Re: "Kansas City"
- From: "Francis A. Miniter" <miniter@xxxxxxxxxxxxx>
- Date: Fri, 17 Mar 2006 14:02:30 -0500
Howard Duck wrote:
This was quite an evocative snapshot of the U.S. in the mid 1930s.
Altman has made a lot of unusual films, hasn't he?
The final scene of "Kansas City" would make an interesting analysis,
but it would be a spoiler to discuss it - Carolyn Stilton is quite a
study. Miranda Richardson is an excellent actress, although this
movie doesn't make much demand on her ability. Similarly, Steve
Buscemi is an interesting character actor within his range, but the
film doesn't make much use of him. The authentic music-of-the-period
sets the atmosphere, and I really loved the rendition of the final
number, "Solitude." I'm a little surprised that Harry Belafonte would
want to play his part in the movie - he makes a pathetic figure as an
Afro-American with but one thing worth living for: stacks of cash.
That's what life comes down to when there is not enough to go around.
The two O'Hara kids (the main characters) spell out the tragedy of the
times - Johnny, a wannabe Dillinger-type; Blondie, a wannabe Jean
Harlow-type - like the Whippenpoof Song says: doomed from here to
eternity.
Francis, I would really appreciate your comments on why you selected
this movie as a representative of quality movie making.
--
Howard Duck
Hi Howard,
First, there is the Altman cinematic style, following a scene, catching something else in it, following that. He is unique. Second, there is the music relentlessly moving forward, paralleling the action, and commenting upon it. Then there is the incredible acting quality. As someone once said to a young actor, "Don't let them catch you acting." In this film, you can't catch them acting. They are believable. The exasperation of the husband at having to do something about the kidnapping of his wife, for instance, and at having to go into "debt" to the mob and politicians to get it done, for instance. It also makes for an interesting demonstration of the various sites of power especially in racial terms. Power is shown as not all white centered. Seldom Seen - Harry Belafonte's character - holds considerable power. (I have to disagree with your comments about him. The role shows the complexity of power in a divided society.) Even the (white) police have limits on their power. Ultimately though, those on the highest rung - the Stiltons - can do anything they want with impunity. But the contemporaneous and effective revenge of Seldom Seen on Johnny O'Hara shows that black mobster/politicians could achieve something near to that.
And, yes, the O'Hara's are, as you rightly said, doomed from here to eternity. The film is another really good tragedy.
Francis A. Miniter
.
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- "Kansas City"
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