Tag Archives: Jessica Tandy

It’s hard to know who to trust, isn’t it, Jack? : Remembering Cocoon with Tom Benedek by Kent Hill

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What’s strange is, for the longest time, I had only ever seen the final scenes of Cocoon. A sea covered in mist, a young boy in the water, a boat loaded with elderly people being chased. Then the sky above lights up. The clouds part majestically as James Horner takes over and the ship ascends into a gigantic spacecraft. Wow, I thought. Cool. Have to see that rest of that! It would be a few days later, but, at last, the whole story was mine to experience.

To talk about films like Cocoon, you need to go back to a different age in cinema. Before most of the popular films were adaptations of characters from the funny papers and franchises and cinematic universes were lined up, as far as the eye can see. It was a time of great risk and invention. When a person with a great idea was king, and the power of Hollywood could make such visions sing.

The era of high concept brought us many of the enduring classics which now appear, in many ways, to be timeless. A young Ron Howard would helm the picture, taking control after another icon of the times, Robert Zemeckis, decided to go off and romance a stone, before heading back in time. Howard had already delivered a fascinating modern day fairy-tale with his magical, romantic, comedy-adventure, Splash. In hindsight this was a fortuitous match, one which would propel Howard’s career to new heights, eventually seeing him become the ideal fit for another 80’s fantasy masterpiece, Willow.cocoon-54a0436aebccd

The men who had produced JAWS, Richard Zanuck and David Brown, brought together a group of impeccable professionals to join Howard behind the camera – at the same time they assembled an extraordinary group of acclaimed Hollywood veterans, cast to fill out the leading roles of the members of a retirement community on the verge of a close encounter of the third kind. Wilford Brimely, Hume Cronyn, Don Ameche, Jack Gilford, Jessica Tandy, Maureen Stapleton, together with brilliant performances by Brian Dennehy, Steve Guttenberg, Barret Oliver and Tahnee Welch are our guides through a story about youth, and how we find things in life that allow us to hold on to that vital part of our spirit – so that we may live richly, even as the years decline.

This phrase has become a cliché with me, but long have I waited to chat with someone connected with this movie – one of the fantastical cinematic staples of my youth. My guest Tom Benedek was the man tasked with taking an unpublished novel and turning it into a story for us all. A story of how sometimes it takes a stranger to show us what those we share our lives with fail to point out, a story about the wondrous mysteries and possibilities that dance in the sky so full of stars above our heads, and a story about our grandparents and the lessons, indeed the wisdom they try to send us . . . and how when their time comes, how hard it is to let them go.

So, as it has happened so many times for me while writing for PTS, my dreams have come true. I now have a glimpse, and not a mere EPK look behind the scenes. I have my story of the creation of a science fiction and fantasy film-making high water mark, from the man who brought it to life on the humble script page.

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Fried Green Tomatoes: A Review by Nate Hill 

Fried Green Tomatoes is one of those films that presents two narratives, simultaneously woven together and unbound by the laws of past and present. A character from the present tells tales of the past, and the film jumps ever back and forth between the two, until a connection emerges. You’ve seen it in stuff like The Notebook, where it works beautifully, and both stories support each other. That’s the issue with this film: One of the narratives is lovely and works quite well. The other? Mmm…not so much. Kathy Bates plays a hospice worker in a retirement home who is charmed by stories of life, freedom, injustice and romance from long ago, all told with wit and passion by an excellent Jessica Tandy. She tells of life growing up during the early 1900’s in the American southwest, of free spirited tomboy Idgie (a fierce and emotional Mary Stuart Masterson), the girl she loves (Mary Louise Parker, radiant) and the whirlwind of trouble and conflict going on around them. Idgie lost her brother and best friend (a short lived and very young looking Chris O ‘Donnell) to a horrible accident, and sort of has a lost pup complex, holding on to Parker for dear life and trying her best to extricate her from an abusive relationship with her monster of a husband  (Nick Searcy is evil incarnate). It’s whimsical, touching and flavored with just the right touches of sadness and danger. Now, the story with Bates in the present just feels aloof and silly. The scenes with her and Tandy fare better than glimpses of her home life and attempts to empower and change her for the better. Don’t get me wrong, I love that idea, the notion of inspiration  transcending time and the ability to help others simply with the spoken word and the wisdom of the past, but it just didn’t work in this case. As for the scenes in the past, I fell hard for them. Masterson is a terrific actress who usually gets saddled with light, fluffy roles, but here gets a chance to let some raw emotion out. Parker is more reigned in but every bit as soulful, as the girl in a situation no one should have to endure, her soul practically screaming out through those beautiful brown eyes. I suppose you could say that it’s half of a great film, that couldn’t quite pull off it’s own narrative flow.