May "The Best Man" Win

Russell (Fonda) contemplates
his future.

A political convention provides the backdrop for The Best Man, a 1964 adaptation of Gore Vidal's stage play about the maneuverings of a pair of would-be presidential nominees. Henry Fonda plays William Russell, the current Secretary of State and a self-confessed egghead who spouts quotes, jokes with reporters, and avoids rumors about his philandering. Cliff Robertson portrays his opponent, Senator Joe Cantwell, a fiery politican who rose from humble beginnings and gained fame trying to connect the mob to communists. With Russell holding a slim (but undecisive) lead among the delegates, each man seeks the endorsement of the party's popular former president, Art Hockstader (Lee Tracy).

In a candid conversation with Russell, Hockstader reveals that he's dying from cancer. It's clear that these men value their friendship and respect each other, but Hockstader also harbors concerns about Russell's indecisiveness. He confides to his friend: "Sometimes, you get so busy thinking how complex everything is that the important problems don't get solved." After the meeting, when Russell's wife and his campaign manager ask if he got the endoresement, Russell replies: "It's what he (Hockstader) didn't say. He's going to support Joe Cantwell."

Cantwell confronts an accuser.

Cantwell, though, is convinced that the former president will endorse Russell. He meets with Hockstader and shows him medical documentation that Russell once suffered a nervous breakdown. Cantwell believes this knowledge will sway Hockstader to shift his support. Instead, the plan backfires. Hockstader, already aware of Russell's past, tells Cantwell: "I don't object to you being a bastard. It's your being such a stupid bastard that I object to." As Cantwell storms out of the hotel room, Hockstader informs him that he just lost the endorsement.

That evening, during the pre-convention dinner, Hockstader surprises everyone when he endorses no one. Without a clear favorite, the party's nomination is truly up for grabs--and that's when the political chess moves really begin.



The former president endorses no one.

A heavy dose of cynicism permeates The Best Man, most notably in the unexpected ending. Vidal, who adapted his play, takes potshots at everything from the candidates' posters ("Hustle with Russell") to their carefully orchestrated political ploys. In one scene, as Russell and his staff view a "spontanteous demonstration" on the convention floor, a staffer comments that it's supposed to last for twenty-two minutes. One suspects that Hockstader best represents Vidal's own views, with dialogue such as (spoken to Cantwell): "It's par for the course when you fool people."

Still, The Best Man is a film with neither heroes nor villains. Cantwell may be ruthless, dangerously ambitious, and willing to distort the truth. However, he is also a faithful, affectionate husband who is innocent of key accusations made against him. Furthermore, as Hockstader notes, he "knows his own mind"--which might make him a better president than Russell. As for Russell, he is certainly more likable, but has cheated on his wife, may lack decisiveness, and finds himself a hostage of his own ego ("I never pass a mirror I don't look in...I wonder why?").

Fine performances abound in the The Best Man, with Robertson and Fonda at the top of their games. Lee Tracy steals many scenes, but then Vidal gives Hockstader most of the juicy dialogue. Tracy originated the role in the 1961 stage version of The Best Man and won a Tony. He received an Oscar nomination for Best Supporting Actor for the film version (losing out to Peter Ustinov in Topkapi).

An intelligent examination of American politics, The Best Man shares many similarities with the earlier Advise and Consent (e.g., Fonda is a nominee for Secretary of State in the latter film, Robertson and Don Murray cope with similar allegations). It may lack the intensity of Advise & Consent, but it's a rewarding, still relevant film. It also foreshadowed two of the darker periods in American politics: In 1972, Senator Thomas Eagleton, George McGovern's running mate, resigned as the vice presidential nominee when it was revealed he had been treated for depression; The Best Man was filmed at the Ambassador Hotel in Los Angeles, the place where Robert Kennedy would be assassinated in 1968.

Let the Countdown Begin! My 100 Favorite Films: From 100 to 91

The idea of listing one's 100 favorite movies seems daunting, unrealistic, and a wee pompous. First, I find it almost impossible to settle on a "top 100"--I'm always thinking of a fave I forgot to include. Furthermore, the definition of "favorite" seems to fluctuate based on my age and state of mind. And yet...I admit that I'm intrigued with lists, especially the countdown variety. I guess I'm just a list kind of guy.

During the Christmas holidays, I found a list of my favorite movies, which I'd compiled many years ago. To my surprise, about 70% of the films were still ones I enjoy watching every year or two. I thought it might be amusing to revise my list and do a monthly series of posts where I count down my faves from #100 to #1. Several of the films are ones I've reviewed at the Cafe, while others are pretty obscure.

