Cradle Will Rock (1999)

From the initial scene as she rises before the camera, Emily Watson takes possession of this film and brings it life, heart, and soul. She creates here a character of depth and realism so profound that one can never take there eyes off of her. Ms. Watson is acknowledged to be an actor's actor and that is never more apparent and clearly proved than among this outstanding cast. Her stunning artistic gift and screen presence causes her to tower over her fellow actors and she is able to reach out to them and help them deliver performances that would otherwise never have graced this film. Watson also reveals heretofore unrevealed talents as a singer who can deliver a song in a way that is both riveting and heart breaking. The camera indeed loves Emily Watson as much as audiences and in this film she once again presents viewers with a priceless gift of a performance, ripping bare her soul to put all her being into the character she assays. What she achieves here would stand alone as the performance of a lifetime, but Emily Watson does it in film after film, whether as star or in a featured part, it is she that stands out and captures us forever with her magnetic genius, graceful beauty, and profound spirituality.

"Cradle Will Rock" is not a very exciting title for a film, and my eye would most certainly have slid past its listing in the TV guide if it were not for the one-sentence plot synopsis below: "Orson Welles attempts to stage a controversial play in Depression-era America." My attention was immediately captured, and even more so during the very impressive one-take opening shot, which also boasts a lengthy line-up of casting credits that features everybody from Hank Azaria to Emily Watson, with no less than two Cusacks to seal the deal – if there's one thing to be said about actors-turned-directors, it's that they can certainly bring in the big names. 'Cradle Will Rock (1999)' was Tim Robbins' third directorial effort, and he courageously tackles a wide assortment of political and social issues from 1930s America, as well as providing a commentary on the importance of art and culture as a means of expressing one's personal beliefs. It is only fitting that a film about the role of art be directed by a man who is obviously very passionate about his craft, and Robbins has produced a mature and intelligent comedy/drama.The film, based on the true story of Marc Blitzstein's 1937 musical "The Cradle Will Rock," was originally planned as Orson Welles' final project, and pre-production commenced in 1983. However, not unusually for the great director, financial support was withdrawn shortly afterwards, and Welles passed away in 1985. Marc Blitzstein (Hank Azaria), a delusional playwright, pens a leftist labour musical based on his experiences with poverty-stricken households and the emerging union powers. Hallie Flanagan (Cherry Jones) of the Federal Theatre Project recognises the dramatic brilliance of the play and agrees to finance it, much to the consternation of the House Committee on Un-American Activities, which is attempting to wheedle out anything that might possibly be construed as Communism. The dramatic prodigy Orson Welles (Angus Macfadyen) is hired to direct the play, and he impulsively decides to cast a homeless stagehand (Emily Watson) in the lead role, even though she can't sing. Meanwhile, Nelson Rockefeller (John Cusack) commissions artist Diego Rivera (Ruben Blades) to paint a mural in his lobby, but is dismayed at the final result.Though Orson Welles merely plays a supporting role in the proceedings, he is played with delicious verve by relative unknown Angus Macfadyen. His portrayal is completely overplayed, presenting the director and performer as a flamboyant caricature, probably the only approach if one is to capture a personality as outrageous as that of Orson Welles. Though the film itself lacks some narrative focus in that it attempts to cover too many themes and characters, all the loose-ends satisfactorily come together for the climax, the incredibly-energetic opening performance of "The Cradle Will Rock." I was once again reminded of the considerable talents of John Turturro, who brilliantly and convincingly evolves from the shy, humble Italian family man off-stage to his character of the strong, assertive union leader. Robbins also intercuts the play performance with the heartless desecration of Diego Rivera's politically-charged artwork mural, ironically contrasting the presentation of great art with its inevitable destruction by those who could never appreciate its importance to human culture.

An all-star production, CRADLE WILL ROCK chronicles the events leading up to the debut of Mark Blitzstein's "The Cradle Will Rock," a labor-oriented drama with music, written in the turbulent 1930s. It is to be performed at the WPA Federal Theater, but the government gets cold feet at the last minute and closes the theater. So the players take their production to a private theater and perform before an SRO crowd. Oddly enough, the performance turns out to be the least interesting part of the film, done up in a "Let's fix up the old barn and put on a show" routine seen in countless Andy Hardy and Little Rascals films. It is what happens before that is fascinating, as we shift back and forth between New York and Washington and are exposed to the "isms" of this post Depression/pre-WWII time: communism and fascism. One supposes most of what writer/director Tim Robbins portrays here is real enough, but keep in mind Robbins is an avowed leftist and so the film is probably best taken with a large dose of salt. But what a cast: John and Joan Cusack, Susan (Mrs. Tim Robbins) Sarandon, Cary Elwes, John Turturro, Jack Black, Bill Murray, Vanessa Redgrave, Ruben Blades and Hank Azaria. All play real-life figures of the era, including Orson Welles and John Rockefeller. A must-see for art-house film lovers and those interested in the period. All others, beware.

This is more the story of an era rather than the story of a play. The WPA was one of Franklin Roosevelts greatest achievements in an era when not too many people felt great. The federal theatre project was one arm of the WPA. Welle's Mercury theater was part of the FTA. This movie was extremely well researched. Angus McFayden does a great job as Welles. Countering him is Cary Elwes as John Houseman. We recently had this theatre treasure come to us as Professor Kingsfield in "The Paper Chase" film and TV series. Will Geer, part of Welles's group was the grandfather in "The Waltons". Viewers will get a wonderful rendering of a largely forgotten Musical by Marc Blitztein and Bertholt Brecht. "The cradle will rock" is a pro-worker anti-big business piece that rocked the theatre going world in an era where Big Business was largely responsible for the working man's woes. Interwoven within the basic plot of the composition and production of this play are subplots dealing with Mexican painter Diego Rivera (some of whose murals are visible even today) and art dealings by Musolini's mistress.This is a very compelling film well directed and acted. A must see for musical theater students, and just about everyone else.