heritagehall

Don't know if this has been mentioned.... Anderson is even misguided in his interpretation of Sierra when he asks/allows? Lewis to mimic Walter Huston ( who was devoid of his dentures in the original) for it is his son, John Huston, whose voice Day-Lewis attempts to replicate, but without the timbre and depth of command employed by "the voice of God"...... close your eyes and listen.... not a bad job on the part of this multi-character proficient.....he is a remarkably talented actor, but is wasted on this "where is it going, what is it saying? and why, why, why?" film. It was a long time to sit through the puzzle and one can only imagine what this film might have been with more insightful and competent direction. As it was, the bleeding of substance was undeniable.

I viewed this picture many years ago and acquired a crush on - was it Glenn Ford or John Montgomery? Don't know..... he played the role so well. With Glenn Ford's passing yesterday, that was the first picture that emerged from my recollections, other than Stolen Life, in which he held his own so well with Bette Davis. It is, indeed, unfortunate that Hollywood did not fully tap the dramatic abilities of this fine actor. His comedic ability was evident in Pocketful of Miracles, which could have opened a whole new genre for him had it been further utilized in his career. As for Gallant Journey, it is an inspiring film of early aviation and of the caliber so well suited to family viewing.

Meryl Streep's performance is flawless and her acting so compelling,that she outshines the other cast members, save Tucci who adds his unique delicious note to the goings-on.Streep's brilliance, sans makeup, in projecting the vulnerability that her character masked under a veneer of sophistication was a tour de force, on the threshold of a clever wrap-up of the plot. Kudoes to her makeup artist/hairstylist. Manhattan and Paris were artistically captured on film and both cities rang true and palpable. The tempo was upbeat and absorbing and the musical score added a bright dimension to the action. Prada never flagged and it was edited with a keen eye and discernment of fluid continuity. Were Madame Vreeland still on the scene, she would probably be delighted with this portrayal of the fashion magazine industry in general and somewhat in denial about the relentless Editor in Chief in particular. I enjoyed it thoroughly and look forward to a repeat performance.