Sunday, July 20, 2014

I Remember James Garner

It was very early in the morning, June 1976, and I was dashing into my hotel room at the Century Plaza hotel.
I could hear the phone ringing and on the line was the determined publicist for MCA, his name was Zane Bair,  that I remember.
"You have a luncheon date with Jim Garner on the set of Rockford Files, on the Universal lot at 1 p.m. Please be on time. I'm sending down a pass for you to get in through the main gate."
I'd been trying for an interview with Garner but always got turned down with the added message "Please try next time you're in L.A."
This time it worked and precisely at 1:05 I arrived at his massive trailer to find Garner and producer Meta Rosenberg already munching on their salmon salad sandwiches.
At the same time a studio nurse was dressing a bruised knee. Garner loved to do his own stunts --later he had to have both knees replaced and underwent quintuple bypass surgery after decades as a chain smoker.
That lunch marked the beginning of a beautiful friendship.
Because Garner approved of the first story I got to interview him again --this time in the Toronto Star news room where he was filming the 1984 CBS TV movie Heartsounds co-starring Mary Tyer Moore.
"Hey, Mare, you come over here and meet this young chap," Garner yelled when Moore got skittish.
In fact as I recall she agreed to be photographed opposite The Star's managing editor Lou Clancy. And the front page headline the next day was right on: "Mary? Lou?"
In 1985 Garner and I hid out on a vast soundstage for the press party for the TV series Space. "I did agree to be interviewed but I never said how many reporter that entailed," he quipped.
And in 1993 I interviewed him on the phone for the last time for his latest TV flick Barbarians At The Gate.
Yes, Garner could be very open and amiable --just so long as you didn't cross him. Then his famous temper would explode and how.
After Rockford Files went off the air in 1980 Garner discovered to his intense annoyance the series was listed in the studio books as having made no profit because every possible service was downloaded as expenses including garbage delivery.
He never talked to Rosenberg again just as he broke off with Mariette Hartley although they had made a series of pleasing commercials for Polaroid.
Garner's big claim to fame was his position as one of the first TV super stars to jump successfully into movies.
That day in his star trailer he reflected on the theory that "I was told a TV star cannot become a movie star. Vince Edwards didn't make it. Mary Tyler Moore tried and failed. Richard Chamberlain is a wonderful actor but not a movie name. Then along came Steve McQueen, Clint Eastwood and yours truly and that barrier got broken down."
Garner's first claim to fame was the western TV hit Maverick --he made 60 hour episodes between 1957 and 1960. "Each took so long they had to bring in other actors. Sometimes they'd be shooting three episodes at once. Jack Kelly played my brother and for awhile Roger Moore was the English cousin Beau. I started out at $400 weekly and eventually made $800. Chicken feed but I was learning the ropes."
During his summer hiatus Garner made modestly budgeted actioners for theatrical release: Darby's Rangers (1958), Up Periscope (1959), and Cash McCall (1960) opposite Natalie Wood.
What changed his status? "The Great Escape in '63. A huge hit. Then I did two with Doris Day (The Thrill Of It All and Move OIver, Darling) --she did her own pratfalls, we had a blast. Then came my favorite picture The Americanization Of Emily. "
In 1971 he jumped back to TV with the western Nichols. "Oh, so you're the one person who watched it. I thought it was great but we only lasted 24 episodes."
The Rockford Files lasted 1974-1980 or 122 episodes although Garner reluctantly returned to the character in six TV flicks made in the 1990s.
Then came more TV series: Bret Maverick (1981-82), Man Of The People (1991-92), God, The Devil And Bob (2000-01), First Monday (2002) and his last-- 8 Simple Rules (2003-05).
I happen to think his best performance came in Murphy's Romance (1995) but he also shone in The Notebook (2004).
His strangest credit? He made half a movie in Canada in the 1980s and then departed when financing ran out telling me years later "It's been so long I don't even look like that anymore so it can't be finished."
Asked how he'd like to be remembered Garner grinned and said "As an actor who loved to work with smart people I could learn from. On the other hand Sally Field says to this day I'm her favorite kisser and that's quite a compliment."
In later years Garner battled back after a stroke and arthritis attacks. He died at his L.A. home July 19 2014 aged 86 leaving behind wife Lois and one daughter.

