The Cat's Meow

Rating:
Summary: Sail of the season...
Review: Normally period pieces and whodunits are relegated to gather dust in the drama section at your video store, but this sleeper by Bogdonovich is one is done with great writing and character study that it might be worth at least a rent. Told as a possible story as what might have happened to Thomas Ince one fateful night on Hearst's boat, we see a deeper story about morality and power during the Hearst and Davies years.
Dunst is absolutely terrific as Marion Davies - an actress whose own talents were equally electrifying on screen if given the proper vehicle. Unfortunately for Davies, Hearst didn't see her as a comedianne and some of this struggle comes across in the film. Also worth seeing in these rolls is the befuddled Jennifer Tilly as Louella Parsons and Eddie Izzard as the amorous (or heartbreakingly lecherous) Charlie Chaplin.

Rating:
Summary: An interesting theory of a mystery
Review: Not much is really known about that cruise in 1924 on the yacht of William Randolph Hearst. All we know for sure is that Thomas Ince died just days after the trip ended. None of the passengers on the boat were willing to concede any details, in fact, stories from the different passengers conflicted greatly.

The trip is really a pleasure cruise for Hearst (played very well by Edward Herrmann), Marion Davies (Kirsten Dunst), and a few of Hollywood's elite. The main focus for the group is trying to keep up with the seemingly imminent love affair between Davies and the devilish Charlie Chaplin (wickedly played by Eddie Izzard) Chaplin has just gotten his 16 year old co star pregnant and now has designs on Davies. She resists for a while, but eventually falls prey to his charms.

The film is an interesting character study. Herrmann shows us a Hearst who despite his riches, realizes that he is much older and less attractive than the wolves who are pursuing his girl. One particularly sad scene is when the band strikes up the Charleston, and Hearst is able to participate only for a few seconds before sitting the rest out. He watches as Marion has a blast with Charlie and the others on the floor.

Ince(played by Cary Elwes) spends the movie hooking up with his mistress and trying to gain information about other people to benefit himself. He was a powerful name in the movies at one time, and now is trying to get back to where he was. He snoops in rooms looking for information, and when he has put the pieces together, disaster strikes in the form of a gun shot.

What is interesting is Hearst's reaction to the shooting of Ince. Immediately this man who has spent the movie looking weak and helpless springs into action with a pack of lies, trying to cover up what has happened, even calling Ince's wife and making up a despicable story. We will never know the truth, but this is not only a credible guess at the events, but also a very good film which shows us a different angle of the characters involved.

Rating:
Summary: An interesting theory of a mystery
Review: Not much is really known about that cruise in 1924 on the yacht of William Randolph Hearst. All we know for sure is that Thomas Ince died just days after the trip ended. None of the passengers on the boat were willing to concede any details, in fact, stories from the different passengers conflicted greatly.

The trip is really a pleasure cruise for Hearst (played very well by Edward Herrmann), Marion Davies (Kirsten Dunst), and a few of Hollywood's elite. The main focus for the group is trying to keep up with the seemingly imminent love affair between Davies and the devilish Charlie Chaplin (wickedly played by Eddie Izzard) Chaplin has just gotten his 16 year old co star pregnant and now has designs on Davies. She resists for a while, but eventually falls prey to his charms.

The film is an interesting character study. Herrmann shows us a Hearst who despite his riches, realizes that he is much older and less attractive than the wolves who are pursuing his girl. One particularly sad scene is when the band strikes up the Charleston, and Hearst is able to participate only for a few seconds before sitting the rest out. He watches as Marion has a blast with Charlie and the others on the floor.

Ince(played by Cary Elwes) spends the movie hooking up with his mistress and trying to gain information about other people to benefit himself. He was a powerful name in the movies at one time, and now is trying to get back to where he was. He snoops in rooms looking for information, and when he has put the pieces together, disaster strikes in the form of a gun shot.

What is interesting is Hearst's reaction to the shooting of Ince. Immediately this man who has spent the movie looking weak and helpless springs into action with a pack of lies, trying to cover up what has happened, even calling Ince's wife and making up a despicable story. We will never know the truth, but this is not only a credible guess at the events, but also a very good film which shows us a different angle of the characters involved.

Rating:
Summary: Fascinating Character Studies
Review: Not since Citizen Kane have we been treated to such an intimate window into William Randolph Hearst. Is it a true window? Nobody really knows what happened on that yachting trip in 1924, but the Hearst we see in this movie exhibits the grandiosity and attempts to control the world that the historical "WR" was known for. It also reveals the underbelly most psychohistorians imagine they see in "great" men and women.

