It’s the most wonderful time of the year. No, not because of Christmas; because ’tis the season of movie awards! The Oscar nominations are less than a month away (begin to mentally prepare yourself for my usual, agonizingly deep immersion into that), but in the meantime, national and regional film critics groups are rolling out their accolades. This week saw nomination announcements for the Golden Globes, Screen Actors Guild Awards and Broadcast Film Critics Awards. And among the Best Supporting Actor nominees put forth by two of those three groups (the Globes denied a hat-trick) was Robert De Niro, for his performance as Bradley Cooper’s superstitious, football-obsessed father in Silver Linings Playbook.
In an acting career spanning 47 years, more than 80 films, six Oscar nominations, two wins, the American Film Institute’s Lifetime Achievement Award, a Kennedy Center Honor and countless other awards and nominations, De Niro is rightly regarded as one of the greatest actors of all time. But it’s been a while since he’s been on the awards circuit. Because the hard truth we all know is that Robert De Niro has been lost. For the past 13 years or so, he has been wandering in a desert of bad movies and half-hearted performances, a shadow of the actor he once was. (It’s too bad he isn’t Jewish; perhaps ancestral instinct might have kicked in after a few years and helped him course correct.) So what happened? Good intentions that just didn’t pay off? Laziness? Lack of interest?
Look at the movies he made between 1973 and 1999, and the directors he worked with.
1973
Bang the Drum Slowly (John D. Hancock)
Mean Streets (Martin Scorsese)
1974
The Godfather Part II (Francis Ford Coppola)
1976
1900 (Bernardo Bertolucci)
The Last Tycoon (Elia Kazan)
Taxi Driver (Martin Scorsese)
1977
New York, New York (Martin Scorsese)
1978
The Deer Hunter (Michael Cimino)
1980
Raging Bull (Martin Scorsese)
1981
True Confessions (Ulu Grosbard)
1983
The King of Comedy (Martin Scorsese)
1984
Falling in Love (Ulu Grosbard)
Once Upon a Time in America (Sergio Leone)
1985
Brazil (Terry Gilliam)
1986
The Mission (Roland Joffé)
1987
Angel Heart (Alan Parker)
The Untouchables (Brian DePalma)
1988
Midnight Run (Martin Brest)
1989
Jackknife (David Hugh Jones)
Stanley & Iris (Martin Ritt)
We’re No Angels (Neil Jordan)
1990
Awakenings (Penny Marshall)
Goodfellas (Martin Scorsese)
1991
Backdraft (Ron Howard)
Cape Fear (Martin Scorsese)
Guilty By Suspicion (Irwin Winkler)
1992
Mistress (Barry Primus)
Night and the City (Irwin Winkler)
1993
A Bronx Tale (Robert De Niro)
This Boy’s Life (Michael Caton-Jones)
Mad Dog and Glory (John McNaughton)
1994
Mary Shelley’s Frankenstein (Kenneth Branagh)
1995
Casino (Martin Scorsese)
Heat (Michael Mann)
1996
The Fan (Tony Scott)
Marvin’s Room (Jerry Zaks)
Sleepers (Barry Levinson)
1997
CopLand (James Mangold)
Jackie Brown (Quentin Tarantino)
Wag the Dog (Barry Levinson)
1998
Great Expectations (Alfonso Cuaron)
Ronin (John Frankenheimer)
1999
Analyze This (Harold Ramis)
Flawless (Joel Schumacher)
Obviously there are some all-time classics in that era, and it’s an overall impressive filmography filled with strong, memorable, in some cases legendary performances and plenty of gifted directors. Not every film there is well-known, and not every one is a keeper, but by and large it’s a list that justifies De Niro’s status as one of the greats.
Now let’s look at what happens when we enter the new millennium.
2000
The Adventures of Rocky & Bullwinkle (Des McAnuff)
Meet the Parents (Jay Roach)
Men of Honor (George Tillman, Jr.)
