Happy Birthday To A Singing Warren Beatty

In honor of Warren Beatty's Birthday (he turns 72 today) I'm revisiting (yet again) my adoration of both Ishtar and Bulworth...

According to an older edition of Robin Morgan's The Book of Film Biographies, actor Warren Beatty is "more famous for his espousal of liberal causes and his affairs with actresses from Joan Collins to Madonna -- despite his achievements." How unfortunate. But we know he's so much more than this reductive, stale statement.

This Hollywood legend has gone from pretty-boy method actor in Elia Kazan's Splendor in the Grass to Arthur Penn's complex, intriguing Mickey One, to producer and star of the seminal anti-establishment picture Bonnie and Clyde. He created and starred in films like The Only Game in Town, a fascinating George Steven's gambling picture opposite a blousy but still beautiful Liz Taylor; The Parallax View, a superb paranoid political thriller; Shampoo, a dark satire in which he plays the only straight hairdresser in California; Robert Altman's masterful McCabe & Mrs. Miller and Heaven Can Wait, a sweet romantic comedy that, consistent with '70s cinema, manged to feel depressing. He also directed and starred in Reds, the critically acclaimed saga of John Reed and worked a violent, seductive Bugsy Siegel in Barry Levinson's smart Bugsy.

For anyone who knows a few things about film history or read Peter Biskind's gossipy Easy Riders Raging Bulls or really, has any cine-telligence, you should understand Beatty's contribution to cinema is significant. But how about his contribution to comedy?

Just as I revere Beatty for his work with Kazan, Arthur Penn, Robert Altman and Hal Ashby, I believe the lothario looker to be one of the most underrated comic actors in the business. In his knack for it, the man is near brilliant. Where did he prove this best? Oddly, in two that place him in a musical mode -- Elaine May's Ishtar, one of the most misunderstood and under-watched great comedies of all time and Bulworth, a film that's almost a masterpiece.

I've witnessed countless people make the sour face when I bring up both films only to learn they have usually never even seen Ishtar or simply discount Bulworth as a silly mistake. How wrong they are. Some don't even know the genius Elaine May (who directed and co-starred in the sublime A New Leaf with Walter Matthau and directed both Mikey and Nicky and The Heartbreak Kid) even directed Ishtar. The mind reels. But due to the press attacking the over-budget supposed turkey; it was maligned beyond the level of Gigli. This was The Heaven's Gate of comedy. Not funny.

So if you haven't (and if you say you have and haven't then shame on you!), watch Ishtar -- and laugh and feel its strange poignancy. Especially the hilarious first half hour. Beatty's handsome, shrewd dark side, seen in films such as Lilith, is nearly obscured by a perfectly timed, soft-spoken dumbbell act. Playing the supposedly less attractive friend to "The Hawk" Dustin Hoffman (also hilarious) his half of a struggling songwriting act is so funny and oddly poignant that the moment he opens his mouth to talk, or simply, breath through it, he's comical. Driving an ice cream truck while proudly coming up with the jingle: "Hot fudge love cherry ripple kisses. Lip smacking, back slapping perfectly delicious," we see a guy who's obsessed with his "skill" no matter how much he stinks (and honestly, he's not so bad at times). He strains to think, he stumbles over words (his attempt to pronounce "schmuck" is timed with perfection) and he tries so hard -- especially when he belts out: "Telling the truth can be dangerous business, honest and popular don't go hand in hand. If you admit you can play the accordion, they'll never hire you in a rock and roll band!" (Yes, yes, I have all these songs memorized. I have nearly worn out my beloved VHS copy --  why isn't this movie on DVD?! ).

He is humorous, in a way no other actor could have been in this big, sad-sack of a hack musician, while being absolutely heartbreaking. There's a moment on a rooftop ledge between the two men (the film's greatest scene, in fact) that makes you realize how powerful Beatty's talent can be. It's not just his soft, lost, lovely eyes, it's his vulnerability -- and how we are charmed, warmed and agonized by it that moves us. Saving his suicidal friend is saving himself too -- and watching his confused eyes piecing this together is oddly wrenching. When he says, with such deep conviction: "It takes a lot of nerve to have nothing at your age, don't you understand that? Most guys'd be ashamed, but you've got the guts to just say 'to hell with it'. You say that you'd rather have nothing than settle for less, understand?" Funny yes, but darkly true. I fall in love with him every time I watch that scene.

Beatty must have given more credence to truth, particularly within Ishtar's lyrics than originally imagined. Telling the truth is dangerous business, and Beatty proves it in Bulworth, a political satire that offers an intriguing look at Beatty's sharp cynicism. Written, directed and produced by Beatty, Bulworth tells the story of a U.S. senator from California who becomes insanely depressed during his bid for re-election. Sick to death of his political rhetoric ("we stand at the doorstep of a new millennium"), Bulworth (Beatty) has a nervous breakdown and plots self-assassination. Then he meets Nina (Halle Berry), sheds his old, crooked ways and starts anew by, shockingly, telling the truth. But he's still got a problem: a man is trying to kill him.

