list http://www.spout.com/ Recent community activity around Wilson on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Wilson/38458/default.aspx Title: Wilson
Year: 1944
Director: Henry King
Plot: Producer Darryl F. Zanuck had high hopes that Wilson would immortalize him in the manner that Gone With the Wind did for David O. Selznick. The notion of bringing the life story of Woodrow Wilson, 28th president of the United States, to the big screen was a labor of love for Zanuck, and accordingly the producer lavished all the technical expertise and production values he had at his disposal. Though Alexander Knox seems a bit too robust and overnourished for Wilson, his is a superb performance, evenly matched by those of Ruth Nelson as Wilson's first wife Ellen, Geraldine Fitzgerald as second wife Edith, Thomas Mitchell as Joseph Tumulty, Sir Cedric Hardwycke as Henry Cabot Lodge, Vincent Price as William Gibbs McAdoo, Sidney Blackmer as Josephus Daniels, and the rest of the film's enormous cast. The story begins in 1912, a time when Wilson is best known as the head of Princeton University and the author of several books on the democratic process. Urged into running for Governor of New Jersey by the local political machine, Wilson soon proves that he is his own man, beholden to no one-and that he is dedicated to the truth at any cost. From the governor's office, Wilson is nominated as the Democratic presidential candidate, an office he wins hands-down over the factionalized Republicans. The sweetness of his victory is soured by the death of his wife Ellen, but Wilson ultimately finds lasting happiness with Edith Galt. When World War I breaks out in Europe, Wilson vows to keep America out of the conflict, despite pressure from such political foes as Henry Cabot Lodge (who is depicted as a thoroughly unsympathetic power broker). After being elected for a second term, however, Wilson finds it impossible to remain neutral, especially in the wake of the Lusitania sinking. Reluctantly, he enters the war in April of 1917. Deeply disturbed by the mounting casualties, Wilson decides that, after the Armistice, he will press for a lasting peace by helping to organize a League of Nations. Unfortunately, the isolationist congress, urged on by Lodge and his ilk, refuses to permit America's entry into the League. His health failing, Wilson nonetheless embarks on a whistle-stop tour, imploring the public to support the League of Nations and Wilson's 12-point peace program. During this campaign, he is felled by a stroke, whereupon Mrs. Wilson begins acting as liason between the president and the rest of the country (the commonly held belief that Edith Galt Wilson virtually ran the nation during this crisis is soft-pedalled by Lamar Trotti's script). All hopes for America's joining the League of Nations are dashed when, in the 1920 election, the Republicans gain control of the White House. The film ends as the ailing but courageous Woodrow Wilson bids farewell to his staff and walks through the White House doors for the final time. Idealistically ignoring the negative elements of the Wilson regime (notably his attitudes toward racial relationships), Wilson is not so much a biography as a paean to the late president. Though too long and overproduced, the film survives as one of Hollywood's sturdiest historical films of the 1940s. However, audiences did not respond to Wilson as Zanuck had hoped; the film was a terrific flop at the box office, so much so that it was for many years forbidden to speak of the project in Zanuck's presence. Still, Wilson garnered several Academy Awards: best original screenplay, best co
Number of blog posts: 1
]]>Tue, 14 Oct 2008 21:01:12 GMTWilson1944Henry KingProducer Darryl F. Zanuck had high hopes that Wilson would immortalize him in the manner that <a href=/films/13767/default.aspx style='text-decoration:underline'>Gone With the Wind</a> did for David O. Selznick. The notion of bringing the life story of Woodrow Wilson, 28th president of the United States, to the big screen was a labor of love for Zanuck, and accordingly the producer lavished all the technical expertise and production values he had at his disposal. Though <a href="/players/P____38853/default.aspx" style='text-decoration:underline'>Alexander Knox</a> seems a bit too robust and overnourished for Wilson, his is a superb performance, evenly matched by those of <a href="/players/P____52222/default.aspx" style='text-decoration:underline'>Ruth Nelson</a> as Wilson's first wife Ellen, <a href="/players/P____23694/default.aspx" style='text-decoration:underline'>Geraldine Fitzgerald</a> as second wife Edith, <a href="/players/P___103093/default.aspx" style='text-decoration:underline'>Thomas Mitchell</a> as Joseph Tumulty, Sir Cedric Hardwycke as Henry Cabot Lodge, <a href="/players/P____57806/default.aspx" style='text-decoration:underline'>Vincent Price</a> as William Gibbs McAdoo, <a href="/players/P_____6471/default.aspx" style='text-decoration:underline'>Sidney Blackmer</a> as Josephus Daniels, and the rest of the film's enormous cast. The story begins in 1912, a time when Wilson is best known as the head of Princeton University and the author of several books on the democratic process. Urged into running for Governor of New Jersey by the local political machine, Wilson soon proves that he is his own man, beholden to no one-and that he is dedicated to the truth at any cost. From the governor's office, Wilson is nominated as the Democratic presidential candidate, an office he wins hands-down over the factionalized Republicans. The