Bogdonavitch seduces corruption from all his actors in this movie. We see infidelity and double infidelity, greed, schemes, and debauchery from the inside. As the plot slowly builds, one feels compelled to shower, to wash their psychic hands of the basest human nature being dregged across the screen.

Slow for an action movie, too obvious for a whodunnit, unsubstantiated enough to fail at history, this film becomes a vehicle for painting an unflattering portrait of the Hollywood bourgeousie. Power and insecurity, scheming and downfall, betrayal and betrayal. Five stars worth.

...

Rating:
Summary: Memorable Performances, Intriguing Story
Review: Obsession, combined with jealousy, was the impetus for an incident that occurred in November of 1924, aboard the yacht of media mogul William Randolph Hearst, and which in the years since has become the stuff of Hollywood legend and lore. The story has many versions, but the "whisper told most often," is the one recounted in "The Cat's Meow," directed by Peter Bogdanovich, a dramatization of what may or may not have happened during that extended weekend birthday-party cruise in honor of pioneer film director, Thomas Ince, which included an eclectic guest list of the rich, famous and powerful. What is known, is that the party ended with the death of one of the guests, and that foul play and an ensuing cover-up have long been suspected, but never proved. And one thing is certain: Not a single person aboard the yacht at the time has ever spoken of what happened, at least not publicly; but there are those who believe to this day, that someone just may have gotten away with murder.

Once a powerful force in a young Hollywood, Thomas Ince (Cary Elwes)-- who had formed Triangle Films with D.W. Griffith and Mack Sennett, and later founded Paramount Studios with Adolph Zukor-- has fallen on hard times. Once responsible for forty pictures a year, he now struggles to get a single film made. And, his birthday aside, he has decided to mix business with pleasure during this cruise, pitching an idea to Hearst (Edward Herrmann), to combine their resources and make movies together. Hearst, however, has other things on his mind; rumor has it that his mistress, Marion Davies (Kirsten Dunst), is being courted by Charlie Chaplin (Eddie Izzard), and he has brought them together, here, to observe and decide for himself if anything untoward is going on between them. Hearst is not only in love with Davies, but is obsessed with her, as well as the course of her career, and he's not about to let this baggy-pants comic actor interfere. And Hearst, a powerful and controlling man, always gets what he wants-- and what he wants right now is for this business with Chaplin to disappear. So it is, that in the midst of celebration, paranoia overtakes the host of the party, and it's about to cast a pall over the proceedings and ultimately involve everyone aboard in one of the greatest unsolved mysteries ever to come out of Tinsel Town. It's a story that Hearst keeps out of the papers, making sure in his own way that dead men, indeed, tell no tales.

Bogdanovich successfully captures the era, as well as the mendacity of this rich assortment of characters, who are all the more intriguing for the fact that they are real people rather than the product of imagination; and it proves that fact is often more bizarre than fiction. The excesses and overindulgences of many within the Hollywood community during this period rivals anything happening today, and one of the most telling scenes in the film is when novelist Elinor Glyn (Joanna Lumley) offers her take on what Hollywood really is and what it does to those who dwell within. Glyn is also the narrator of the film; a wise choice, as it adds a balanced perspective to the events as they unfold, and are summarily grounded by her often wry and incisive observations. The final words of the film are hers, in fact; a final observation that encompasses so much in so few words, that it provides an impact that makes it the perfect ending. And it makes you realize what a terrific job Bogdanovich did with this film, and how well he brought this material (screenplay by Steven Paros, which he adapted from his own play) to life.

The film is highlighted by a number of excellent and memorable performances, beginning with Herrmann as Hearst. This is possibly the best work he's ever done in his career, perfectly capturing the many facets of this extremely complex man. There's a depth to his performance that conveys not only the bravura of a powerful individual-- and one who delights in using it-- but the vulnerability, as well. He also makes you cognizant of the fact that Hearst is a man capable of almost anything, including creating his own reality, and maintaining it with his limitless resources. It's one of the subtle, underlying nuances that Herrmann brings to his portrayal, which is altogether convincing and believable.