2001
15 Minutes (John Herzfeld)
The Score (Frank Oz)
2002
Analyze That (Harold Ramis)
City By the Sea (Michael Caton-Jones)
Showtime (Tom Dey)
2004
The Bridge of San Luis Rey (Mary McGuckian)
Godsend (Nick Hamm)
Meet the Fockers (Jay Roach)
Shark Tale (Bibo Bergeron, Vicky Jenson, Rob Letterman) – Animated
2005
Hide and Seek (John Polson)
2006
The Good Shepherd (Robert De Niro)
2007
Stardust (Matthew Vaughn)
2008
Righteous Kill (Jon Avnet)
What Just Happened (Barry Levinson)
2009
Everybody’s Fine (Kirk Jones)
2010
Little Fockers (Paul Weitz)
Machete (Robert Rodriguez)
Stone (John Curran)
2011
The Ages of Love (Giovanni Veronesi)
Killer Elite (Gary McKendry)
Limitless (Neil Burger)
New Year’s Eve (Garry Marshall)
2012
Being Flynn (Paul Weitz)
Red Lights (Rodrigo Cortés)
Freelancers (Jessy Terrero)
Silver Linings Playbook (David O. Russell)
Well, the man certainly keeps busy. That’s a long list of movies to consider. But a few things can be quickly gleaned.
1973-1999: Lots of intense drama. Lots of smart comedies. Lots of classics. Lots of strong, established directors. Lots of Martin Scorsese.
2000-2012: Lots of tepid drama. Lots of broad comedies. Lots of duds. Lots of undistinguished directors. No Martin Scorsese.
Now to be fair, I’ll say this. First, I have not seen a lot of the movies from the 2000-2012 span. Second, just because some of those movies weren’t big box office hits doesn’t mean they weren’t good. Third, just because critics may have had low opinions of many of those movies doesn’t mean they’re right. Fourth, just because many of the directors are less well-known doesn’t make them untalented.
But…when the reviews are bad, and the movies don’t connect with audiences, and they don’t go on to develop enduring reputations for being good, it’s not unfair to draw certain conclusions. And of the films I have seen from that era, few feature De Niro anywhere near his best. The performances are uninspired. He appears to have a lack of energy or interest. He doesn’t look engaged. Could it be that a bout with cancer took a toll on him? De Niro was diagnosed with prostate cancer in 2003, but the disease was caught early and he went on to beat it (probably with a baseball bat). Maybe the cancer affected the energy he brought to his performances, but the problems began well before his diagnosis, and have continued well after he received a clean bill of health.
It’s reasonable to think that as actors get older, some of their intensity and passion will subside or burn out. But if we look at some of De Niro’s key contemporaries, who were also considered the best actors of their day – Al Pacino, Dustin Hoffman and Robert Duvall – we see actors that are still delivering excellent work, if not quite as consistently as in their early days. Yeah, Pacino has had his duds over the past few decades, and has veered toward overacting at times, but he’s also shown that he’s still got the magic, in HBO movies like Angels in America, You Don’t Know Jack, and even as the bad guy in Ocean’s Thirteen. He’s also continued to do impressive work on stage. Hoffman doesn’t do a lot of leading man work anymore, but has shined in supporting roles in films like I ♥ Huckabees, Finding Neverland, Confidence, Barney’s Version and Stranger Than Fiction. He also headlined this year’s short-lived HBO series Luck, delivering a quietly cutting, laser-focused performance as a recently paroled gangster out for revenge. Duvall has also continued to do excellent work in roles large (Open Range, Get Low) and small (Crazy Heart, Thank You For Smoking). He had a tiny part in the 2009 adaptation of Cormac McCarthy’s The Road, and with about five minutes of screen time managed to give one of the best performances of that entire year. And what about Meryl Streep? Defying the oft stated problem that no good roles exist for older women, Streep is in the most successful stage of her career, turning character driven comedies into box office hits, still slam dunking dramatic roles and winning her third Oscar earlier this year. I’d like to think that if these actors are still capable of delivering top-notch work, De Niro is too.
