Cradle Will Rock
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Movie Reviews of Cradle Will Rock
Movie Review: A play about the play
Summary: 4 Stars
The Arts Retrospective students saw a clip from this movie, and immediately became passionate about doing the show (Cradle Will Rock) and also doing a frame - the show about the show, which they see as important; I bought the DVD to convince my fellow faculty the show is worth doing.Movie Review: A Bit Too Diverse
Summary: 3 Stars
An energetic endeavor by writer-director Tim Robbins, "Cradle Will Rock" is a dramatization of a true incident which occurred in 1936. During the Depression, there was a government funded theater program, created to give work to professional actors, and to make live theater affordable for the average person. The story revolves around a pro-union musical, "The Cradle Will Rock," written by Marc Blitzstein (Hank Azaria), to be produced with government funds, and directed by Orson Welles (Angus MacFadyen). At the same time, there is concern about possible Communist infiltration of the program, and a Senate sub-committee begins hearings in an effort to root out the "Reds." This witch-hunt precursor to the infamous McCarthy hearings brought about the closing of the show before it ever opened. The theater in which it was to be staged was closed down, and the actors forbidden (under union sanction) to take the stage anywhere else in order to perform this show; and it all came down on the eve of opening day. Welles and company managed to secure a venue anyway, with the idea that Blitzstein (who was not a union member) would play piano and perform the entire show himself. And for this one performance, the entire cast was seated in the audience to watch, and give Blitzstein some moral support. Near the beginning, when he falters, one of the actresses, Olive Stanton (Emily Watson), rises from her seat and begins singing her part; and, one by one, the rest of the cast follows suit, until the entire show is performed by the actors from their places in the audience. This project was obviously a labor of love for Robbins, as a statement against censorship, as well as to illustrate the tyrannical embolisms that can be caused by fear. Unfortunately, he takes this opportunity to make other statements as well, involving the politics of big business, and of wealth, and how it all tied in, and still does, with business as usual in Washington today. And, though his stand is well-taken, to anyone not quite up to speed with their history, at least concerning this particular facet of the Depression, the story just seems to cover too much ground in too short a time. True, the events enacted here are significant, and they do tie in with the funding of the theater program, but the story of the show, of Welles, of all the other members of the cast, and everything that went into it, was enough story for the movie on its own; but, perhaps, that movie wouldn't have made the impact Robbins had set out to make. As it is, "Cradle Will Rock" is fairly entertaining, but to actually learn anything from it, one would have to make a number of cross-references first, before making any conclusions (There is a disclaimer at the beginning of the film, which states that the following is "partly true"). There are some notable performances here, particularly Azaria, John Turturro (Aldo), and Cherry Jones (Hallie Flanagan). Hopelessly miscast are MacFadyen, who is made to bear a strong physical resemblance to Welles, but who lacks that distinctive voice, and Cary Elwes as John Houseman; in both instances, their performances are no more than impersonations, and the actors never really get to the soul of the men they are portraying, who ultimately become nothing more than boldly drawn caricatures. John Cusack, it must also be noted, was less than credible as Nelson Rockefeller. The supporting cast includes Joan Cusack (Hazel), Ruben Blades (Diego Rivera), Susan Sarandon (Margherita), Vanessa Redgrave (Countess LaGrange), Bill Murray (Crickshaw), Philip Baker Hall (Gray Mathers) and Jamey Sheridan (John). Robbins must be given credit for making a noble effort with "Cradle Will Rock," and it does shed some light on an important moment in the history of the theater; but in the end, it all seems just a bit too diverse for it's own good.Movie Review: Some great scenes, others somewhat heavy-handed
Summary: 3 Stars
Tim Robbins, who directed Cradle Will Rock, is known to most people as an actor and as the husband of Susan Sarandon. He is gifted as a director, but he is not attracted to mainstream subject matter. His most famous work is Dead Man Walking, but even that, with its story about a nun's attempts to counsel a man condemned to death, was not seen that widely. Cradle Will Rock, is his most accessible film to date, still does not deal with topics of interest to the average viewer. However, for those tired of or bored with seeing essential the same stories over and over again, this might prove to be a nice alternative. It's the late 1930s. America is still in the throes of the Great Depression. President Franklin Roosevelt's WPA, which has given work to a number of people through its vast program of public works, has recently started funding the arts. Actors, never steadily employed in the best of times, are lined up in droves at government offices in New York to try to land a part. The legendary Orson Welles [Angus MacFadyen] has obtained a grant to produce a musical called Cradle Will Rock. A lucky few will get jobs with the show. But the production is in chaos. The flamboyant sets don't work right. Welles is fighting constantly with his producing partener John Houseman [Cary Elwes]. Worse yet, outside forces are threatening the Federal program. Actors, along with many in other professions, blame the rich and those in power for causing and then prolonging the Depression. They hold demonstrations because they want to unionize. Many of the powerful people, in turn, blame Communism for causing the workers to demand better hours, wages and lives. Congress, always suspect of anything deemed art, is holding hearings to decide whether or not to continuing funding the program. It is, to say the least, a great big mess.
As you can tell, the time Cradle Will Rock is set in gives Robbins many themes to deal with. A few he is a bit heavy-handed with, but most he handles with a deft touch and a wry sense of humor.
Movie Review: INTERESTING PASTICHE OF CHARACTERS, BUT TRIES TOO HARD
Summary: 3 Stars
Tim Robbins' ambitious attempt to blend the spirit of a screwball comedy with the conscience of a meaningful film with a message. A dazzling ensemble of characters who are seemingly separate from one another but all their loose ends are woven back together at the end, just like in Altman's movies. The subject I'd say is a bit cliche (Business = bad, Unions = good) but under proper direction could have been made interesting. Yet, Robbins chooses to apply such a hamfisted hand that it's difficult to get caught up in the story, despite the blistering pace at which he tells it.
Plus, the protagonists seem shallowly defined. Either they're good, salt of the earth sort of people, or they're insecure, lonely and desperate whistle-blowers (like the character played by Bill Murray).
At roughly 2.5 hours length, some judicious editing was in order, but despite the epic scale of the production and the calibre of the actors, this film ultimately winds up being little more than a overdrawn diatribe on the state of big businesses in the US.
Recommended rental perhaps for some neat camerawork, or perhaps the last 20 minutes that were without a doubt the most clever and entertaining bit of the entire film.
Movie Review: NYC in 1930s
Summary: 3 Stars
Tom Robbins' film is depicting time in US history that affected art in a big way. It is 1930s, country is coming out of depression while Europe is in turmoil. As government is establishing funds for theatres around the country, there is also persecution of communist symphatizers going on. Fascists regimes from Europe are too busy negotiating steel prices for their growing military demands and the best way to establish such "business" relationships is thru "selling" art. As rich like Hurst and Rockefeller are accumulating modern art and misplaced DaVinci's in their living rooms and placing them above fireplaces; Diego Rivera with a help of Frieda Kahlo is painting his famous mural that will be taken down shortly after it's unveiling. This film is saturated with stars and the topic is too complex and too broad for 90 minute movie. Robbins has attempted to tackle too much and it shows. Interesting part of US history shown thru an artist's point of view.