Ragtime

I finished reading Doctorow's novel just before it was announced that production had started on the movie. I remember thinking, "How the hell do you make a movie of a book where the central characters are named 'Mother,' 'Father,' and 'Mother's Younger Brother?'"

Milos Forman showed how: In a word, beautifully.

And "Ragtime" is beautiful, stunning in its recreation of early 1900s New York, utilizing a script which somehow ties together the central events and their effects on its main characters as well as one of the finest, most haunting soundtracks (Randy Newman, who went so far as to compose several original 'ragtime' numbers) in the past twenty years, topped off with a first-rate cast.

James Cagney was the big news, of course, and deservedly so: Emerging from twenty years of retirement, he showed that he'd not only not lost anything but had added to his expertise. Add Mary Steenburgen, Mandy Patinkin, James Olsen, Howard Rollins, Keith McMillan and even Elizabeth McGovern (each of them perfectly cast), to name but a few, and you see where Forman wasn't missing a bet.

"Ragtime" suffers, ultimately, due to lapses in editing -- the most grievous lapse the cutting of a short scene which explains Commissioner Waldo's motivation behind the action he ultimately takes with Coalhouse Walker. Some cuts are always necessarily (especially in a movie as sprawling as this), yet that cut -- and several others -- flaw this beauty of a film.

But not fatally. Not at all. More than twenty years later, "Ragtime" is still gorgeous.

I never saw this film until 2005 and after I had become a big James Cagney fan and wanted to see the movies of his I had missed. Thus, I had to check this out, especially since it was his first film he had made in over 20 years.

En route to getting a glimpse at the 80-year-old star, I found out (1) he wasn't on screen until 45 minutes were left in this 155-minute movie; (2) his absence didn't upset me that much because I was absorbed in this interesting story (plus, to be fair, I was told in advance he didn't appear until the last part!), (3) the sets, clothing, etc. of this "period piece" were fantastic to view.

Anyway, in my opinion, the star of the film was a guy who hardly got any billing: James Olson. He is the key figure in this story and very interesting to watch. Actually, just about everyone is interesting which makes for good storytelling. Nonetheless, Olson's fine performance is unfairly overlooked.

Howard Rollins was good as the black "victim" of the profane slob Kenneth McMillian and Elizabeth McGovern certainly kept ones attention although I wasn't quite sure how her character tied into the story.

By the way, to rate this movie "PG" is ludicrous since McGovern is seen in a 3- to-4-minute scene casually talking away with bare breasts for all to see. And - contrary to a popular rumor - nothing of her was cut out of the DVD.

Meanwhile, Cagney showed he hadn't forgotten how to act. It was a pleasure to see him again, just a few years before he would pass away. It's a cliché, but I doubt if anyone was in his class as an actor and a dancer, a tough guy or a comedian. He was the best and went out in style here, too, although he did do one last made-for-TV film a short time after this.

A short commentary: Having read through a few of the comments here, I note that there are several which express disappointment that the movie didn't do the book justice. Personally, having read the book some time after seeing the movie, I can understand their point, but realistically it's the type of book which would be nearly be impossible to do justice to, as there are so many broad interwoven threads in the book that it would require at least a 6 hour movie to even scratch the surface, and even then, putting it all together into a singular coherent whole which would hold the viewer's interest for that long would be quite a mean feat indeed. So instead of looking at it as an attempt to fully capture the book, it might be best to simply appreciate it for what it is, rather than what it isn't. And I believe that on its own terms it succeeds admirably, and remains one of my favorite movies of all time.

Another way of looking at this, as an introduction to the book, rather than vice versa it has some value on those terms. Perhaps if I hadn't seen the movie I might never have happened upon the book, and never known what I'd missed.

Ragtime is a movie that has obvious aspirations to the epic, but never quite makes it. Multiple plot lines go nowhere, only to be neatly resurrected at some random time in the future, just to remind us that everything is 'linked'. Characters go off on random tangents for no apparent reason, things just happen, you get the idea. The central subplot is actually reasonably compelling, but even then it suffers from being slightly haphazard, with all but the very central characters basically behaving in a completely random manner. All this being said, Ragtime is not a bad movie per se, it's sumptuously shot and the acting is mostly pretty good, once the main subplot gets moving, it's pretty engaging.