Kirsten Dunst also rises to the occasion, turning in a remarkable performance as Marion Davies. It's a concise reflection of a young actress caught up in a situation that is at once enviable and undesirable, who manages to tactfully negotiate the sensitive issues with which she is faced with a sensibility and maturity beyond her years. And through Dunst, we see the many layers of Davies' personality; the fun-loving girl, as well as the responsible woman, who finds herself in a perpetually tentative environment and selflessly refrains from playing the prima donna or attempting to act as if she is the center of the universe-- something to which too many others who have been swallowed up by the Hollywood lifestyle over the years are prone. It's a comprehensive and convincing performance that proves that Dunst has the stuff to fulfill the promise made by her work in previous films.

The performance that surpasses them all, however, is turned in by Eddie Izzard, as Chaplin. Izzard captures the very essence of Chaplin, physically and emotionally, with a detailed portrayal of the man, created through expression and astute introspection. This is not the on-screen persona, the "Little Tramp," but Chaplin the complex individual and artist who is presented here. Izzard brings him to life with singular nuance and depth, and it's a performance that should, by all rights, earn him an Oscar nomination. Skillfully acted and presented, "The Cat's Meow" is a memorable film that offers some insights into a town and lifestyle that few have ever experienced.

Rating:
Summary: entertaining but nothing to get excited about
Review: Peter Bogdanovich's "The Cat's Meow" is an only mildly interesting take on an unsolved scandal that has become a part of early Hollywood folklore. The year is 1924. The setting: a yacht owned by newspaper magnate William Randolph Hearst. The occasion: the birthday celebration of one Thomas Ince, a movie mogol desperate to join forces with Hearst's organization. The guests: Charlie Chaplin, Hearst's mistress, actress Marion Davies, the neophyte gossip columnist Louella Parsons, and famed bodice-ripper writer Elinor Glyn. The mystery: the sudden death of Ince under potentially shady circumstances. It is Miss Glyn, serving as the tale's narrator, who states right up front that most of what we will be seeing in this rendition is pure speculative fiction.

Given the fact that writer Steven Peros (who wrote both the screenplay and the stage play on which it is based) had pretty much a free hand when it came to dreaming up a convincing scenario to explain the tragic events of that November weekend, it seems odd that he basically settled for little more than an updated production of "Othello" played out in a "Great Gatsby" setting. Hearst is, of course, Othello himself, the powerful leader driven into a jealous rage at the thought of his dearly beloved's betraying him with another man. Ince plays the part of Iago, a self-centered opportunist who poisons Hearst's mind against Marian's fidelity, using a combination of whispered innuendo and fabricated circumstantial evidence to achieve his purpose (though his motive for doing all this is never very adequately explained, I must confess). Marian is, of course, the beloved Desdemona - though she seems a less wholly virtuous innocent than the character Shakespeare gave us. Finally, Chaplin plays a considerably less virtuous innocent than the play's Cassio, the man allegedly having an affair with Othello's - that is to say, Hearst's - dearly beloved.

Even without the "Othello" parallels, "The Cat's Meow" never really adds up to very much in the long run. Perhaps, the characters are too broadly drawn to really make us believe that what we are seeing is an actual historical event and not mere dress-up playacting. Hearst (Edward Herrmann) seems like little more than a petulant, befuddled buffoon, hardly a man who would be sitting atop one of the world's great corporate empires. Louella Parsons, as played by Jennifer Tilly, comes across as a hopeless ditz, a nitwit who literally stumbles, through a stroke of "good" fortune, into her long and lucrative career as one of Hollywood's premiere gossip columnists. And Eddie Izzard makes a thoroughly bland and unconvincing Charlie Chaplin. He neither looks nor moves like the legendary performer and seems to be completely devoid of the kind of charismatic persona one would naturally associate with Chaplin, both on-screen and off. Only the lovely Kirsten Dunst makes a mark on the audience's emotions. Her Marion Davies radiates a high-spirited warmth that brings a touch of much-needed humanity to the rather cold, clinical world these characters inhabit. Of course, recreating this world is one of the prime dictums of the film, but it is hardly earth-shattering news at this late date (and especially to anyone who has ever read the works of F. Scott Fitzgerald) to discover that the idle rich of the 1920's were all a bunch of shallow, self-absorbed hedonists without morals, values, direction or purpose. When Glyn gets the chance to sum up the moral lesson for us at the end, we can barely stifle a yawn at the pedestrian nature of the "revelation."

