"Can one live beyond one's time?" ponders the 93 year old Sarah (Lillian Gish). This summarises one of the key themes in Lindsay Anderson's moving drama The Whales of August, which focuses on the relationship between sisters Sarah and Libby (Bette Davis). Spending the summer in their vacation house in Maine, the two are approaching the end of their lives. Sarah keeps herself busy doing household choirs and looking after her near-blind sister, as she awaits the yearly arrival of the whales who swim close to the shore. While Sarah is positive and open to changes, Libby is bitter, resigned to her looming death, and opposes Sarah's ideas to install a window that would allow the moonlight to shine through the home in the evening.
There is no real plot in The Whales of August, and is instead a moving character piece that allows a quartet of wonderful actors - Vincent Price and Ann Sothern as well as the aforementioned - to flex their muscles again. With about 500 features in total behind them, it's wonderful to see these powerhouses at work. Sothern received the only Oscar nomination, but this is Gish's film (Gish shrugged off her Oscar snub by saying "oh well, at least I don't have to lose to Cher". She was one of the first Hollywood superstars, and displays the same effortless likeability that made her a star with the likes of Intolerance - Love's Struggle Through the Ages (1916) and Broken Blossoms, or The Yellow Man and the Girl (1919). Post-stroke and looking extremely gaunt, Davis sadly fairs less well, and although I consider her to be possibly the greatest actress to ever grace the screen, her performance lacks any real emotion.
Beyond the performances, the film is contemplative and somewhat sad. Faded memories and old photographs are always something that affect me, and watching Sarah and Libby share anecdotes and knowing what these actresses must have lived through and experienced, I found it hard not to get choked up. It's a meditation on change and if there ever comes a time when you should simply let go and accept what's coming. It would be Gish's last film, and Davis' penultimate, and it's a fitting way for the both of them to go out. Going back to the question in the first line, the answer is yes. There is a time all actors will be cast aside by the studio system in favour of youth, deeming them no longer fit for purpose, but The Whales of August reminds us that cinema will never, ever forget.
As the 1924 Paris Olympics approach, two different but equally determined young British men prepare themselves for a chance at glory. One, Harold Abrahams (Ben Cross) is an English Jew attending Cambridge University, along with his friends and fellow athletes Aubrey Montague (Nicholas Farrell), Lord Andrew Lindsay (Nigel Havers) and Henry Stallard (Daniel Gerroll). The other, devout Christian and proud Scot raised in China, Eric Liddell (Ian Charleson), seems to have the ability to leave anyone he races against in his wake. One is racing against prejudice, the other for the God he believes gave him the ability to run. But with the Americans dominating the sport, do they have a chance at taking the gold medal?
Because of the amount of times I've seen this film lampooned, with the use of its music played over something in slow-motion, I was expecting this film to have become a parody of itself. I was not expecting something as brilliant and profoundly moving as I did experience. From the opening scene that depicts the main characters running along the beach in slow-motion to that score, I was hooked. How a film that begins in 1919 and is steeped in period detail can work with a very 80's synthesised score is beyond me, but it works wonderfully, and was a massive risk that is pulled off.
Slight historical inaccuracies and tweaks from the sake of narrative aside, the film strongest point comes in its authenticity. For all the films that try and look wonderful in the period dress and detail, few actually feel like its set in the time. For example, Gangs Of New York (2002), was gorgeous and I'm sure the costumes and sets were very accurate, but it always feels like you're watching actors on a set. Chariots Of Fire convinces while seeming effortless, with the clothes and props having a 'lived-in' feel.
Apart from the visual delights, there are the two leads who both went criminally unrecognised at the Academy Awards. Ben Cross is all steely determination and frustrated rage as Abrahams, who is the inferior runner to Liddell. And Ian Charleson, a celebrated stage actor who tragically died nine years after this film was made, is just a naturally fine actor who plays the devout Christian Eric Liddell with such an ease and intelligence that he deserved an Academy Award nomination at the very least. But those Oscar voters don't get it right very often, although the film did bring home Best Picture.
It has been criticised for its inaccuracies. Lord Lindsay didn't exist and is a stand-in for the real-life Lord Burghley, and Aubrey Montague attended Oxford, not Cambridge. The note that is handed to Liddell just before his big race by the American runner Jackson Scholz (Brad Davis) that wishes him luck was actually given to him by an American masseur, and it is said that Abrahams faced very little persecution due to the fact that he was Jewish at Cambridge. They are others too, but, to me, this is a film about two great sportsmen using their ability to speak for what they believe in. If you want an accurate account of what actually happened, you can read a biography or look on Wikipedia. The film makes changes for more power and to get its point across, while keeping the majority of the true-life story correct.
A wonderfully intelligent film that is packed with great performances, stunning cinematography, and subtle period detail, with a distinct Britishness about it that seemed to have been lost in the 1960's. And as much as that score is made fun of, it still packs the same power and remains oddly stirring.
There is no real plot in The Whales of August, and is instead a moving character piece that allows a quartet of wonderful actors - Vincent Price and Ann Sothern as well as the aforementioned - to flex their muscles again. With about 500 features in total behind them, it's wonderful to see these powerhouses at work. Sothern received the only Oscar nomination, but this is Gish's film (Gish shrugged off her Oscar snub by saying "oh well, at least I don't have to lose to Cher". She was one of the first Hollywood superstars, and displays the same effortless likeability that made her a star with the likes of Intolerance - Love's Struggle Through the Ages (1916) and Broken Blossoms, or The Yellow Man and the Girl (1919). Post-stroke and looking extremely gaunt, Davis sadly fairs less well, and although I consider her to be possibly the greatest actress to ever grace the screen, her performance lacks any real emotion.