Once we see where Bulworth is going, the picture branches into two stories, that, the more I watch, the more I find compatible. One is a biting comedy that lampoons white liberal dishonesty. In this story we have a man who, during a speech in a church packed with black supporters, says it is obvious the Democratic Party doesn't care about African Americans. He asserts that they will never amount to anything if they don't put down their "chicken wings and malt liquor" and if they continue to support a "former running back who stabbed his wife." In defense of his candor he shrugs, "Hey, I'm just calling a spade a spade." But there is also a screwball love story that puts whitey in the hood. Here, he hangs with a group of under-age drug dealers, smokes weed, does coke and gets drunk at a black nightclub where he dances crazy style with Nina (an incredibly sexy moment). Wearing baggy shorts, basketball shoes, a gold chain and a ski cap, Bulworth continues his campaign by rapping on national television--and gains popularity. It is inevitable that Bulworth's rushed, insane honesty (accompanied by Cypress Hill's "Insane in the Membrane") will lead to his downfall. And Bulworth falls hard. Beatty is hilarious showing his new black consciousness, and though his comedic talent could have been bolstered even more by a sharper political wit, the film moved into brave territory that unlike other un-PC lampoons, rarely plays simplistic or merely for shock value.

Part of what makes Bulworth so fascinating and daring is that Beatty is presenting blacks in a disadvantaged, urban milieu, but he isn't pandering to them as victims. He finds humor and relevance in the complex tension between the races. And, on the comic end, Beatty also perfects his "why are you looking at me?" stare. His comedic talent lies in his Dorian Gray ability to reflect through deflecting: We won't see how horrible the world is when we look into Beatty's deceptively childish eyes, and even if we do, we won't care, because they are such nice eyes. The ugliness of his actions in Bonnie and Clyde, the selfishness of his hairdresser in Shampoo, the violence of his psychologist in Lilith and his hacky songwriting abilities in Ishtar are all effectively made pretty, and Beatty is smart enough to know this. As Hoffman says in all seriousness to Beatty in Ishtar: "Shit man, when you're on you're on." He's on.

Comments

[mister muleboy]

Ms. Morgan -- in addition to being the most gorgeous creature ever to routinely comment on film, you are a genius: your quick summary [Heaven Can Wait, a sweet romantic comedy that, consistent with '70s cinema, managed to feel depressing.] captures and describes a decade's worth of film in . . . . eight words.

Wow.

That depression in comedy lasted at least until 1982's Tootsie, which garnered such praise and comment.

I wonder what that movie would have been like with Mr. Beatty in the lead -- I feel it would have gone to deeper places [Dorothy Michaels wasn't particularly attractive, taking an element out of the interplay of the characters].

Sorry; I babble.

And now, a criticism. I implore you -- never, ever, ever again type the word oftentimes. It's an ugly, redundant abomination. Often does the trick nicely, and should be your friend.

I love you!

-- mister muleboy

[Rachel]

So glad to see some one else liked Ishtar!
I have fond memories of seeing Ishtar with my Mom when I was on a break from college, and the two of us were in hysterics in the theater. We could never understand why it was so panned by critics.
I remember how some of the biggest criticism was about the swtiched roles of Beatty and Hoffman, which was so weird, since romantic success has more to do with actual confidence rather than physical looks.
Ishtar, Heaven Can Wait, Reds, Beatty is one of my heroes.
Very nice birthday tribute.

[Erich Kuersten]

I too dig Bulworth! I oftentimes turn to it in times of trouble. There's a genuine "in the moment" feeling that corresponds well to similar vibes in Altman films like Nashville, and Shampoo. I love how after Bulworth finally falls asleep after being up for three days, all his new black friends are looking at him wondering if he's going to be "sobered up" and retract all the wild stuff he promised. It's very, very perceptive. SOCIALISM!

[Brian Libby]

I'm also a big Bulworth fan. Beatty rapping is super fun, and Oliver Platt is great.

[larry aydlette]

I once saw Beatty (he's even more magnetic in person, very tall) and Adjani strolling down Fifth Avenue. Suddenly, Beatty pulled her over to the corner of a brownstone and began talking to her very close and intently. He was giving her The Full Beatty, and she didn't seem to be objecting.

[Max Allan Collins]

When Beatty made DICK TRACY, I was writing the syndicated strip, and became a consultant and wrote the movie novel, some material from which (weirdly enough) made it into the movie. My only direct contact with him was at the TRACY premiere at DisneyWorld, but he took time to talk to me for several minutes, clearly knew who I was, and said he wanted to talk to me and I should expect a call (still waiting). But that thing they call charisma is for real -- for four minutes he made me feel that he was generally interested in me and connected with me. No wonder he didn't have trouble getting dates.

Prior to TRACY, Beatty had a great impact on me -- first, as the rich guy courting Tuesday Weld's eternal Thalia on the early wonderful DOBIE GILLIS episodes, and later in BONNIE AND CLYDE, the movie that sent me down the ROAD TO PERDITION that my career has been.

He is fighting the Tribune over TRACY rights. I hope he wins.

[Matt]

Always avoided Ishtar because conventional wisdom held it to be unwatchable. I'm adding it to my queue now... thanks for the tip.

[lil1inblue]

FINALLY! Someone else who understands and appreciates Bulworth. I thought the debate where he descended into rap was an incredible moment.

[Coop]

Warren Beatty is a hard actor for many to get. I admit, I struggle with liking him on many levels, but I've got a soft spot for the guy in "Dick Tracy" and "Bonnie and Clyde." Too bad he's off the radar because I'd like to see him take a stab at something contemporary.