So what makes "The Cat's Meow" worth seeing? Well, it certainly feeds a kind of morbid fascination we have for that long-ago world of early Hollywood, when movies were in their infancy, their creators larger-than-life figures and their scandals made all the juicier by the fact that the press actually played along with keeping the details a deep, dark secret - thereby enhancing the curiosity factor and guaranteeing that a kind of modern, pop-culture mythology would grow up around that industry and that time. It is that mythology that "The Cat's Meow" effectively opens up for us. That, along with the sharply observed details of the period, is what makes the film, flaws and all, into a reasonably diverting drawing room entertainment.

Rating:
Summary: The Cat's Pajamas!
Review: Peter Bogdanovich's "The Cat's Meow" is without doubt in my mind one of the year's best films. Granted it's been a slow year, but "The Cat's Meow" is a lavish film with lively, colorful characters and proves Bogdanovich is back with a bang!
Most people know what the plot is about, but, just in case. "The Cat's Meow" tells the story of what exactly happened in 1924 on William Randolph Hearst's (Edward Herrman) yacht concerning the death of film producer Thomas Ince (Cary Elwes). The story has of course has never been properly told due to the lack of information concerning all of it. There are some universal truths though. Number one, Ince did die (I believe that's something we could all agree on lol), two, Hearst was never questioned or charged with anything. Three, no one was ever questioned about the incident except for a doctor aboard the yacht. Four, the story was kept out of the press. Why did all of the following happen? That's a good question. And while we may never be completely sure as to what did happen that day screenwriter Steven Peros has given us what we are told, "The Whisper Told Most Often".
Lets for the moment forget that this film is based on rumors and gossip of the past, and just pretend it's all make believe (Because it just very well may be), the film still succeeds due to it's wonderful acting, and I do agree with most when they say this is Kirsten Dunst's best performance. She is truly amazing in this. Bogdanovich's directing is wonderful, showing that his talent has not slipped since the 9 years that passed from his last film. And what about the mood the film creates! Bogdanovich & company have to be given credit for bringing back the feeling of the times. They really recreate the era quite nicely. Which is what I guess really makes the film. So, yes, there is more than the mystic of the film's story to enjoy.
When I first heard about this film I became instantly intrigued to see it. I love hearing stories about the 20's. There's something about the decade that fasicinates me. I also thought that Dunst might not have been a good choice to play Marion Davies. But, once I saw her in the film, I came to realize, you know what? She does sort of look like Davies back in the 20's. A lot of people have a problem with Eddie Izzard as Charlie Chaplin, I don't. I think Izzard did a fine job. Edward Herrman really brought heart to the Hearst character. It was a side of Hearst many people thought didn't exist.
I know it may be early to say this, but, I would love it if this film got nominated for some Oscars like best supporting actress (Dunst), best adapted screenplay (Steven Peros) and best costume design. Also, once you see the movie you may want to buy the soundtrack which includes songs like "The Charlston", "Avalon", "Whispering" & "After You've Gone" to name a few.
Bottom-line: A lively colorful film with vibrant characters demonstrating that Bogdanovich still got it! One of the year's best films.

Rating:
Summary: An interesting, enjoyable 'what-if' whodunnit
Review: Peter Bogdanovitch skillfully retells one of Hollywood's great legends, of an apparent murder carried out on media tycoon William Randolph Hearst's yacht in September, 1924. Kirstin Dunst is brilliantly cast as Hearst's lifelong mistress, actress Marion Davies, and the supporting cast in this fluid, Altman-esque ensemble piece is also quite strong. The script could have been more merciless towards Hearst (longtime nemesis of Bogdanovitch's patron, Orson Welles), but the humanity it imparts on the bazillionaire is what makes this a real film, and not just another movie. Nice to see an old pro back in the saddle!

Rating:
Summary: Narcissism and Insecurity: A Volatile Combination
Review: The Cat's Meow held my interest from beginning to end. What I found most interesting was the portrayal of narcissism and insecurity in most of the characters. Each character acts as though his or her life, reputation and desires are the center of the universe. Everyone else is merely a stepping stone toward their fulfillment, or an obstacle in their way.

Hearst, seemingly the most eccentric and powerful character, tries to control everyone in his world. He insults guests and insists that everyone abide by his rules. Oddly, he takes great pleasure in ascending to the yacht's deck each evening at dusk to see the seagulls-and shoot them.

Yet in spite of all of his power, he is insecure about what others think of him. He has a spy glass built into his floor so that he can watch the movements of others, and he has the yacht "bugged" so that he can listen to guests' "private" conversations on his personal radio. His jealousy and insecurity about Marion's love eventually bloom into full-blown paranoia.