sweetness of his victory is soured by the death of his wife Ellen, but Wilson ultimately finds lasting happiness with Edith Galt. When World War I breaks out in Europe, Wilson vows to keep America out of the conflict, despite pressure from such political foes as Henry Cabot Lodge (who is depicted as a thoroughly unsympathetic power broker). After being elected for a second term, however, Wilson finds it impossible to remain neutral, especially in the wake of the Lusitania sinking. Reluctantly, he enters the war in April of 1917. Deeply disturbed by the mounting casualties, Wilson decides that, after the Armistice, he will press for a lasting peace by helping to organize a League of Nations. Unfortunately, the isolationist congress, urged on by Lodge and his ilk, refuses to permit America's entry into the League. His health failing, Wilson nonetheless embarks on a whistle-stop tour, imploring the public to support the League of Nations and Wilson's 12-point peace program. During this campaign, he is felled by a stroke, whereupon Mrs. Wilson begins acting as liason between the president and the rest of the country (the commonly held belief that Edith Galt Wilson virtually ran the nation during this crisis is soft-pedalled by <a href="/players/P___114604/default.aspx" style='text-decoration:underline'>Lamar Trotti</a>'s script). All hopes for America's joining the League of Nations are dashed when, in the 1920 election, the Republicans gain control of the White House. The film ends as the ailing but courageous Woodrow Wilson bids farewell to his staff and walks through the White House doors for the final time. Idealistically ignoring the negative elements of the Wilson regime (notably his attitudes toward racial relationships), Wilson is not so much a biography as a paean to the late president. Though too long and overproduced, the film survives as one of Hollywood's sturdiest historical films of the 1940s. However, audiences did not respond to Wilson as Zanuck had hoped; the film was a terrific flop at the box office, so much so that it was for many years forbidden to speak of the project in Zanuck's presence. Still, Wilson garnered several Academy Awards: best original screenplay, best co1http://www.spout.com/ProductImages/v71832f6hwd.jpghttp://www.spout.com/films/Wilson/38458/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/10/14/36308.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/14/2008 5:01:12 PM
Body: Oliver Stone has long been synonymous with political passion projects, but his latest film, W., may be his most ambitious effort yet, if only because of how quickly the thing came together and got made. Now the serio-comic biopic about our sitting president is about to hit theaters, less than ten months after anyone had heard of its inception, and it’s getting a number of favorable reviews, will possibly rule the box office this weekend, and could even garner an Oscar nomination for Josh Brolin, who portrays the man with the titular initial, George W. Bush. But not all political passion projects are quite as successful as W. is expected to be. Some such films have been banned, while some have simply failed to acquire an audience on more democratic grounds, whether in terms of box office, critical or awards recognition. Yet regardless of the reception of a political passion project, either at the time of release (or intended release) or decades later, it may be regarded as an achievement merely for being made, because it can be a difficult task for a filmmaker, no matter how famous or powerful, to completely, without compromise, express his or her politics using such a collaborative and populist form of art as cinema. We’ve put together a list of 10 political passion projects that were (and are) successful on both levels. They’ve been embraced by a wide audience, a majority of critics and/or the Academy, and they also manage to be as uncompromising in their political passion as is possible in Hollywood. The Great Dictator (Charles Chaplin, 1940) For his first “talkie”, Chaplin took on Hitler and the Nazis when it was still taboo for American media to do so. And it became his biggest hit ever in spite of its controversial subject matter. Considering one of the major problems with W. is reportedly Oliver Stone’s inability to mix the serious scenes with the comic, he might have benefitted from looking again at this film, one of the greatest political satires of all time. Meet John Doe (Frank Capra, 1941) Capra had already made a number of greater films with political subject matter, but this was pretty much his ultimate passion project, a culmination of themes he’d worked with on similar films like Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. But as successful as those films were in terms of Capra’s political expression, and as free as the filmmaker seemed to be throughout his illustrious career at Columbia Pictures, he always felt at least a little stifled by studio head Harry Cohn, and so with this, his first semi-independent project (co-produced and distributed by Warner Bros.), he had the most creative control yet. Unfortunately, the result wasn’t nearly as popular as his past films and the film is also not nearly as tight a work. However, more than 65 years later, it’s still one of the best displays of a filmmaker attempting to work out and express his political ideals in a mainstream film. Wilson (Henry King, 1944) Long before Oliver Stone and political documentarians made it more common and acceptable to make a movie about disliked politicians, producer and 20th Century Fox