Wednesday, 13 November 2013

INSIDE DAISY CLOVER (1965) WEB SITE

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I enjoyed the movie, even though it has its flaws.

One of the problems is that Daisy is really not a sympathetic character. Yes, you feel very sorry for her when Christopher Plummer's character informs her that she is no longer allowed to visit her mother in the asylum. However, she never seems to be grateful for her fame and monetary success. Instead she runs off with Redford's character when she is supposed to sing with a children's choir. She is being groomed for movie stardom the same way Judy Garland, Deanna Durbin, Kathryn Grayson, Jane Powell, and countless other singing and non singing performers were as well. The viewer doesn't really feel sorry for her since she almost seems to create much of her unhappiness. It is true that teenagers don't always think maturely, but back then with her poverty and fatherless life, one would think Daisy might be more grateful with her chance for success.

Natalie's own voice was not good enough to be used for the songs (except for the brief introduction of "You're Gonna Hear From Me"), and it's evident when you listen to the FSM Silver Age Classics double CD recording of the film. I like Jackie Ward very much as a singer, but I don't think she sounded much like Natalie Wood. Carole Richards sang for Cyd Charisse in Brigadoon and Silk Stockings, and she sounded like Cyd. Rita Hayworth's vocal dubber Nan Wynn also sounded like her. If the film contained a more believable sound, I might have been more convinced that Daisy was more realistic. For fun, go to You Tube and look up the videos of lostvocals3. He presents the songs with Natalie's recorded tracks.

I have never been a huge Natalie Wood fan. I enjoy her work, and I have seen several of her films. I do think she turned in a good performance, even though she never looked fifteen years old. They could have made the character a bit older but then you would lose out on the parts where they commit her mom due to her being a minor and also Redford's marriage proposal isn't as necessary. However, she does turn in a solid portrayal.

I wish Redford's character could have been shown dallying with a handsome hunk, but it was 1965 after all. I enjoyed his performance, but I would have liked to have learned more about his character and his career. Was his career ever in danger due to his drinking and sexual partners? Was he protected as long as his box office stayed strong? I also wish I could have seen some real reaction from Daisy when he reappears long after he leaves her in Arizona. How can he just come back with flowers after dumping her? Well, it's the character all right. He is self absorbed and lacks responsibility.

Christopher Plummer's character is ruthless. After kissing Daisy and getting involved with a minor (after he chastises Redford's character on the same behavior), he later says he doesn't care what she does or what happens to after she completes the movie she is in the middle of shooting. That's it. Finish the picture and he can get a new girl to take her place. It's true. When Garland left MGM in 1950, there was Debbie Reynolds, Jane Powell, and Kathryn Grayson to fill in. I enjoyed Plummer's chilling performance.

I too wish Roddy McDowall had more to do, but he was fine with his limited screen time. I liked Ruth Gordon and Kathryn Bard was strong too.

I agree with the many reviewers and their comments on the hairstyles and clothing not being really from the 1930s. However, I still think the film does a good job at showing the studio system at that time.
 
 

 CRITICA EN EL PERIODICO "ABC DE SEVILLA"
."La rebelde" es una película que puede servir de radiografía de la industria cinematográfica norteamericana, y de carambola, nos proporciona una pista para interpretar las incongruencias y paradojas de la sociedad de aquel país. Robert Mulligan nos narra cómo un hombre de empresa de Hollywood convierte a una pobre muchacha de quince años en una estrella, en una lastimada criatura "olímpica" (como diría los sociólogos), y cómo la sociedad opulenta cae en arrobamiento ante el nuevo ídolo de fragilidad tan humana. Y la "pequeña estrella de América" (Natalie Wood), manipulada por los eficaces engranajes que han echo posible la llamada cultura de masas, en la medida que se ve obligada a dejar de ser humana ha de sentir más dolorosamente su irremediable fracaso. Quizás el titulo español de esta cinta, publicitario sin duda, pero algo pretencioso, induzca a un malentendido a muchos espectadores. La película parece que denuncia la falacia del mundo del cine, pero ella misma empieza por caer en lo que denuncia. Su confección responde a una fórmula que por no emplear otra palabra, llamaremos comercial, y que trata de obtener del espectador las mismas reacciones de arrobamiento que el empresario Raymond, lograba provocar con su pequeña estrella. Es honesto poner esto en evidencia y saber que para Hollywood su propia caricatura, tomada como <gran idea comercial> y potenciada por sus portentosos medios, puede ser un gran negocio. ¿No son los mismos espectadores los que admiran a Natalie Wood los que admirarían a Daisy Clover?. La película es sin duda muy comercial, y son muchos los momentos, que aislados del contexto de la novela rosa que le sirve de fondo, son de gran valor humano. Los escenarios pueden ser calificados con plena razón <de película>, es decir, de una elegancia algo más que exquisita. Las cámaras han sido capaces de captar unos colores bellísimos y una tonalidad de verdes y azules que es un gozo contemplar. En cuanto a los actores, Natalie Wood encarna a una <rebelde> adolescente un tanto especial. Christopher Plummer interpreta de forma convincente un personaje que, por su sed de poder y de riqueza, se nos antoja el más humano. Los aficionados a la sociología tendrán muchos motivos de enseñanza en la obra...y en el publico. A. R






















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