NEVER APOLOGIZE
Mike Kaplan
2009 Appeared in the journal Sequences
scene tribute
It's been 15 years since the director Lindsay Anderson broke his pipe. With him is missing a whole part of history British cinema, the film critic and staged in the purest sense. Actor Malcolm McDowell, a faithful son of the filmography of Bangalore, has paid tribute to his spiritual master in a solo show.
Never Apologize was one of those recent shows new genus, between performance, storytelling and biography, not hesitating to be illustrated by a film or television archives, thereby leveling the time lags in using them increased power elliptical stage, like the 700 Sunday Billy Crystal.
McDowell, who played under the rule of Anderson four times (the Mick Travis trilogy and the resumption of Look Back in Anger of 1980), was inspired by various books written by English filmmaker, but also their continued friendship over years, to deliver the show in question, whose title is taken from a replica of a John Ford film, the avowed idol Anderson, who was the subject of a trial.
In turn, the film version of the play, which is more uptake than any reinterpretation or respatialisation - as it is about the boards - The show is entirely a family affair, while the director, Mike Kaplan, produced The Whales of August , Anderson's latest film, incidentally, and attended several years Stanley Kubrick, who, like everyone known, cemented the international potential of McDowell on A Clockwork Orange.
What interest can there be to film a show in general? To the memory performance per se, but sometimes the content. As such, Never Apologize figure is small personal encyclopedia, a tribute to cherish because of the presence of McDowell in one of its best 'interpretations' to life. As if to revisit his mentor, if only in thought, had improved his game but in fact the secular work of Anderson could also find its just as important as the actors or film buffs, at the sight of this sum of anecdotes, quotations and imitations of such education on the art of playing, to stage or only influence the life of a young rebel eager for knowledge to break up any his talent.
McDowell starts his speech at a time when Anderson enters her life masquerading another between two performances of a play at the Royal Court Theatre in London, co-director of the filmmaker in the late 1960's after her first cycle of creation to the movies. Quickly, McDowell Anderson hired to embody Mick Travis, a student protest in the firebrand ... If that really started their careers by winning the Palme d'Or winner.
Inspired by this sudden visibility, McDowell moved Anderson to continue their cooperation in staging a film based on his own experiences traveling salesman of coffee experienced in his youth. Unconvinced, Anderson assigns David Sherwin, the screenwriter of ... If to refine the script for O Lucky Man , who brought the duo to Cannes and then remarked Awards BAFTA Awards and Golden Globes.
Their paths will cross only for a few more years, until his early wanderings McDowell knows the big screen for Anderson consolidate its gains in the middle of the stage and made a few recordings of his plays for television. Their last stop
common in cinema occurs with Britannia Hospital in 1982, with a third appearance in competition at Cannes. Long married to actress Mary Steenbergen (whom he met on the set of Time After Time in 1979), McDowell puts it in contact with Anderson, who, having made videos for the band Wham! and George Michael, will hire seven years later The Whales of August alongside legends Bette Davis, Lillian Gish and Vincent Price, which will however be preferred Ann Sothern at the Oscars.
In a sense, Lindsay Anderson has been during the protest of his contemporary Ken Russell, who chose a similar path throughout his career, to make a mockumentary about their own careers. That perfectly befitted the spirit of candid and voluntary McDowell, the ideal pupil's dream stirrer.
Through play, in imitation of its stars and reading various journals, the interpreter of Alex de Large is the story of their affinities, taking in turn the tribute that Anderson had developed with his his art (writing) on its predecessor Ford. Without excuse, the actor shows all angles - even down to its imperfections - with a generosity rare and manifest in his own way all his admiration and gratitude suspicion towards this father figure, coupled with an unknown poet.
© 2009 Charles-Stéphane Roy
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