foundations firmly established were just beginning to be rattled.

While the movie cuts corners from the novel, it is still a sweeping epic of grandiose proportions. Forman doesn't give us an exact year of when the film takes place but rather sets the time by giving us certain parameters of newsworthy events for a general idea. Most likely because some of the actual events are a few years off
Elizabeth McGovern as Evelyn Nesbit
from each other. The movie opens with an impressive and authentic-looking black/white newsreel being shown in a dark movie theater with music by piano accompanist, Coalhouse Walker, Jr. (Howard E. Rollins, Jr.). It breaks the latest news which features Booker T. Washington (Moses Gunn), the first Negro to visit the White House, Harry Houdini (Jeffrey DeMunn) on his National tour and then we see Elizabeth McGovern, as Evelyn Nesbit, a famous model and showgirl who is about to be entangled in what was at the time, the crime of the century. Her deranged husband Harry K. Thaw (Robert Joy) later murders the famous American architect Stanford White (Norman Mailer) because of an affair they had a few years prior and who's jealousy is further aggravated by a nude statue being displayed at Madison Square Garden. It is rumored that she posed for the sculpture which was the "last straw". Stanford White ends up dead with three bullets in his head.

The minor characters included in the framework are Tateh (Mandy Patinkin), Mameh (Fran Dreschner) and their Little Girl. Mameh is forced to prostitute herself and when Tateh finds out, he takes their Little Girl and leaves and where their journey leads is based on the outcome of the central story-line. Forman brings us back to the attention of Coalhouse Walker, Jr. He's a man ahead of his time in an era where pride is reserved for the privileged. He's handsome, talented, well spoken, self-assured and unfortunately he's black - a crime of that time which automatically cancels out his virtues. He just secured work as a piano player for a ragtime band. His goal is to establish himself as a worthy suitor for Sarah (Debbie Allen) before he asks for her hand in marriage.

Howard E. Rollins Jr. as Coalhouse Walker, Jr.
Coal has an unshakable dignity even though the rest of the world sees him as less than a man. All he wants is to secure some small place of his own. When he sees Sarah, she has been hired as a maid by The Family, consisting of Mother (Mary Steenbergen), Father (James Olson), and Younger Brother (Brad Dourif). Sarah has just given birth to a son fathered by Coal, and when he comes to claim her and the child she finally relents after initially refusing his offer.

With the wedding ceremony set, Coalhouse leaves in his Model T where he is later blocked by the volunteer fireman, lead by Willie Conklin (Kenneth McMillan), all of whom are are angry that a black man could possibly own his own car. After he returns from complaining to a policeman (Jeff Daniels), he finds a pile of horse manure dumped on his front seat. Coal simply wants his car restored to the way it was and he will not rest until it's cleaned. This incident sparks a chain of events which affects the rest of the characters. It's as if they are guided throughout the story in an elaborate flowchart based on choice that determines the outcome for each character by the end.

The pacing of the story speeds up and Coalhouse is on a mission to reclaim his pride by any means necessary. His
James Olson & Mary Steenburgen as Father & Mother
anger and humiliation has jump-started into obsession. He makes official complaints, consults with a lawyer (Ted Ross), all of which has the same frustrating advice - accept it and move on. But for Coal that is not good enough and in the course of this quest for justice and then revenge, his fiance is killed and Coal finds himself barricaded in the J.P. Morgan Library surrounded by police led by Police Commissioner Rhinelander Waldo (James Cagney), issuing demands. With Coal are his partners in crime, one of which includes Younger Brother in black face who takes on the cause.

This is an incredible film inundated with superb acting by a wonderful cast, especially from the late Howard E. Rollins, Jr. When he's in the Library marked by indecision and perhaps regret at how far his obsession has taken him - possibly facing death, his moments of contemplation are
Brad Dourif as Younger Brother
very powerful, he says, "Lord, why did you fill me with such rage?". The evolution of his character from hopeful groom to this point where all has been taken from him is absolutely riveting and it's a shame he didn't nab the Oscar for Best Supporting Actor. Mary Steenburgen is magnificent as Mother. Mother is quiet steel and for the first time in her life, I suspect she's now aware of the injustices on a personal level and sees things differently from looking at it all from the outside. Elizabeth McGovern is great as the ditzy Evelyn Nesbit.

