Rapid Response: The World According to Garp

Robin Williams is wonderful as a real everyman in George Roy Hill’s adaptation of John Irving’s novel.

Robin Williams passed away this week, and in every tribute written about him (including one of  my own) he was described as “a great comedian but also…” In another tribute this week I wrote that being a great comedian was enough because he was a wild man while doing it. But more often his praise as an exceptional actor was that he could take surprising, dramatic turns in movies like “Good Will Hunting,” “One Hour Photo,” “World’s Greatest Dad” or “Insomnia” while also playing the fool in “Aladdin,” “Mrs. Doubtfire” or “The Birdcage” or the exuberant hero in “Good Morning, Vietnam” or “Dead Poets Society”.

One movie that rarely crossed the threshold into conversation was “The World According to Garp”, George Roy Hill’s 1982 black comedy based on the controversial and bestselling novel by John Irving. Williams made it near the end of his run on “Mork and Mindy”, and what’s immediately surprising is how ordinary Williams comes across, considering he was famous for playing an alien. This isn’t strictly a dramatic performance, but come to think of it he probably never says a funny thing despite the movie being a comedy. Much of the comedy comes from the inanity and anarchy going on around him, and Williams has both the toothless likability as well as the energy to keep pace with it all.  Continue reading “Rapid Response: The World According to Garp”

Rapid Response: Dangerous Liaisons

“Dangerous Liaisons” knows just how ridiculously soapy, ridiculous and steamy it is, and Stephen Frears’ movie works better than the play.

What’s great about “Dangerous Liaisons” is that it knows just how soapy and ridiculous this all is. It’s set in stuffy, aristocratic France, but everything about this story is sex, love and revenge all the time. It’s absurd, but here, it works.

I saw an adaptation of Christopher Hampton’s play of the same name (he’s also the screenwriter) and think it’s a lot better as a film. The play is all talk and gossip. It’s bogged down under names and archaic language. The elaborate web of steamy fucking becomes impossible to follow in that setting. Here however, Frears’s cross cutting does the story wonders. He jumps from bed to bed, drawing room to drawing room and keeps the many liaisons, dangerous or not, in check. Continue reading “Rapid Response: Dangerous Liaisons”