Sunday, July 13, 2014

Kim Cattrall Excels In Sensitive Skin

Kim Cattrall was supposed to phone me to chat about her new HBO Canada series Sensitive Skin.
But she was momentarily lost for words when I explained I'd interviewed her once before.
"It was in 1979 and you were co-starring with Brent Carver in the CBC TV movie Crossbar, a wonderful film for adolescents about a teenager who loses a leg but still wants to be a high jumper.
"I remember the day I was on set also chatting up Kate Reid and John Ireland and director John Trent who I'd first met on the set of Jalna."
There was another awkward moment of stillness and then Cattrall said "Fine. Thanks. Now let's talk about Sensitive Skin."
In the six-part miniseries Sensitive Skin Cattrall is still out there shining away in a brilliant piece of Canadiana.
"It only took me nine years to get to this TV premiere," she says with a nervous laugh.
Nine years ago Cattrall was co-starring in a London play when she met British screen writer Hugo Blick who had written Sensitive Skin as a British TV vehicle for Joanna Lumley and Jonathan Miller.
"We talked about me doing something of his. I kept going back to this very dark series which I thought could translate to North America very well.
"But the way things proceeded it took this long."
To shepherd the Canadian production veteran Don McKellar stepped in both as director and co-star and his frequent writing partner Bob Martin rewrote the scripts (for Rhombus Media).
"It's considerably changed," Cattrall says. "Friends who have seen it call it a dramady. I'm skeptical. There's too much comedy. But it's certainly not a sitcom either."
Everyone in SS is slightly disfunctional but in a comedic way. Cattrall, 57, is Davina who has been married for 30 years to steadfast hypochondriac Al who writes a trivial sort of column for the Toronto Reporter.
Feeling hemmed in they have sold their comfortable Forest Hill home for a brand new condo in downtown Toronto --the interior is all spanking white and Davina's first purchase is the most uncomfortable white sofa anybody can imagine.
In March 2011 Cattrall made headlines when she lashed out at a New York Post reporter at the premiere of her new film Meet Monica Velours.
"Ask me what it's like to be 54 and marginalized. It doesn't get easier as you get older."
Cattrall praises the Toronto centricity of the series --for once T.O. does not stand in for some vague American city.
"People have told me they feel like this couple. They moved downtown because Toronto is all condos these days. And it's not what they imagined. Transportation is iffy, there's noise, street people, it can be dangerous at nights."
All this gets dramatized in Sensitive Skin and Cattrall reports "It was truly satisfying being Davina. She has a lot of layers."
Cattrall says "It's not like we had a ton of money to spend. Don keeps the same crew and they work on a sort of short hand. I'd break for tea and they were all ready for the next set up. We'd do a few takes and then move on again. It's all on film --that explains the sheen.
"And yet the look is luxurious. Their apartment was the only big set, it is a character in itself. No wait! The couch is truly a real character."
Other characters include their 30-year old son who remains a perpetual adolescent and blames his low sperm count on his impending divorce.
Then there's brother-in-paw Rogers (Colm Feore), impossibly successful at high finance until he seems to begin flirting with Davina.
Davina plays out her midlife crisis with a piano teacher cum amateur archaeologist Grey (Marc-Andre Grodin).
In one episode both Davina and Al have encounters with friends from long ago.
Davina meets a girl who hero worshipped her in high school and always thought she's emerge as a big movie star. Turns out the ugly high school friend has morphed into one of Toronto's top neurologists.
Al meets an old flame wonderfully overplayed by Mary Walsh who invites him on her radio program where he over prepares and winds up berating her on air.
In several sessions Al is both comforted and teased by his neurotic doctor played wonderfully by Elliott Gould.
"In the original it was  Jonathan Miller and he was far more dark and menacing."
Also outstanding: Joanne Gleason as Davina's older sister Veronica and Cle bennett as erudite drug dealer Theodore.
Cattrall says "We felt at the end we'd made the equivalent of several feature films."
To economize block shooting was used --all the scenes in the apartment were shot one after the other --it was the same with the visits to Davina's art gallery or the doctor's office.
"You had to be on your toes," is the way Cattrall sums it up.
"We wanted the characters to be entirely recognizable. The humor comes through in the brilliant writing."
Cattrall is right in thinking Sensitive Skin is so different it takes some time to get used to its gentleness and sense of perspective.
But the full season will be available to subscribers following the broadcast premiere --a first for Canadian TV.
Subscribers will also be able to watch Season 1 of Sensitive Skin on TMN GO, Shaw Go Movie Central app, Bell TV app, Telus Optik on the go and via on demand platforms.
MY RATING: ****.

