“Enron: The Smartest Guys in the Room” (2005). Must viewing for an almost operatic rise-and-fall story of greed and hubris.
“The Solid Gold Cadillac” (1956). Add a couple of zeros to the numbers and this classic comedy about a small shareholder who takes on a big conglomerate could have been filmed this year. Ripe for a remake!
“The Hudsucker Proxy” (1994). The Coen Brothers’ take on corporations is both spoof and satire, making some shrewd points about success and corruption.
“Roger & Me” (1989). Must viewing in the era of the bailout. Watch for the many indicators of poor business judgment, including a “Me and My Buddy” exhibit with a mechanized worker singing to the machine that put him out of a job.
“Startup.com” (2001). The go-go madness of the dot-com era amplifies the challenge of finding that fine line between vision and hubris. Unforgettable characters.
“Boiler Room” (2000). Set in an illegal pump-and-dump brokerage, this movie perfectly captures the adrenaline rush of money-making.
“Executive Suite” (1954). A rare movie that focuses on the boardroom with a post-World War II C.E.O. succession struggle between the green-eyeshade C.F.O. Fredric March and the stakeholder proponent William Holden. See also the terrific animated movie “Robots” (2005) for a similar struggle.
“Owning Mahowny” (2003). This fact-based film stars Philip Seymour Hoffman as a Canadian bank executive who embezzled millions of dollars and lost every penny in gambling casinos. What is fascinating is the way that every single person in the film, from the bank loan officers to the auditors and investigators and casino managers to the embezzler himself, are constantly assessing risk.
“The Corporation” (2003). A provocative documentary that measures corporate behavior against the standard diagnostics for human behavior and concludes that it fits the profile of a sociopath.
“How to Succeed in Business Without Really Trying” (1967). This outrageous musical comedy about a mail clerk’s rise to the top of a corporation is less of an exaggeration than it appears.
“Office Space” (1999). A cult classic about a Dilbert-ized world of workers oppressed by an endless series of management fads.
“Tucker: The Man and His Dream” (1988). A fact-based cautionary tale about corporations subverting the market. See also the documentary “Who Killed the Electric Car?” (2006) for an updated version.
“Sabrina” (1954). This elegant confection of a love triangle, with Audrey Hepburn, Humphrey Bogart and William Holden, also includes one of the most stirring defenses of the public corporation as a force for opportunity and creativity that has ever been put on film.
What is is about the story of Grey Gardens that has been so enduringly fascinating? They have inspired a documentary film, a Broadway musical, endless articles, even a song by Rufus Wainwright.
Some people think it is because the two women who lived in splendid squalor were the aunt and cousin of one of the world’s most famous and glamorous women, Jacqueline Kennedy. And some think it is because of the schadenfreude effect — seeing two women born to wealth and power fall into helpless poverty. Both are certainly a part of it, but I believe the reason that the story of the two Edith Beales is so enthralling is because of something central to the lives of all of us. It is about family ties that both sustain and constrain. It is about the line between function and dysfunction. It is about devotion. It is about love. It is about control. And it is about the way that the route to madness is much more slippery and treacherous than we would like it to be.
Edith Beale and her daughter “Little Edie” lived in a mansion in East Hampton called Grey Gardens. At one time they were at the heart of high society and Little Edie, a debutante, was known as “Body Beautiful Beale.” Their lives seemed filled with luxury and promise. But by the time a documentary film crew arrived in the early 1970’s the mansion had fallen into filth and disrepair. The two women shared the house with more than fifty cats and other animals. They had almost no electricity or plumbing. The women’s behavior was outlandish, even delusional, but their resilience and ferocious passion for survival were inspiring. They were not just willing to defy convention; they seemed to relish it. The film was a sensation. It led to a Tony-award-winning Broadway musical starring Christine Ebersole. Tonight, the latest version of the story premieres in HBO, starring Drew Barrymore and Jessica Lange.
Here is a clip from the original documentary with Little Edie explaining her “revolutionary” attire, followed by Ebersole in a scene from the musical based on that monologue and a trailer for the HBO movie.
You can hear me defending aliens against Mad Movie Man A.J. Hakeri on Movie Addict Headquarters with Betty Jo Tucker. I had a blast! Thanks to those of you who participated by chat.
