Billed as "a (mostly) true story," "Cradle Will Rock" is an interesting and vibrant look at American theater and art worlds facing adversity in 1930s New York played out as a cautionary tale against artistic censorship.
With an imaginative and informative original screenplay that seamlessly harmonizes true-life events and characters with fictionalized ones and acted with a labor-of-love energy by a cast of over a dozen well-respected actors from both film and stage, Tim Robbins' third directorial and writing effort employs a style that can be described as being both Altmanesque in scope and Sturgeslike in pacing and tone.
Although taking all this in can be a little too frantic and overpowering at times, "Cradle Will Rock" authentically re-creates the look and feel of the period admirably. With a highly charged theatricality that incorporates music and wit, viewing the film almost seems like experiencing live Broadway musical theater (that fact, combined with the subject matter at hand, should make the film a rare delight for theater aficionados yet a bit daunting for some mainstream moviegoers).
At the heart of the story is a production led by a young Orson Welles (Angus MacFadyen, a bit out of control). The production is a controversial musical piece about unionism by a little-known composer named Marc Blitzstein (an intense Hank Azaria). Under the auspices of the government's Works Progress Administration, Welles and his partner, John Houseman (captured with an amusing pretentiousness by Cary Elwes), lead a unit under the Federal Theatre Project (a Depression-era relief agency) headed by purposeful Hallie Flanagan (Tony winner Cherry Jones). Headed for trouble because of its supposedly inflammatory content, the play is eventually shut down by the federal government right before the first performance.
Also dealing with the concept of censorship is renowned Mexican artist Diego Rivera (spiritedly played by Ruben Blades), whose freedom of expression is denied after being commissioned by a controlling 24-year-old Nelson Rockefeller (a capable John Cusack) to paint a mural for the new Rockefeller Center.
Other figures of both the elite class, and struggling ones, are effectively played by diverse actors such as Joan Cusack, John Turturro, Emily Watson, Susan Sarandon, Jack Black, Paul Giamatti, John Carpenter and Bob Balaban.
Especially noteworthy are featured side stories involving Bill Murray as an alcoholic has-been ventriloquist and a breezy Kay Thompsonish performance by a delightful Vanessa Redgrave as the bohemian-spirited socialite wife of a fictional industrialist portrayed by the prolific Philip Baker Hall.
The coming together of all these tales is the climax of the piece, where the troupe of the ill-fated "The Cradle Will Rock" rally behind Welles, Houseman and Blitzstein to persevere in a show-must-go-on fashion (reminiscent of a popular theme in many musicals of the same time period). Extremely well-staged, this rousing finale captures an exciting yet fairly obscure moment in American musical-theater history and revels in it as a symbol of free expression triumphing over small-minded artistic oppression.
Outstanding technical expertise includes the work of esteemed French cinematographer Jean Yves Escoffier, frequent Altman editor Geraldine Peroni and Robbins' regular production designer, 1999 Tony Award winner Richard Hoover. Production is greatly served by the detailed work of costume designer Ruth Meyers (whose period work in 'L.A. Confidential' also left an impressive mark) and the team of hair and makeup artists headed, respectively, by Kathe Swanson and Linda Grimes.
* MPAA rating: R, for some language and sexuality.
"Cradle Will Rock"
Hank Azaria: Marc Blitzstein Angus MacFadyen: Orson Welles John Cusack: Nelson Rockefeller Cary Elwes: John Houseman Susan Sarandon: Margherita Sarfatti Emily Watson: Olive Stanton Joan Cusack: Hazel Huffman John Turturro: Aldo Silvano
A Buena Vista presentation. Director Tim Robbins. Screenplay Tim Robbins. Producers Tim Robbins, Jon Kilik and Lydia Dean Pilcher. Director of photography Jean Yves Escoffier. Editor Geraldine Peroni. Music David Robbins. Production designer Richard Hoover. Costume designer Ruth Myers. Art directors Troy Sizemore and Peter Rogers. Set decorator Deborah Schutt. Running time: 2 hours, 10 minutes.
Lavished with rich period detail (it's set in 1971 Salford England) and hilarious anecdotes the film revolves around the plans by George (the father) to marry off his sons to good Pakistani girls. The movie opens with his handsome eldest son bolting from the altar to live a secular (and decidedly fashionable) life even though it means being severed from his kin. It all unfolds with great energy that never lets up even at the cathartic hour of reckoning between tribe and elder.
George's irascibility is brilliantly telegraphed in Om Puri's remarkable craggy face (last seen in Hanif Kureishi's "My Son the Fanatic"). Linda Bassett as his
common-sense wife Ella captures the inner struggle between a loving dutiful (and abused) spouse and a mother protective of her children's happiness. The ensemble playing their fractious brood -- six sons and one sassy daughter -- is a joy to watch.
Much of the tale's brisk charm lies in its frenetic intergenerational conflict which Damien O'Donnell brilliantly navigates. O'Donnell milks each scene for every possible grain of comedic friction.