Wednesday, July 9, 2014

Apocalypse: World War 1: Must See TV

TV is supposed to wind down in the lazy, hazy days of summer into a sea of endless reruns.
But all of a sudden TVOntario presents an epic series and one that's certain to be labelled must-see TV.
It's the five hour five part documentary account Apocalypse: World War 1.
The title may seem more than vaguely familiar because it's a sort of prequel to Apocalypse: World War II  which keeps popping up on History at odd times.
This one is also a French-Canadian co-production but one that TVOntario has brilliantly snagged.
It revs up with the first episode on Monday July 14 at 10 p.m. (repeated Tuesday night at 8:30).
It will be available across Canada on starting July 15.
The first episode which ran in March on French TV snagged 22.5 per cent of total viewers, a sensational figure.
Directors Isabelle Clarke and Daniel Costelle started off with 500 hours of archival material.
Like their previous World War II project they supervised the cleaning of the films and the coloring of them which is done so expertly most of the time you forget the standard faded prints of Great War documentaries.
Part One should really get you addicted. It presents a placid portrait of Europe in the summer of 1914 --a continent which had largely avoided war since Napoleon.
Then the images become stark: the assassinations in Sarajevo of the heir to the Austrian throne and his wife --the newsreel footage is clear and could just have been shot.
But we also see the strangely tepid reaction of the Austrian emperor out on a hunting expedition --after all he had already seen his wife assassinated and his son a suicide.
Gradually we are introduced to the main characters --most of the film is new to me and some of it is brilliantly chosen: German emperor Wilhelm II  always trying to hide his withered arm by clutching a sword.
King George V and Russian czar Nicholas II Look like twins --but one would be shot in a cellar after the other refused to come to his aid.
We see how excited the crowds were in the European capitals as war came --everyone expected to be home for Christmas. Much of the feeling of doom comes from the home movies of one typical upper class French family who never realized their world would soon come crashing down.
Episode 2 titled "Fear" looks at how the trench warfare came to dominate the campaign and how the horrendous casualty count mounted until both sides had literally run out of fresh recruits.
The titles of the episodes deepen: "Hell", "Rage", then "Deliverance" as centuries old empires crumble away and dangerous new societies are born.
But this is more than a military account of campaigns waged --we look at the horrendous destruction of the French countryside, how horses were killed at record rates, the booming business in artificial limbs, the determination of English girls to get married at any costs because they feared with all the men gone they'd be doomed to old maids.
Of course young viewers will get the most out of it --it's too bad high school is out for the summer because Apocalypse should be required viewing for them.
A lot of familiar faces pop through the story from young Ernest Hemingway in the Italian campaign to Adolf Hitler stuck in trench warfare to Lenin being secreted by the Germans into Russia to preach revolution.
Apocalypse: World War 1 even has time to show Canada's participation and how the war changed the British Empire forever.
It runs over five Mondays to August 11.
And I'm hoping later on TVO will run all five episodes as a block one night --next year's Canada Day would be a great time and opportunity.
MY RATING: ****.

