cinema obscura: Stig Björkman's "Georgia, Georgia" (1972)

 

Now is the time to praise the great Diana Sands, who died at age 39 of cancer way back in September of 1973, just as she was becoming that truly rare commodity - a major and majorly serious film actress. She left only a handful of film roles behind - ranging from Joshua Logan's delightfully frivolous ”Ensign Pulver” (in which she and Al Freenman, Jr. are quite comic) to Hal Ashby's crucial race relations comedy, "The Landlord."

  
But her best work came in a film that virtually disappeared almost immediately following its release in 1972.

Stig Björkman's "Georgia, Georgia," based on an original script by Maya Angelou, is a hugely emotional and strikingly original examination of a taboo topic - dealing with a black woman overtaken by "white fever."

Obviously, Angelou's screenplay is penetrating a very specific black psyche here, and much of its brilliance is directly related to Sands' nakedly brave performance as American songstress Georgia Martin.

Georgia has developed something of a cult following in Europe - a status which Georgia's traveling companion/mother figure, Alberta (played with fierce intensity by Minnie Gentry), feels has compromised the singer's blackness in general and her heritage in particular.

Starting her concert tour in Sweden (where most of the movie was filmed), Georgia is clearly experiencing a crisis of identity and seems to be willfully drifting away from "her community," particuarly when she, well, drifts into an affair with a white man (Dirk Benedict).

Made at the height of the Vietnam war, "Georgia, Georgia" also manages to weave in some then-topical political asides, such as a group of black Vietnam deserters who hope to enlist Georgia as a convenient mouthpiece - a spokesperson "to talk up for the black deserter community." 

It's all compellingly fascinating as both Georgia and the film surrounding her refuse to do anything that we would expect of them.

Björkman, who impressively gives "Georgia, Georgia" a pulsing pace, was a former movie critic in Sweden before turning to filmmaking and, at one time, was considered one of Sweden's most promising and gifted young directors. But he seems to have inexplicably disappeared, along with this film, having produced very little output (all of it Swedish) since '72.

Sands' last film was Michael Schultz's "Honeybaby, Honeybaby" (released in 1974). She had signed for John Berry's "Claudine" when she passed, replaced by Diahann Carroll, who received an Oscar nomination for her performance as a single mother struggling to raise her family in Harlem.


Sands' final  film was Michael Schultz's "Honeybaby, Honeybaby" (released in 1974 after she died). She was set to star for John Berry in title role in "Claudine" when she passed, replaced by Diahann Carroll, who received an Oscar nomination for her performance as a single mother struggling to raise her children in Harlem.

Before she died, Diana Sands Recommended Carroll for the role.

Regarding Comments: All comments are enthusiastically appreciated but are moderated before publication. Replies signed "unknown" or "anonymous" are not encouraged. Please sign any response with a name (real or fabricated) or initials.  Be advised that a "name" will be assigned to any accepted post signed "unknown" or "anonymous." Thank you.

~images~

(from top) 

~Poster art for Universal's "The Blues Brothers" (which looks a lot like the work of Saul Bass to me)

 ~Logo for the stage musical version of "Honeymoon in Vegas"

~Jack Skellington in "The Nightmare Before Christmas"

~photography: Walt Disney Company 1993© 

 ~John Goodman in "True Stories"

~photography: Warner Bros. 1986©

~Bob Fosse and Tommy Rall dance in "My Sister Eileen

~photography: Columbia Pictures 1955©

~Dan Aykroyd and John Belushi also dance in "The Blues Brothers"

~photography: Universal 1980©

 

cinema obscura: Yves Robert's "Alexandre le bienheureux" (1968)

The late French filmmaker Yves Robert rarely received his due, but three years before he died of a cerebral hemorrhage in 2002 at the age of 82, he directed his twin art-house triumphs, "La Gloire de mon père"/"My Father's Glory" and "Le Château de ma mère"/"My Mother's Castle" (1990), handsome adaptations of Marcel Pagnol's childhood memoirs.

Belatedly, and suddenly, Robert became a critics' darling.

There were other Robert films, however, that I think were greater achievements, despite their self-effacing modesty - particularly "La Guerre des boutons"/"War of the Buttons"(1962), based on Louis Pergaud's much-filmed novel, and "Salut l'artiste" (1973), a light farce which teamed Marcello Mastroianni and Jean Rochefort to perfection as two working actors often trapped in thankless roles.