founder Darryl F. Zanuck developed this passion project about his favorite president, Woodrow Wilson. And the result would seem to have been a great success based on its reception by critics and the Academy Awards (nominated for 10, it won 5 Oscars, including Best Original Screenplay), yet it was a terrible, terrible flop at the box office, apparently because the public didn’t like or care about Wilson as much as Zanuck did. And legend has it that Zanuck was so embarrassed by the failure that he forbade his staff to ever mention its title again. Despite it’s Oscar success, it is unfortunately unavailable on DVD. The Green Berets (Ray Kellogg, John Wayne, John Gaddis and Mervyn LeRoy, 1968) Regardless of whether or not you agree with John Wayne’s politics, you have to give the guy some respect for making a stand with this film, which displays his support for the Vietnam War. It was a bold move for anybody, even one of Hollywood’s biggest stars, to dare go up against the zeitgeist of the times. And of course it was and is very much hated because of its heavy handed pro-war message. Reds (Warren Beatty, 1981) Beatty had already shown himself to be something of a politically minded celebrity, and he would go on to a greater reputation for being a liberal actor/filmmaker, but here with his first solo directing effort, he made an ambitious epic about the American communist John Reed and released it in a year that ushered in the most conservatively materialistic decade of the 20th century. Despite the political climate of the country, though, it was relatively successful at the box office, and it went on to recieve 12 Oscar nominations, of which it won 3, including a Best Director trophy for Beatty. Malcolm X (Spike Lee, 1992) Whether or not you believe it should have been nominated for more Oscars or if it was politically and racially ignored, the success of Malcolm X, both financially and culturally, was a terrific achievement for Spike Lee, who had made and has made less ambitious political passion projects before and since, some even arguably better than this one. Dead Man Walking (Tim Robbins, 1995) Robbins had already begun making political statement films a few years earlier with Bob Roberts, but this film, which he also produced, is the greater passion project. It may occasionally put off supporters of the death penalty, but those performances by Sean Penn and Susan Sarandon (who won an Oscar) simply can not be ignored. The Passion of the Christ (Mel Gibson, 2004) You can’t think about passion projects without this film immediately coming to mind –– and not just because it has the word passion right there in the title. As for the political part, as much as some of us would prefer not to think of religion as being a part of politics, it certainly is, and both the marketing and reception of Gibson’s film were very much from political perspectives, possibly even more so than from straight religious perspectives. Good Night, and Good Luck (George Clooney, 2005) Perhaps the best cinematic celebration of journalism since All the President’s Men, Clooney’s film is also possibly the classiest political passion project since guys like Beatty, Robbins and Clooney decided to go behind the camera and express their ideals. Darfur Now (Ted Braun, 2007) At a time when famous people like George Clooney and the double duty of “Brangelina” get equal respect and flak for being so political, it’s refreshing to see this documentary defend celebrity action while also examining the film’s specific cause. Produced by and featuring Don Cheadle (and also featuring Clooney), the doc is not technically the actor’s project as much as it is Braun’s, yet due to Cheadle’s passionate interest in the Darfur issue and his involvement with and in the film, and because he’s the biggest name on the production, it can certainly be accepted as equally his political effort. Originally posted on:SpoutBlog
]]>Tue, 14 Oct 2008 21:01:12 GMTSpoutBlogSpoutBlog on spout.com10/14/2008 5:01:12 PMOliver Stone has long been synonymous with political passion projects, but his latest film, W., may be his most ambitious effort yet, if only because of how quickly the thing came together and got made. Now the serio-comic biopic about our sitting president is about to hit theaters, less than ten months after anyone had heard of its inception, and it’s getting a number of favorable reviews, will possibly rule the box office this weekend, and could even garner an Oscar nomination for Josh Brolin, who portrays the man with the titular initial, George W. Bush. But not all political passion projects are quite as successful as W. is expected to be. Some such films have been banned, while some have simply failed to acquire an audience on more democratic grounds, whether in terms of box office, critical or awards recognition. Yet regardless of the reception of a political passion project, either at the time of release (or intended release) or decades later, it may be regarded as an achievement merely for being made, because it can be a difficult task for a filmmaker, no matter how famous or powerful, to completely, without compromise, express his or her politics using such a collaborative and populist form of art as cinema. We’ve put together a list of 10 political passion projects that were (and are) successful on both levels. They’ve been embraced by a wide audience, a majority of critics and/or the Academy, and they also manage to be as uncompromising in their political passion as is possible in Hollywood. The Great Dictator (Charles Chaplin, 1940) For his first “talkie”, Chaplin took on Hitler and the Nazis when it was still taboo for American media to do so. And it became his biggest hit ever in spite of its controversial subject matter. Considering one of the major problems with W. is reportedly Oliver Stone’s inability to mix the serious scenes with the comic, he might have benefitted from looking again at this film, one of the greatest political satires of all time. Meet John Doe (Frank Capra, 1941) Capra had already made a number of greater films with political subject matter, but this was pretty much his ultimate passion project, a culmination of themes he’d worked with on similar films like Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. But as successful as those films were in terms of Capra’s political expression, and as free as the filmmaker seemed to be throughout his illustrious career at Columbia Pictures, he always felt at least a little stifled by studio head Harry Cohn, and so with this, his first semi-independent project (co-produced and distributed by Warner Bros.), he had the most creative control yet. Unfortunately, the result wasn’t nearly as popular as his past films and the film is also not nearly as tight a work. However, more than 65 years later, it’s still one of the best displays of a filmmaker attempting to work out and express his political ideals in a mainstream film. Wilson (Henry King, 1944) Long before Oliver Stone and political documentarians made it more common and acceptable to make a movie about disliked politicians, producer and 20th Century Fox founder Darryl F. Zanuck developed this passion project about his favorite president, Woodrow Wilson. And the result would seem to have been a great success based on its reception by critics and the Academy Awards (nominated for 10, it won 5 Oscars, including Best Original Screenplay), yet it was a terrible, terrible flop at the box office, apparently because the public didn’t like or care about Wilson as much as Zanuck did. And legend has it that Zanuck was so embarrassed by the failure that he forbade his staff to ever mention its title again. Despite it’s Oscar success, it is unfortunately unavailable on DVD. The Green Berets (Ray Kellogg, John Wayne, John Gaddis and Mervyn LeRoy, 1968) Regardless of whether or not you agree with John Wayne’s politics, you have to give the guy some respect for making a stand with this film, which displays his support for the Vietnam War. It was a bold move for anybody, even one of Hollywood’s biggest stars, to dare go up against the zeitgeist of the times. And of course it was and is very much hated because of its heavy handed pro-war message. Reds (Warren Beatty, 1981) Beatty had already shown himself to be something of a politically minded celebrity, and he would go on to a greater reputation for being a liberal actor/filmmaker, but here with his first solo directing effort, he made an ambitious epic about the American communist John Reed and released it in a year that ushered in the most conservatively materialistic decade of the 20th century. Despite the political climate of the country, though, it was relatively successful at the box office, and it went on to recieve 12 Oscar nominations, of which it won 3, including a Best Director trophy for Beatty. Malcolm X (Spike Lee, 1992) Whether or not you believe it should have been nominated for more Oscars or if it was politically and racially ignored, the success of Malcolm X, both financially and culturally, was a terrific achievement for Spike Lee, who had made and has made less ambitious political passion projects before and since, some even arguably better than this one. Dead Man Walking (Tim Robbins, 1995) Robbins had already begun making political statement films a few years earlier with Bob Roberts, but this film, which he also produced, is the greater passion project. It may occasionally put off supporters of the death penalty, but those performances by Sean Penn and Susan Sarandon (who won an Oscar) simply can not be ignored. The Passion of the Christ (Mel Gibson, 2004) You can’t think about passion projects without this film immediately coming to mind –– and not just because it has the word passion right there in the title. As for the political part, as much as some of us would prefer not to think of religion as being a part of politics, it certainly is, and both the marketing and reception of Gibson’s film were very much from political perspectives, possibly even more so than from straight religious perspectives. Good Night, and Good Luck (George Clooney, 2005) Perhaps the best cinematic celebration of journalism since All the President’s Men, Clooney’s film is also possibly the classiest political passion project since guys like Beatty, Robbins and Clooney decided to go behind the camera and express their ideals. Darfur Now (Ted Braun, 2007) At a time when famous people like George Clooney and the double duty of “Brangelina” get equal respect and flak for being so political, it’s refreshing to see this documentary defend celebrity action while also examining the film’s specific cause. Produced by and featuring Don Cheadle (and also featuring Clooney), the doc is not technically the actor’s project as much as it is Braun’s, yet due to Cheadle’s passionate interest in the Darfur issue and his involvement with and in the film, and because he’s the biggest name on the production, it can certainly be accepted as equally his political effort. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/professor/MemberTagFilms.aspxprofessor
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