In fact, I know he is…because I’ve seen Silver Linings Playbook, and he’s great in it. He does his best work in years. His character is just a regular guy with a few idiosyncracies, but not every part needs to be Jake LaMotta or Travis Bickle to give an actor something special to do. His performance isn’t astonishing or transformative, but it’s vigorous and fully energized. The role gives him something to work with, and you can see him having a blast with it. I don’t think that anyone expects him to pull another LaMotta or Bickle out of his hat at this point in his life, but earlier in his career he could turn even ordinary parts into something special. Consider the fire inspector he played in Backdraft. It was a fairly small role, and there’s nothing dynamic about the character on paper. But even though he’s just “a guy,” De Niro gave him an appealing dry humor and a short fuse that kept things interesting. He does the same sort of thing in Silver Linings Playbook, and that’s why he once again finds himself in the conversation for awards. If he gets nominated for an Oscar, it will be his first in 21 years. While accepting an honor in October for Supporting Actor of the Year at the Hollywood Film Awards, De Niro joked that he had become much more accustomed to presenting awards than receiving them. Well take a look at your filmography Bobby, and it’s not hard to see why your trophy shelf hasn’t had many new additions of late.
While it’s great to see him back in the game with this new movie, I worry that it may be only a brief return to form. His upcoming projects look to be mostly of the same ilk he’s been turning out for years now. Commercial, broad, maybe kind of fun, but not worthy of his talent:
–The Big Wedding, a comedy that boasts some fine actors like Diane Keaton, Susan Sarandon, Topher Grace and Robin Williams, but sounds like generic, madcap fluff.
–Last Vegas, with De Niro, Kevin Kline, Michael Douglas and Morgan Freeman as four buddies who go to Vegas for a bachelor party when one finally decides to get married. Great cast, and these guys will surely play nicely off each other, but you can almost see the script being assembled by a studio marketing team.
–Grudge Match, a comedy with De Niro and his CopLand co-star Sylvester Stallone as two ex-boxers who come out of retirement for one last fight. Kinda fun to think about Rocky Balboa and Jake LaMotta squaring off…but again, you know this is just going to be a middle-of-the-road exercise that might offer some amusement before it’s forgotten.
There are a few others listed on IMdb.com, but only two sound like they have some potential to be interesting: Malavita, a crime drama directed by Luc Besson and co-starring Michelle Pfeiffer, Tommy Lee Jones and Glee‘s Dianna Agron, about a mafia family who enter witness protection in France and struggle with the adjustment; and The Comedian, which I don’t think is even an officially greenlit project yet, but would be directed by Sean Penn and star De Niro (alongside Kristin Wiig, intriguingly) as an aging, Don Rickles-like insult comic.
Those movies could prove to be bright spots, but otherwise De Niro’s current line-up doesn’t inspire much hope. Maybe he made those deals a while ago, and the experience of making Silver Linings Playbook, along with the acclaim he’s receiving for it, will reawaken whatever passion or desire for quality material has been lying dormant for so long. What De Niro really needs to do is hook up with HBO. As I mentioned before, the cable network has provided great material for Hoffman and Pacino. The latter will be back on the air in 2013 playing music producer-turned-murder suspect Phil Spector in a film written and directed by David Mamet. How great would it be to see De Niro topline a series with the kind of rich storytelling and writing that HBO consistently offers? Maybe he can dip his toes in those waters slowly, with a nice season-long arc on Boardwalk Empire? C’mon Scorsese, you’re a producer on that show! Make it happen! Or hell, put the guy in one of your movies again. Just because Leonardo DiCaprio is your new De Niro doesn’t mean De Niro can’t be your old De Niro. Give the guy a juicy co-starring role! I know, I know…De Niro was supposed to be in The Departed, in the role eventually played by Martin Sheen, but couldn’t do it because of his schedule directing The Good Shepherd. But what about the other projects over the last several years that were going to see you two reunite? Haven’t you been attached to a gangster film called The Irishman for years now? What’s the holdup? Marty, help us out. We want De Niro back in top form, and we need you to help get him there.
Only time will tell if Silver Linings Playbook is a turning point for De Niro, setting him on a path back to the kind of quality roles and impassioned performances on which he built his reputation. Nothing can take away from the momentous work that marked his early career, but it’s sad and frustrating to see such talent squandered on dumb comedies and flat dramas. Silver Linings Playbook is a much-needed reminder that Robert De Niro is capable of better. Here’s hoping some talented writers and directors can steadily provide him with the material to match his skills, and that he’s ready to bring his A-game when those scripts arrive at his door.