Ince, whose career is on the decline, is so narcissistic that he treats his mistress as a toy that he can ignore. Yet he expects her to focus on him and build his ego back up when his own insecurities surface. Those insecurities cause him to fan the flames of Hearst's jealousy for his own benefit. And his own narcissism makes him blind to the danger that even he faces from the time bomb that he is creating.

Chaplin, played quite convincingly by Eddie Izzard, is shown to be such a narcissist that he has absolutely no insight into either himself or others. He believes that each of his fleeting sexual impulses must be satisfied regardless of the consequences, and despite considerable evidence to the contrary, he thinks that the infatuation of the moment will be his love for life. As Chaplin frantically tries to seduce Marion away from Hearst, promising eternal love, she asks him what he will do about his most recent conquest, a teenage actor whom he has impregnated. He sees no contradiction when he dismisses her, saying that she was "a mistake." And his narcissism makes him so oblivious to others that he has no idea how dangerous it is to make the powerful Hearst angry.

Even our narrator, Elinor Glyn, is narcissistic enough to feel that she is above talking to bores and is the only one clever enough to guide the vulnerable Marion into doing what's best. Yet she is so insecure about her reputation that she refuses to leave her automobile when she realizes that she might be early for the party.

Louella Parsons, the most amusing character, starts out embarrassingly loud, brash and insecure among the sophisticates at the party, and turns overnight into the confident, tough negotiator that her reputation leads us to expect.

The acting, costumes, music and direction are great. If you like period pieces-or just studies of human frailty-you'll enjoy this.

Rating:
Summary: It's Just The Cat's Meow
Review: The Cat's Meow is a delightfully entertaining film, set in 1934 on the cruise ship Oneida. The events that took place on board that boat were never actually discovered. This film entertains one of the many theories of how the events transpired that weekend. It's the 43rd birthday of film director and producer Thomas Ince, played nicely by Cary Elwes. Mr. Ince's friend Marion Davies is throwing him a birthday party on board the yacht Oneida which is owned by her lover William Randolph Hearst. Marion's guest list also included her friend and part-time fling, actor and comedian Charlie Chaplin. Hearst is very possessive of Marion and he is not fond of the relationship that her and Mr. Chaplin share. The other guests include Elinor Glyn who was an extremely famous romance novelist, Louella 'Lolly' Parsons a well known up and coming Hollywood gossip columnist, and Ms. Margaret Livingston a not so well known actress who was also Ince's mistress. Now I know what you are thinking all the wrong people are in all the right places for the sparks to begin flying and fly they do.
Though many of us would not have picked such an unknown actor such as Eddie Izzard to portray Charlie Chaplin the results support themselves. In this more serious portrayal of Chaplin, Eddie Izzard did spectacular. Kirsten Dunst plays Marion Davies quite remarkably I must say the on screen chemistry that Dunst and Izzard share is shockingly realistic. The largest downfall for this film would have to be the chemistry between Marion Davies and her lover William Randolph Hearst, or should I say the lack of. Edward Herrmann who portrayed Hearst did wonderful in his own right but the scenes that he and Dunst shared, suspended believability farther than I am willing to allow. There just seamed to be no connection between the two, even though in real life Marion Davies stayed by William Randolph Hearst until his death nearly thirty years later. I just felt that when portraying real people it is quite important to display the connection that they shared, you know for history's' sake and for my own as a viewer.
Alright lets get back to the good stuff. In my opinion the best part about this film has to be the roles portrayed by Joanne Lumley and Jennifer Tilly. Jennifer Tilly plays gossip columnist Lolly Parsons. Jennifer Tilly is such a delight to watch on screen, she has that presence that makes everyone want to giggle the first time that she appears on camera. Her role is quite different from many of her films that she has been in, but she still pulls the role off nicely. My favorite part of the film would have to be Joanne Lumley many of you may not recognize her but she has been around. She plays Patsy on the BBC program Absolutely Fabulous. Joanne plays novelist Elinor Glyn who in the film is the woman who tells it like it is. Elinor has a witty comment or comeback for everyone. Lets just say that Elinor has a way with words, hence her novelist status. Joanne Lumley is perfect for the role, she fits in so nicely that I don't think I could even picture someone else playing Elinor Glyn. Joanne's performance is spectacular, she is a great actress. Peter Bogdonovich did a good job, I especially liked the color changes from full color to black and white and back again they really enhanced the story. Overall the film is well worth watching and I would definitely recommend it to anyone who enjoys film as much as I do or anyone that is interested in possible scenarios in history.