Ragtime is based on the book of the same name, I didn't know this when I was watching the movie, but it's pretty obvious that the script has suffered from attempting to compress the book, even then, the movie still weighs in at a hefty two and a half hours, one can't help feeling that they should have just concentrated on developing the main story properly, instead of trying to throw in the kitchen sink.

In conclusion: Well done, a little bit of a mess, probably worth a go if you're looking for a period drama.

Back in the day when Hollywood was grinding out B westerns it wasn't unusual at all to see famous folks of the west in stories that had absolutely nothing to do with their own lives or to see many famous people interacting when they never even met in real life.

Ragtime revives some of that dubious tradition in filming E.L. Doctorow's novel about the Teddy Roosevelt years of the first decade of the last century. Teddy figures into this briefly as does his Vice President Charles Fairbanks. Booker T. Washington is here too, as are the principals of the Stanford White murder, and New York City Police Commissioner Rhinelander Waldo.

It's quite a blend because Roosevelt and Fairbanks ran for re-election in 1904 as Fairbanks is shown delivering a campaign speech. He wasn't even Vice President then, just a Senator from Indiana. Fairbanks was running for Vice President because Roosevelt had no Vice President in his first term. He succeeded to the presidency when Willima McKinley was assassinated.

The Stanford White murder took place in 1906 and was then called the crime of the century. Many such murders right up to O.J. Simpson were given that dubious distinction. And Rhinelander Waldo was not NYPD Police Commissioner until 1910 and he was much younger than James Cagney.

Still and all E.L. Doctorow's book is made into a fine film which got a whole bunch of Academy Award nominations including Best Picture, Best Director for Milos Forman and Supporting player nominations for Howard Rollins, Jr. and Elizabeth McGovern.

The main story is about Coalhouse Walker, Jr. a black ragtime pianist and his Sarah. She has his baby and they'd like to get married. But a whole lot of things, some of them peripherally connected to the true events and people previously mentioned that lead him and a gang to take possession of the Morgan Library and threaten to blow it up.

Howard Rollins was a real tragedy. This was a great start to a short, but brilliant career that included his long running role as Virgil Tibbs in the TV series In the Heat of the Night and the film A Soldier's Story. He died way too young from AIDS contracted from a lot of intravenous drug use.

Elizabeth McGovern is the famous Evelyn Nisbet, the girl on the red velvet swing which was the title of another film that dealt with the Stanford White murder. McGovern's performance is probably closer to the real Evelyn than Joan Collins was in that earlier film. She's basically a goldigger who juggled two men, her husband Harry K. Thaw and her upscale lover, society architect Stanford White. Her circus act led to White's death, Thaw's commitment to an insane asylum and a vaudeville career for her.

Ragtime was eagerly awaited because of the anticipated return of James Cagney to the screen after being off for 19 years. Cagney is clearly aged, but he gets through the role because unlike that television film Terrible Joe Moran, he's not the center of the film, though he's first billed. Note that he's sitting down during most of his performance and when he has to stand the camera is a discreet distance. It's nothing like the bouncing Cagney of old, but light years better than Terrible Joe Moran.

This was also the final joint appearance as it turned for the team that invented the buddy film, James Cagney and Pat O'Brien even though they have no scenes together. O'Brien is Harry K. Thaw's attorney and Mrs. O'Brien plays Thaw's mother under her maiden name of Eloise Taylor. She was an actress before she married Pat, but gave up her career to raise their four children.

Author Norman Mailer plays Stanford White, fulltime architect and hedonist and Robert Joy plays the demented millionaire Harry K. Thaw and both fit the parts perfectly. Maybe one day we will have a definitive film version just concentrating on the murder and it's aftermath for the three principals.

Milos Forman gave us a remarkable evocation of an exciting time in American history. It seemed that America had limitless possibilities then. I doubt they'll be saying that about the first decade of this century.