I started watching the show in a vacuum, but slowly began to discover that other friends were caught up as well. Some were longtime readers of Martin’s books, others were initiated by the series as I was, and then ran for the books and began plowing through them. I’m attempting a more disciplined approach. Having been so wrapped up in the show and stunned by some of its plot developments, I decided not to read ahead, but rather to continue letting the show be my first exposure to the developing story. But I wanted to dive deeper into Martin’s world, so I started reading the first book last month, figuring it would be a good way to quench my thirst when the marketing campaign for season two was forging ahead and my excitement would be hitting fever pitch. I’m about 150 pages from the end, and have found the books to be a great way of helping me gain a better foothold of the dense world Martin created. While there are of course differences between the book and the show, I’ve been surprised and impressed at how closely the series has held to the written word. Season one of the show covers the first book, also called Game of Thrones (or to be precise, A Game of Thrones – 807 pages). From what I understand, season two will follow suit, covering the second book, A Clash of Kings (969 pages). I will try to stick with my process as well, waiting until early 2013 to read that book. The show creators D.B. Weiss and David Benioff have suggested that the third book, A Storm of Swords (1,128 pages), might prove too much to handle in a single season of ten episodes, requiring them to adapt it over the course of two seasons. My reading the books at such a measured pace is already testing my fortitude. I don’t know how I’ll handle having to divide reading A Storm of Swords over a two year span…or just waiting two years until the full adaptation has aired to even begin the book. And then there will still be more to go. What’s a devoted fan to do?
For the uninitiated, I should probably give a brief description, though this is not a series that lends itself to succinct summarization. It’s fantasy, but realistic, gritty fantasy. Magic exists, but on the periphery, at least in the first season and book. It starts to show itself more toward the end, and given the final image of season one, I imagine we’ll be seeing more of it moving forward. The setting is a land known as Westeros, comprised of Seven Kingdoms but united under one ruler. As the series begins, that ruler is Robert Baratheon, who led a rebellion against the previous king, Aerys Targaryen. There is a rich backstory that gets parsed out as the series progresses, but to keep things simple: Robert’s second-in-command dies mysteriously, and so the king seeks out his old friend and dear comrade Lord Eddard “Ned” Stark….yeah, okay, this isn’t gonna work. Way too much explanation required to set the scene adequately. But don’t be intimidated by that. It’s fun to keep all the pieces straight, and there are plenty of resources online – some on HBO.com – to help you familiarize yourself with the many characters and the history of Westeros. Just trust me when I say, the show kicks ass. Kings, knights, lords, warrior princesses, bastards, wolves, zombies (sort of), lust, incest, power plays, betrayal, secrets, lies, battles, assassination attempts, honor, brotherhood. The plotting is richly detailed and imaginative, full of intrigue and excitement. And there’s a fantastic ensemble of actors embodying characters you love to love and others that you love to hate. Sean Bean as Ned Stark, honorable to a fault. Iain Glen as Ser Jorah Mormont, a disgraced knight living in exile and protecting the daughter of the murdered Targaryen king. Jack Gleeson as Prince Joffrey Baratheon, heir to the Iron Throne, and an unimaginable little asshole. Charles Dance as Tywin Lannister, the richest man in the Seven Kingdoms. Kit Harrington as Jon Snow, Ned’s bastard son seeking a life of honor as a brother of the Night’s Watch, which protects the realm from their base along a massive, towering wall of ice. Conleth Hill as Lord Varys, a member of the king’s council who has spies everywhere and trades in secrets. And so many more, though probably none as enjoyable to watch as Peter Dinklage’s Tyrion Lannister, Tywin’s dwarf son, brother of the queen, ever reliant on his intelligence and good humor to keep him alive in a tall man’s world. Dinklage has already won an Emmy and Golden Globe for the role. You don’t need more than the first two episodes to see why.
I Am DB 