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bluedionysus
I like films. Do you?
Reviews
Tidy Endings (1988)
Short, but profound.
Seeking to watch (and own) everything Stockard Channing has ever starred or appeared in, I went into TIDY ENDINGS not knowing three things: that, 1) this was HBO's first gay-themed TV movie, 2) it was based on a play, and 3) it was so damned short - 53 minutes long, to be precise. Even so, TIDY ENDINGS almost feels like a feature-length film, since it explores such painfully realistic scenarios, jam-packed with intellectual and emotional information, wonderfully written, and superlatively performed. Not so needlessly painful, however, that one does not want to watch the picture again immediately after viewing.
The play was written by Harvey Fierstein (who also adapted it to the small screen), and, in addition, stars as Arthur, the romantic partner of Collin, who has just passed away from an AIDS-related illness. The thing is, Collin (unseen throughout) has also left behind an ex-wife, Marion (Channing), and a young son. Complications arise (and resurface) between the woman and the boyfriend in the wake of their beloved's death.
At first, things are mostly about Collin's material possessions - his will stipulating that loft he and Arthur shared be sold and the money be divided between boyfriend and ex-wife. However, both individuals deeply loved this man, and thoughts, feelings, memories, arguments, compliments, attacks, and such, ensue - finally "tidied up" (as we hope) with discovered affinities and gestures of appreciation and forgiveness.
More than anything, the film covers a range of hard, all-too-human topics that most TV work tends to avoid - esp. before and around that time. There are, indeed, tidy endings here - in a modest sense, in a sense of relief. However, an enlightened awareness of the harsh realities of life is never lost nor out of focus. This isn't Hollywood stuff.
Needless to say, Channing plays the confused, devastated, down-to-earth mother to perfection. Mixed feelings abound within her, because life isn't clear-cut. Still, Marion proves herself to be a wise and compassionate human being - and, ultimately, something of a tragic figure. Not a single note played by the great actress comes across as insincere.
Fierstein more than holds his own, too - and why wouldn't he? He wrote the play, and was obviously close to the material. It hasn't been an easy gig for the character of Arthur, yet Fierstein, as a writer, refuses to take sides between the lover and the ex-wife. Everyone suffers in these kinds of situations.
Some may claim that TIDY ENDINGS is dated, in both style and content, but that's nonsense. This is a scenario that could just as easily take place today as in 1988. As for style, why would (or even should) the past be like the present? The camera-work is quite beautiful and intriguing. And Stockard looks utterly ravishing as a classy blonde.
Short, yes, but well worthwhile.
Safari 3000 (1982)
Rough around the edges.
This must be one of those "5 or 6 films" Stockard Channing is too embarrassed to mention having worked on in interviews. Which is partly a shame - because, with some serious tinkering ("How about tinkering us up a new engine?" complains David Carradine early on), SAFARI 3000 could've been a genuinely enjoyable ride.
Harry Hurwitz' comedy-adventure takes more than a little inspiration from SMOKEY AND THE BANDIT and Paul Bartel's DEATH RACE 2000 and CANNONBALL - as well as a bit from Blake Edwards' THE GREAT RACE, Disney's THE LOVE BUG, and even Friedkin's SORCERER. You get the picture. The primary difference here is that Hurwitz transposes the action - a treacherous, long-distance auto race, involving varied, eccentric participants - to sub-Saharan Africa.
The main issue with SAFARI 3000 is the script. Four writers (three for story, and one for screenplay)... that's rarely a good sign. The dialogue, in particular, is unusually stilted at times, and the story undoubtedly required a few more rewrites. Running barely an hour and a half, it appears significant portions of the film were also truncated, further harming the picture... or serving as a stroke of mercy, depending on one's outlook. Finally, for something so ambitious, the movie could have used some additional car stunts and the like.
However, SAFARI 3000 does have its charms, and doesn't quite deserve the obscurity it has always suffered. Admittedly, I do say that as a Channing obsessive. The film was gloriously shot on-location, and there are several encounters with wildlife that are alternately intense and wonderful. The widescreen cinematography (by Adam Greenburg, and badly hurt by pan & scan - when isn't it ever?) is nicely evocative of the surroundings (including some beautiful scenery), and Ernest Gold's jovial score isn't bad.
Furthermore, there's an amusingly hammy, Darth Vader-looking Christopher Lee, as villain Count Borgia, who pretentiously claims to be a descendant of that most infamous of families, and is accompanied by a ridiculously masochistic sidekick (Hamilton Camp).
And, of course, there's the palpable chemistry between Carradine and Channing, who presumably do better when ignoring the script and begin ad-libbing and interacting instinctively with one another. Carradine featured in both DEATH RACE 2000 and CANNONBALL, so this is familiar territory for him. And Channing once again proves herself to be as accomplished a comedic actress as a dramatic one. The woman can do it all. Scenario-wise, some of the comedy works on a farcical level, while other parts are simply farcical.
If you're a fan of Stockard Channing, David Carradine, Christopher Lee, safari rallies, and/or slapstick-type comedy, it really wouldn't hurt to check out SAFARI 3000. It would even be perfectly suitable for children were it not for one brief sex scene (unfortunately not involving Stockard!)