And I appeared last night on BDK’s movie show talking about this week’s releases.
“American Violet” is based on the true story of a woman who helped to expose corrupt and racist law enforcement in her Texas community with the help of the ACLU and local counsel. Dee, the lead role, is played by newcomer Nicole Beharie in a stunning performance mingling strength and vulnerability. Dee is afraid but never loses her dignity or her moral center. Be sure to check out Beliefnet’s exclusive clip to get a glimpse. Beharie is simply dazzling in this film and I look forward to seeing whatever she does next. I was thrilled to get a chance to interview her and found her every bit as engaging in person as she is on screen.
I was very relieved to find that this movie was not another in a long series that make the white person the hero in a story about black people. Although the lawyers are important, Dee really is the heart of the film. A lot of that comes from the vitality of your performance.
Thank you! But a lot of that comes from the script and their not wanting to do that. And some comes from the woman herself. Dee was very vocal up to the last deposition and [at a crucial turning point] suggested they use the African-American lawyer to depose the sheriff. It was a godsend that the attorneys showed up, but even before the lawyers showed up, Dee was active and outspoken.
Dee had to make some very tough choices under a lot of pressure. Could you have been as brave and persistent as she was?
I don’t know! Some days I say yes, some days no way. I like to believe that I could, seeing how much she sacrificed and how much it meant to her. It has made me think about what you do for the things you care about and what you ignore. Too often people do not do anything. They say, “They know what they’re doing” or “That’s the system.”
One thing that really impressed me was how many emotions you were able to convey at once — in some scenes you had to be scared and brave, worried and determined all at the same time. What do you to to prepare for a scene like the deposition or the one where your want to keep your daughters from their father and his girlfriend?
You take it all as personally as you possibly can, try to connect to it personally. What I thought of in the scene with my children’s father in that moment was fear for my children, a little bit of guilt in having them in this predicament, but once he busted those doors, its not about me — its about those two girls.
What is your background?
I went to arts high school in Greenville, South Carolina, a public school for the arts and humanities. I fell in love with the notion of doing theater then. My director asked me to apply to drama school and gave me the 100 dollars for the Julliard application. I was accepted and studied there.
One thing that is so endearing about Dee is that with all of the stress and difficulty of her life, she still takes the time for some very serious hair. How do you act under all that?
Yes, Dee did give attention to her hair! I give a lot of credit to Charles Gregory Ross, who designed the hair and had it all laid out so I did not have to sit for hours. The most difficult thing was the bun with the freeze curls, all pinned and manipulated, and really heavy! Alfre Woodard had to deal with it to. She had a different look in every scene.
Your interaction with the girls who play your daughters feels very real and natural, even in the intense scenes. How did you work with them to make that happen?
I got a lot of my perspective from watching my mother raise the four of us. And when I first got to the set, before anything else happened, I got to work with the four real-life sisters who played my daughters. They had their own shorthand and hierarchy. They don’t know my name to this day. My name is Dee to them so it was natural for them to interact with me that way. And we involved them in the movie. All the artwork that is supposed to be from Dee’s children, so they got to see their own pictures hanging in Dee’s home.
Did you ever meet the woman known as Dee in the movie? What did you try to take from her in your performance?
I met her once I got to the set, but by then I had watched hours of footage. I paid attention to the way she looked out of the corner of her eye, to rhythmic things, to her pitch.
Are their particular performances that inspired you to want to go into acting?
“Miss Evers Boys” with Alfre, which made working with her so exciting for me, believe it or not “Ghostbusters,” “The Sound of Music,” “The Wiz.” I love Michel Gondry and really enjoyed his films, “Be Kind Rewind” and “The Science of Sleep.”
What’s next for you?
I did pilot for CBS, a medical show, and I play a social worker. And I have an Annenberg grant to develop my own material. I’m working on a theater program in South Africa.
And what makes you laugh?
My sister and my nephew make me laugh. He’s 12! My grandmother, too — my family will have me on the floor. They’re the only people who know what my goofy capabilities are.
Coming soon: an interview with “American Violet” screenwriter Bill Haney.