You never saw Clark Gable and Gary Cooper together in a movie… Errol Flynn and Tyrone Power… It was a surprise even to see two medium sized stars (as they were in 1942) John Wayne and Ray Milland together in Reap the Wild Wind. It was a waste of resources — Only a Cecil B DeMille extravaganza could afford it. Anyway, the big stars in a similar niche were normally at different studios. John Wayne and Henry Fonda got together just once (Fort Apache); John Wayne and James Stewart ditto (The Man Who Shot Liberty Valance) but when the rules were relaxed in the Sixties — and suddenly you were allowed to have Kirk Douglas, Robert Mitchum and Richard Widmark all in the same western, The Way West). In the mid Fifties, after a decade in movies, Burt Lancaster finally had enough cred to appear with a major figure of the older generation in decline: Gary Cooper (in Vera Cruz), then Clark Gable (in Run Silent, Run Deep) — but as the junior partner in both.<p>
There’s a photo that’s always fascinated me, one taken in 1949 by Life magazine visiting the MGM studio, in slowly dimming twilight after a quarter century of unquestioned dominance in movies. All the stars had been ordered to turn up dressed in character costume and here they were lined up in rows like for a school photo — 58 star names of the time with the lovely Lassie front & center. Tracy and Hepburn are at opposite sides looking blase; Sinatra dangerous; Ricardo Montalban and Angela Lansbury to name just two much better known on tv decades later. One’s gaze is drawn to four figures at the center of the second row, directly above Lassie. Of these all-time greats, far right is Judy Garland, then Ava Gardner; next to her Clark Gable, then Errol Flynn. Broad-shouldered Gable, 48, looks his smiling self, as ever. Flynn, about to turn 40, looks dressed for Soames Forsyte, his temples greyed for the occasion and looking conflicted for the character.<p>
Or was it that? What on earth did Gable and Flynn find to say on meeting for the first (and probably only) time as they sat next to each other? — What’s your score? Flip you for a date with Ava? Or purely professional on the finer points of acting the hero on screen, or Tilt your head — your left side is your best. Flynn happened to be there on a one-off loan from Warner Bros, and was earning at least as much as Gable who traded earnings for the minders, personal care and other perks MGM afforded. Had Gable said something belittling to the younger man, turning slightly away and looking somewhat indignant? Gable had been nearly 20 years the hunk of Hollywood, only now starting to make way for Lancaster, Robert Mitchum, Kirk Douglas, and still had another dozen years of popular films in him. Both were men’s men, but Flynn, for 15 years already the head Hollywood Pretty Boy along with Robert Taylor and Tyrone Power, was fading. He was apparently emotionally damaged: as a child by a cold mother, then ridiculed as a walking penis — “In like Flynn” — taking on teenagers, then for not going off to the war (he had a secret heart condition) despite what his movies said. Vastly underrated in the official popularity polls, he was one of the very few megastars through the second half of the thirties and most of the forties whose studio could spend a massive $2 million “negative cost” on his movies (and more millions on worldwide distribution and promotion), which he usually carried alone (with secondary help from Olivia De Havilland or no help from a minor leading lady) time and again and be certain of coming away with a profit. Taking to drink and drugs, he was nonetheless an icon and his name still meant something substantive on the marquee till his death 10 years later.<p>
Now it wouldn’t be a surprise to see George Clooney, Brad Pitt, Matt Damon, Kevin Bacon, Jeff Goldblum and Al Pacino all together in a movie — combined summoning about half the star power of Gable alone on the screen. But my beef isn’t primarily with them this time.<p>
It is, in particular, with the performances of Gary Sinise and William Petersen — and those of the entire cast of Criminal Minds (except for the guy who used to be in Dharma & Greg). I’ve always wondered why actors capable of absolutely rivetting, diverse characterisations in their movies are so very, very BORING in their tv shows. It must take one hell of an effort for people so obviously talented to neuter their characters to such a degree. And for why? And now we have Laurence Fishburne, Ted Danson, Tim Roth and that blond young Canadian actor with the constant simper, somehow ‘starring’ in his own series, to add to the list. That makes how many leading actors in movies who, for my money, are absolutely wasted on television. Some of the most vapid leading men of the “Golden Age of Hollywood” — and they know who they are by reputation — John Boles, Walter Pidgeon, George Brent — couldn’t be as wooden if they tried.
Either the writer/creator has written these intelligent, scientific types as cold fish with no visible personalities. Or there is an overriding philosophy in television acting today that says only robots in action movies are allowed to display marked emotion — otherwise tone it down to non-acting, walking through a scene. This was obvious as I watched a scene in Criminal Minds last night — and don’t say, You have to watch more than one scene! Any person with taste and discernment doesn’t have to watch more than that to see what is going on. I’ve always thought the way the group scenes in this series are written is ludicrous. Each one gets one line to say, then they all leave at the same time, like the heroes in Scooby Doo, to take on their tasks. The young walking encyclopedia with the stupid hair (again, he couldn’t get it that wrong by accident — even Einstein had some clues, social nous) sometimes displays more personality than the others, which in itself is very, very scary. I guess he’s based on Shaggy from Scooby Doo just as that scatterbrained girl back at base with the funny face, hair and outlandish wardrobe (there’s one too in one of the CSIs) comes from that little roundish girl in the original cartoon. They haven’t managed a human form of Scooby himself yet in live action, but give them time.
Contrast, say, Monk. It is very well acted and choreographed, and yes, I realise they are going for a light touch and dark humor. This is almost the only genre that American tv gets absolutely right these days (though not as good since Bitty Schram left) and can be seriously ruined, as with many entries in Murder She Wrote. I make exceptions for excellent serial miniseries like The Sopranos, Boardwalk Empire, Mad Men… each made with more of a feature film sensibility and production values.