Tuesday, July 1, 2014

Australian TV Hit Reaches CBC

Way back when --in the early 1970s when I was the boyish TV critic of The Hamilton Spectator --CBC-TV used to show buckets of Australian and British TV.
Back in those days an hour of Commonwealth TV counted as a half hour of Canadian content but eventually CRTC changed the rules and Commonwealth TV fare quickly disappeared from Canadian TV screens.
So it's surprising to catch the new Australian mystery import Secret And LIes which debuts on CBC Monday July 7 at 9 p.m.
As I watched the opening hour I was reminded of the recent British hit Broadchurch which already has been made into a U.S. mini-series.
And I'm pleased to report Secret And Lies has been bought by ABC for its own instant remake --I don't have a release date as yet.
Martin Henderson stars as Ben Gunderlach who is on his early morning run in an a leafy suburb  of Brisbane--it is so early that he can barely see where he is going.
And then he comes across the murder of a young boy who lived on the same street --Thom Murnane.
The acting is nothing sort of exceptional including Henderson, Adrienne Pickering as the boy's distraught mother and Damon Gameau as Ben's slacker mate.
Because much to Ben's amazement the police immediately figure him as the probable killer.
The details of how he came upon the body keep changing a bit.
And he and his wife have determined to separate after the Christmas break even though they still share the same bed.
The Brisbane location is unusual enough to hold the interest --just down the street from Ben's house is a gully that seems part of a jungle.
Set in December the atmosphere is undoubtedly human --everybody seems to be perspiring profusely.
Stephen M. Irwin wrote the script which works on various levels --there are a number of people who clearly could have killed the boy.
With Ben there is simply a lack of motive unless something is being hidden from viewers. And the narrative is seen through his eyes --in Broadchurch there was the visiting detective (so well played by David Tennant) who unravelled that mystery.
Secrets And Lies indicates Australian TV is reaching out to fashion some mysteries of its own rather than always buying abroad.
Canadian TV has made a few attempts over the years notably Wendy Crewson in a CTV movie series about investigator Joanne Kilbourn and farther back on CBC Saul Rubinek starred as St. Catharines detective Benny Cooperman.
Perhaps CBC should have stuck with Cracked which was coming along quite nicely after a rocky start?
And maybe the CRTC should think about re-jiggling its Canadian content quotas again to let in more quality Commonwealth fare?
MY RATING: ***1/2.

Sunday, June 29, 2014

Great Canadian TV Documentaries Still Being Made

As soon as I spotted Ric Esther Bienstock as the director of the disquieting new documentary Tales From the Organ Trade I requested a screener.
This brilliant 82-minute look at a highly controversial subject manages to successfully portray most sides of the issue.
It debuts Monday July 7 at 9 p.m. on History and ranks as a must-see Canadian documentary.
It will have you thinking for days afterward and you'll also be completely upset by the current state of organ donations.
Bienstock's name may mean nothing to you but for me she exemplifies the highest order of the lonely TV documentary film maker.
She has a U.S. Emmy, two Geminis, a Genie, you name it she's got it and deservedly so.
The titles I remember are: AIDS In Africa (1990), Ebola: Inside An Outbreak (1996), Sex Slaves (2006), The Lost Tomb Of Jesus (2007), The Age Of Anxiety (2012).
I reviewed them all at release, four star productions all the way.
Tales From The Organ Trade which premiered on U.S. HBO in April has already garnered her a fistful of new awards.
What is amazing is the people she has managed to interview on camera and the world wide filming that looks at the patients, the poor donors and a few doctors reaping millions in profits.
Although she arouses our indignation I think she also finds common threads with both sides. There are people who are about to die within a few years unless they get a new kidney --and the waiting list is up to 10 years.
We become acquainted with a beautiful working mother in her 30s who shows us the dialysis she must perform at home every other day --her mother also has kidney disease and is shrinking away and now her brother must also undergo dialysis.
In Denver we meet Walter nervously waiting for a kidney to come his way --an awkward encounter has his daughter refusing to help simply because it is too frightening for her.
And we share time with Raul who paid $100,000 for his successful transplant.
Bienstock handles all these scenes in a poignant manner. But she also looks at the actions of several Israeli doctors who have moved first to Turkey and then again to Kosovo to evade authorities.
What is amazing is Bienstock's ability to get both these doctors to appear on camera and plead their cases. They do not emerge as monsters but brilliant practitioners determined to keep their patients alive.
And what they are saying is that payment for kidneys may be the only way to proceed. Currently people are expected to donate on an altruistic basis and this simply isn't working.
Scenes shot in the Philippines  break one's heart --we see desperately poor young men --one lives in a crawl space under another hut --and each has sold one kidney so they can get on with life.
One donor, however , is having pains --an ultrasound indicates the renal failure that is now plaguing his lone kidney --soon he will need a transplant for himself.
We also learn there are kidney brokers who take a commission for each kidney they sell.
The personalized stories make us understand how people will do almost anything to get a new kidney.
The affluent can afford to buy a new kidney --those selling them are dirt poor.
Who is using who in this trade? I'm not sure after watching this well edited documentary which is filled with superb moments that linger in the memory.
Will kidney lottaries become the new normal? Or will we simply continue to tolerate this black market in human parts?
Tales From The Organ Trade is just the best Canadian documentary I've seen in recent months.
But I already knew it would be as soon as I spotted the credit "directed by Ric Esther Bienstock".
MY RATING: ****.