Director Milos Forman has a very special gift for directing period movies. I just don't know of many other directors who can magically capture the life-blood of a historical era and make you believe that it's all there and actually happening before your eyes. I felt the same when watching Amadeus. The cinematography is amazing, the sets and costumes are elaborate and convincing and the background action enhances the performances of the central characters. Forman extracted such incredibly moving characters in James Cagney, in his final role, along with Elizabeth McGovern, Mary Steenburgen, Brad Dourif, and James Olson. This film also introduces future stars in smaller roles like, Fran Dreshner, Mandy Patinkin, Jeff Daniels, Jeffrey De Munn, and Samuel L. Jackson just to name a few, and Jack Nicholson is along for the ride in a small role as a Pirate.

James Cagney as Rhinelander Waldo
The movie opens and closes with a dance sequence featuring Elizabeth McGovern with an unknown partner to a hauntingly beautiful score by composer Randy Newman, which plays like a lullaby. The music permeates the senses and sets the tone throughout the film and only in the ending credits do you hear the poignancy of the sad lyrics, sung beautifully by Jennifer Warnes. The musical score marks the debut of composer Randy Newman who went on to be nominated a record 15 times before finally winning the Academy Award for best Original Song for, "If I Didn't Have You", from Monster's, Inc. What a farce!

The only fault that I can think of lays in the differences from the novel. While the novel gives equal time to each story line, the movie wisely focuses only on one to avoid clutter, and leaves the other characters in the background, occasionally taking center stage throughout the film. Everyone plays an integral part in a carefully woven tapestry, however if you are not familiar with the novel, this can lead to a possible disconnect and some confusion as some characters seem to be randomly introduced and then used to tie up the ending in a neat package, as far as I can tell this is the only problem of an otherwise engaging film.





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7 Comments. [ Add A Comment ]

Comment by ShaunK

July 12th 2010 23:17
What an awesome little gem you've put up here Deni. I was never even sure about what Cagney's last film had been but I will check this out. He looks awesome here. Very often there's something special about an actor's final performance. Often time it can be haunting in a weird way, especially if they know it will be their last eg. John Wayne in the Shootist, Steve McQueen in The Hunted, or even Marilyn Monroe in The Misfits (see here). I remember seeing Cagney in One Two Three, one of the later films from Billy Wilder and was amazed at how he was still going strong!

Great one Deni!

Comment by Deni

July 13th 2010 01:38
Hey Shaun,

Yeah when I first saw this movie, I was kind of confused but I came to appreciate at more recently after all these years - especially after familiarizing myself with the book. It's a good watch. It's long too...It think it's about 154 minutes, so make yourself comfortable.

You know what, after reading your review for Saturday Night Fever, I watched it again. I had a blast...it was great to revisit such a classic.

Cheers,
Deni

Comment by Matt Shea

July 14th 2010 02:43
Nice write-up Deni. I blow hot and cold over Forman - I think he's had as many failures as he's had successes - but this sounds fantastic. Love the Cagney too so will have to check this out.

Comment by David O'Connell

July 14th 2010 05:11
Glad to read your reference to the music Deni! In fact this early Randy Newman score is the only reason why I even know of this film at all. I've never seen it but it sounds like it's worth tracking down.

Comment by Deni

July 15th 2010 09:03
Matt - I've seen just a handful of Forman's movies. I was impressed with One Flew Over the Cookoo's Nest, Amadeus, and this one. I love his period movies.

David - Randy should have won hands down! But I'm of the mind that since it was his first nomination, they passed him up. That's my guess anyhow.


Comment by JohnDoe

July 16th 2010 19:33
Hi Deni,

I saw this one about 10 years ago out of curiosity for Cagney. While there is no denying that he was superb and the rest of the cast were fantastic. I thought the film lacked focus and for every good scene there seemed to be two that didn't forward the narrative and tended to repeat what had come before.

Still not a bad film over all, would probably be about a 6/10 for me.

I do love Milos' work, so i guess my expectations were quite high, especially as you said because he does historical period pieces well. Does capture the era well.

May revisit it someday.

Comment by Deni

July 17th 2010 01:34
JD,

What you refer to is what I mention in my review. It's the films only flaw in that there is some detachment. But once I understood the source material, I really enjoyed the film the second time around.

Cheers.


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