Arguably, Robert's best film - and certainly my personal favorite - is "Alexandre le bienheureux" (1968), which was known first as "Very Happy Alexander" and then simply "Alexander" during its brief U.S. life in 1969.

"Alexandre le bienheureux," which has the sensuous contours of a classic French peasant comedy, is a disarming celebration of laziness and fits in perfectly with the ethos and sensibilities of the late 1960s and early '70s.

I'm not sure the same film could be made today, given how driven everyone seems to be (including slackers). A contributor on IMDb in assessing the film refers to an essay, "Le Droit à la Paresse"/"The Right to Laziness", that Paul Laforgue wrote in 1880 in which Laforgue offered a positive definition for laziness, something that is generally considered as one of the biggest vices in the world.

Robert follows the same logic in his little film, which remains timeless in its appeal. It is hugely watchable and, despite its surface goofiness and anarchy, has a forbidden message worth savoring.

That great bear of an actor, Philippe Noiret, who died of cancer in 2006 at age 76, is unaccountably light and fizzy in the title role of a humble farmer who is henpecked and overworked by his ambitious new wife (Françoise Brion), known only (and humorously) as La Grande. She supervises him with a walkie-talkie. Poor Alexander's only friend is a little dog (played by a remarkable pooch named Kaly), of which La Grande, of course, disapproves.

Well, one day a new girl named Agathe (Marlene Jobert) zips into town in a bright red Citroen 2CV, and her entrance collides - fatally - with not only La Grande but also Alexander's decrepit in-laws. Suddenly free, Alexander retires from life, staying in bed 24/7, letting his farm go to pot (much to the chagrin of his neighbors) and letting his little dog do most of the chores. There are few images as charming as little Kaly carrying a basket in her mouth, shopping for cheese, milk and groceries for Alexander.

As it turns out, Agathe is as lazy as Alexander. They make a perfect - or imperfect - couple, living slovenly ever after.

"Alexandre le bienheureux" has never been released in this country on home entertainment in any format. I have a beta copy of the film made from a subtitled 16-mm print. It remains vital as long as my reliable old betamax remains operable.

Back in 1988, when I had just started reviewing out of Northern California, I interviewed David Zucker in regard to his "The Naked Gun: From the Files of Police Squad!" At one point, Zucker mentioned he was eager to work with John Candy, an actor he thought was being misused in movies.

He asked me if I had any ideas. I immediately offered "Alexandre le bienheureux" as a possible American remake with Candy in the title role - or better yet, John Goodman. Zucker vaguely remembered the film and seemed genuinely interested in the idea. And so, with much anxiety, I loaned him my beta copy of it. About two months later, Zucker mailed the tape back with a little "thank you" note.

The film was never made and Candy, alas, died in 1994. Too bad. It would have been perfect for Candy. Actually, it would have been a better fit for Goodman.

Two final notes about Robert's endearing little film: La musique de Vladimir Cosma est sublime!  Et la photographie de René Mathelin est fabuleux! 

Regarding Comments: All comments are enthusiastically appreciated but are moderated before publication. Replies signed "unknown" or "anonymous" are not encouraged. Please sign any response with a name (real or fabricated) or initials.  Be advised that a "name" will be assigned to any accepted post signed "unknown" or "anonymous." Thank you.

~images~

(from top) 

 ~The original French poster art for Yves Robert's "Alexandre le bienheureux"

~two American display ads, before and after the title change

~Kaly, le petit chien
~photography: Madeleine Films/Cinema V 1968©

~Marlene Jobert as the lazy Agathe
~photography: Madeleine Films/Cinema V 1968©

~ Françoise Brion, Philippe Noiret, Jobert and Kaly pose on set
~photography: Madeleine Films/Cinema V 1968©

~Noiret and Brion is a scene from the film" 
~photography: Madeleine Films/Cinema V 1968©

~Noiret and Kaly
 ~photography: Madeleine Films/Cinema V 1968©

~ a favorite filmmaker, Yves Robert, behind a huge moustache, directing.
~photography: Madeleine Films/Cinema V 1968©