Monday, June 23, 2014

What CBC-TV Documentary Unit?

The Globe And Mail's intrepid reporter Simon Houpt has gotten his hands on a letter sent to CBC management about the future of CBC-TV's documentary unit.
The letter signed by the likes of Peter Mansbridge, David Suzuki and Anna Maria Tremonti plus 30 other news and current affairs biggies hopes management will not free lance more of its documentaries.
Excuse me but this has been going on for the past decade.
Suzuki's once flagship series The Nature of Things uses almost all freelance contributions these days --in the old days under executive editor Jim Murray CBC made most of its shows on its own.
On CBC-TV's big weekly series Hot Docs almost all contributions are from freelancers who are expected to sell their products to other broadcasters around the world to break even.
When I started as TV critic of The Hamilton Spectator in 1970 I'd go into CBC headquarters on College street once a year to interview the great Harry Rasky.
His productions were so fine the New York Times dubbed them "Raskymentaries" and they won Emmy for CBC --sparkling life portraits of Raymond Massey, Chris Plummer, the Durants --all were made by Rasky one a year for the CBC.
And then about 10 years ago the pendulum swung and Rasky publicly complained to me his wonderful stuff was no longer appreciated --his very last called Nobody Swings On Sundays languished on the shelf for more than a year before being dumped sans publicity.
Then one day while browsing at Sam The Record Mans Rasky noticed two of his greatest TV profiles --on Tennessee Williams and G.B . Shaw --were included in various BBC Video collections.
CBC had sold off the rights without even informing him in advance!
Another big CBC series that I covered early on was the almost perfect history chronicle --The Tenth Decade --which examined the Canadian political landscape between 1957 and 1967 --years prime ministers Diefenbaker and Pearson battled each other.
It ran to rapturous praise in 1971.
Of course a sequel was ordered up but prime minister Pierre Trudeau refused to cooperate. The Eleventh Decade was never made.
Instead an insipid look at the Trudeau Years that featured P.E.T. lounging with rival Ed Broadbent ran once and was promptly forgotten.
A look at the Mulroney Years was started and then stopped because of enveloping "scandals". I don't think one on Jean Chretien has ever been attempted.
But veteran executive editor Mark Starowicz did make a memorable one on the second Quebec referendum on independence --I'd love to see Breaking Point (1995) again..
But the truth is CBC has outsourced most documentaries just as it rarely makes dramas on its own any more.
This past season I simply feel TVOntario had a better slate of commissioned documentaries than CBC.
And more cuts are coming I hear.