My film tastes are pretty eclectic, so my favorites feature performers as diverse as Errol Flynn, Spencer Tracy, Deborah Kerr, Hayley Mills, and Bruce Lee (in fact, I list at least two films by each of those stars). There are Hammer films, foreign-language films, Disney, and Hitchcock. And there are robots, gargoyles, soldier ants, and even "humanimals." Let me stress that these are not what I consider the greatest films ever made (though some of them are). Rather, they are just one film buff's favorites.

Sadly, there were a handful of movies that just missed out on a place on the list. These honorable mentions include Trinity Is Still My Name, Young and Innocent, The Flim Flam Man, Body Heat, The Fury, Cornered, The Five Man Army, Repeat Performance, Star Trek II: The Wrath of Khan, and Random Harvest. And now, it's my proud pleasure to count down 100-91:

100. Ten Little Indians (1965)/John Carpenter’s The Thing - I know, I've already cheated by starting with a tie so I could squeeze in 101 favorite films. But the truth is that these two films both feature a setting and premise that have always appealed to me: an isolated snowy location and a murderer that could be anyone. I know plenty of movie lovers are aghast that I didn't pick the more renowned And Then There Were None. However, it's not set on a snow-covered mountain...and doesn't have a "murder minute."

99. Rocky - The variable quality of the sequels doesn't diminish the original, which presents a gritty, winning underdog story. Whenever it's on TV (which is a lot), I find myself compelled to watch it from whatever point I join the plot.

Natalie Wood recites Wordsworth.

98. Splendor in the Grass - OK, I admit it...I first saw this on the late show when I was around 18 and got the sniffles during the bittersweet closing scene. Natalie Wood is painfully vulnerable as an emotionally fragile young woman in love with Warren Beatty (who has problems of his own) during the late 1920s. A poignant script by the marvelous William Inge has Natalie quoting Wordsworth's Ode: Intimations of Immortality from Recollections of Early Childhood (the source of the title).

97. My Cousin Rachel - Atmospheric adaptation of Daphne du Maurier's haunting novel stars Richard Burton as an intense young man who falls in love with his new aunt (Olivia de Havilland)--even though he suspects her of murdering his uncle. Set among the rocky beaches of Cornwall with its crashing waves (I strongly recommend watching it at the beach).

Diane Lane in Streets of Fire.

96. Streets of Fire - Walter Hill's “rock n’roll fable” is a stylized blend of action, romance, and terrific music set in “another place, another time.” The plot seems lifted from a 1950s biker film, but the sometimes corny dialogue recalls “B” Westerns of the same period. Ignored for years, it's finally been recognized as a cult film, which is a small victory for dedicated fans like me.

95. Inherit the Wind - I love a good courtroom drama (there will be others on my list) and this is one of the best. The case, based on the "Scopes Monkey Trial" of 1925, certainly holds one's interest. However, what lingers are the brilliant performances of Spencer Tracy and Fredric March--plus the film's fascinating portrait of public opinion and the men that try to shape it.

94. The Best Man - Gore Vidal's sharply-observed look inside American politics stars Henry Fonda and Cliff Robertson as rivals fighting for their party's presidential nomination circa 1964. Both candidates harbor secrets that can destroy their political aspirations and their loved ones. This gripping drama features a stellar cast and a most satisfying and realistic conclusion.

Peggy Cummins as the carnival sharp-
shooter with more ambitious plans.

93. Gun Crazy (aka Deadly Is the Female) - Bart (John Dall) is a young man who has been obsessed with guns. After a troubled childhood, he appears to have gotten his life in order when he falls head over heels for Annie Laurie Starr (Peggy Cummins), a carnival sharpshooter who's nothing but trouble. This classic "B" film noir was the career highpoint for both its stars, who are simply marvelous and generate plenty of sparks. An obvious inspiration for the later Bonnie and Clyde...though I much prefer Gun Crazy.

92. Greyfriars Bobby - This forgotten British Disney film may be the finest examination of the special bond between humans and dogs. The plot is based on the amazing true story of a loyal Skye Terrier who slept on his master’s grave in an Edinburgh cemetery every night for 14 years. The low-wattage cast, featuring Donald Crisp and Laurence Naismith, gives sincere performances and the heartfelt story never turns maudlin.

Scary-looking and hard to kill...
because they're dead!

91. Jason and the Argonauts - The first 45 minutes establishes the backstory for this version of the Greek myth about the Golden Fleece. It's all quite well done, but once our heroes set foot on the island of Bronze, the movie becomes a magical experience courtesy of Ray Harryhausen's sensational special effects. Every fan has their favorite Harryhausen sequence, but my top two are both from Jason:  the capture of the winged Harpies and Jason's dual with the "dragon's teeth"--or as I call it--the breath-taking swordfight with the skeletons.

Next month, I'll count down 90-81, which will include the first of multiple list appearances by Alfred Hitchcock and Hammer Films, plus the place I'd like to take my wife for a second honeymoon.