Saturday, June 14, 2014

I Remember Martha Hyer

It was 8 a.m. and the telephone in my Century Plaza hotel room kept ringing.
Finally I picked up and the sultry voice said "James, confirming your interview today.
"The limousine will pick you up at precisely 9:30 a.m."
"But I thought this was for lunch?" I said.
"James!" The voice was irritated by now.
"We're at our Rancho Mirage pad today. It will take the driver three hours to get you here. See you then!"
That was Martha Hyer. The date was July, 1982, and I was about to embark on one of my greatest Hollywood adventures.
I'm remembering that day after reading that Martha Hyer Wallis died at her Santa Fe home on May 31, aged 89.
"You're the last person to interview me!" she laughed when we last chatted on the phone about a year ago.
In 1982 CBC was running a Martha Hyer Film Festival late nights and I just had to see the stunning blonde actress in person so I wrote to her in advance of my trip to Los Angeles..
I should also mention Martha Hyer was married to the greatest movie producer of all time --Hal Wallis whose credits included The Maltese Falcon, Casablanca, Come Back Little Sheba, True Grit --over 300 films in all.
He also discovered Errol Flynn, Burt Lancaster, Kirk Douglas, Charlton Heston --and Martin and Lewis and even signed Elvis Presley to a lucrative movie career.
Exactly at 9:30 the stretch limo pulled up and I was off --I joked to the driver my tiny bachelor apartment back home wasn't half as large.
There was room in the back for a small couch, a well stocked bar and fridge and even a TV set.
And exactly three hours later there I was at the gorgeous Palm Springs estate of Mr. and Mrs. Wallis.
I had the grand tour and out in the back yard Martha Hyer kept snapping pictures of the three of us snatching oranges from the trees or sitting around the pool.
Later came a lavish lunch at the country club --the Wallis estate backed onto a golf course and across the street was the Eisenhower Medical Center which Wallis had helped finance --"at my age I like to be near a state-of-the-art hospital.," he joked.
Martha Hyer turned out to be just as beautiful and gracious in person as I had always imagined her to be.
Born in 1924 in Fort Worth Texas, she was the daughter of Julien C. Hyer who took part in the Nuremberg trials.
After graduating in drama at Northwestern University, she signed a deal with RKO Pictures and made her movie debut in Thunder Mountain (1947) "a terrible Tim Holt western.
"RKO saw me as a cowgirl on the range. Then I was signed by Universal and played second fiddle to Abbott and Costello and Francis The Talking Mule.
"Billy Wilder saw something classy in my looks and I had the second femme lead in Sabrina (1954) where I was Bill Holden's socialite gal friend and lost him temporarily to Audrey Hepburn.
"Then I lost Cary Grant to Sophia Loren in Houseboat (1954) --but at least I was upper class."
Vincente Minnelli insisted she be cast as Frank Sinatra's bookish girl friend in Some Came Running (1958) and for a time she had a hot career and even copped an Oscar nomination.
"Frankie was magical and the scene where he seduces me as I start to cry made an impact. Oscar night I was a bundle of nerves. Had I won I think I would have shot up as a box office star."
Hyer told me her biggest disappointment of all came with her co-starring role in The Best Of Everything (1959) an all star soap opera that featured Joan Crawford, Hope Lange and Suzy Parker.
"I had my scenes with Don Harron who was so intense audiences reacted unfavorably at the previews and many of our scenes were slashed to the bone."
Then came more disappointment with Psycho (1961).
"Alfred Hitchcock told me I'd get the part of Marion Crane if Janet Leigh turned him down. But Janet took it and the shower scene made her red hot. I cried for days after that rejection."
So Hyer settled for leading lady status to the likes of Richard Burton (Ice Palace), Robert Mitchum (The Last Time I Saw Archie), George Peppard (The Carpetbaggers) and John Wayne (The Sons Of Katie Elder).
Her favorite role?
"As the alcoholic wife of Bobby Duvall in The Chase (1966). What a cast we had: Brando, Redford, Jane Fonda, James Fox, E.G. Marshall, script by Lillian Hellman and direction by Arthur Penn. And it laid the biggest egg!"
She last acted in 1971"in a stinker called Day Of The Wolves".
But Hyer rewrote much of the dialogue for a Hal Wallis picture--1975's Rooster Cogburn which co-starred John Wayne and Katharine Hepburn.
Wallis died in 1986 and Hyer phoned to tell me that "Hal was very stoical near the end. No complaints --after all he had one of the greatest ever movie careers."
She found life without Wallis "very difficult" and later moved to Santa Fe to escape the memories.
Martha Hyer Wallis died on May 31, aged 89, and I have lost one of my best friends from that golden age of movie making.