Feud

And by that I mean, for those who can enjoy scenes longer than 10 seconds at a time... I love Feud for many reasons. All of my life I have been the biggest old Hollywood fan and the book 'The Divine Feud'by Shaun Considine from which this series is taking its cue is a masterpiece in studying two characters at a certain time in Hollywood where glamour and elegance (at least superficially) counted for something. I generally have real problems with biopics when actors look nothing like the people they portray but here I managed to get over that. Sarandon is very close to Davis at times though I would say more of a 1950's Davis than the sixties. As for Lange her physical resemblance is miles away from the real Crawford. And yet. They are both utterly believable and utterly exciting in those roles. Other reviewers suggest this is more of a study in fear and in a way it is. The reason it is so fascinating is because that fear still exists. As women age the screen abandons them. And what once was the hottest ticket in town has no chance in making it in the new world. There is also that sense of not really understanding that new world and fighting against it. Someone once said that the real problem between Crawford and Davis stemmed from the fact that they were so similar. And I guess that was true as well... My advice would be to read the positives and ignore the negatives in those reviews. Some folks are simply not understanding that they need to read between the lines and look at the bigger picture. But everything about Feud is elegant and amazingly well judged. And oh! those credits!!!!!!

Ryan Murphy managed the virtually impossible. Finding a tone and the tone has to do with the humanity of this Hollywood gargoyles. I wonder if young Joan and Bette knew where they were heading. Those women that their daughters wrote about, were they who they were or who they became. Jessica Lange throws a light on Joan Crawford that made me, already, re-think her myth. Her fear is actually tangible. Great, great performance. Susan Sarandon captures Davis's temperament and allow us a glimpse into the contradictory nature of the woman. Brilliant, succinct observation - when she throws herself into the role of wife and mother, she was thoroughly miscast. Alfred Molina is superb as Robert Aldrich and Stanley Tucci is terrific as Jack "I show you my hemorrhoids" Warner. I can't wait for the next episode.

Eight-part cable series from super-producer Ryan Murphy delineates the long-running Hollywood rivalry between Oscar-winning actresses Joan Crawford and Bette Davis, culminating with their teaming for two pictures, 1962's "What Ever Happened to Baby Jane" and 1964's "Hush...Hush, Sweet Charlotte", the latter of which was finished without Crawford (Olivia de Havilland stepped in after "producer" Bette ran Joan off). Altogether amazing recreation of a by-gone era...not quite what we now think of as classic Hollywood, but rather a Tinsel Town in decline, feeding off itself and its denizens. Material which might have slipped into caricature becomes observant, acerbic and surprisingly touching here, under the service of several different writers and directors. By showing the human side of an older Crawford (Jessica Lange) and Davis (Susan Sarandon), we see the hidden, hurting heart of Hollywood, a town not known for having or showing sympathy to aging actresses. The first two episodes of the series are entertaining if a bit wobbly--neither Lange nor Sarandon particularly sounds nor resembles the ladies they are portraying, and the supporting cast, too, works to find their footing--but these are nitpicks in what is essentially a loving (and lovingly, meticulously designed) tribute to the Hollywood icons. The padding for length is exposed on occasion, but this duet keeps getting better and better. By the grand finale, both Lange and Sarandon are performing at the top of their craft (initially, one may hope for impersonations, but what we eventually get from the ladies is far richer). In an eerie, evocative dream sequence near the end, all the feelings of pain and loss and triumph and regret come full circle. These women were survivors, battle-scarred veterans, two tough broads--but not so tough that they didn't privately feel the pain of the passing years, and how a possible friendship was trampled over in the need for success and respect.

It's amazing that someone so self-destructive and backstabbing has had so many movies and shows based on their fairly unremarkable life, but then that seems to be what warrants longevity. I'm not sure if Ryan Murphy is a Capote fan or is taking the daring step to show a dark underside of the gay community, because it's certainly not all rainbows. I'm a gay man and have never clicked with the community, for nearly 40 years since I came out at age 16. The prominent hypocrisy is the demand for equality, yet many have proven to be the most judgmental of anything that doesn't fall into the stereotype. You must support any publicly gay entertainer or politician without question, listen to certain music and act certain ways. Theater and Musicals are a requirement if you want to hold onto your membership card. The worst is pitying the extremely few of us out there who choose monogamy. If your self-worth is determined by how many partners you have, I find that tragic. I was always my own person and have been persecuted by the community for 'not fitting in'. I'm fine with who I am, are you?

Negative stereotypes exist for a reason, they're not just fabricated. Capote fits so many of these stereotypes that I can attest are in fact true, back in the 80's and today. Whether it's the fun side with snarky humor that can easily cross the line, or the self-loathing/self-destructive nature that results in destroyed relationships and any variety of chemical dependencies. There's a big lack of self-awareness. Not to mention the overt sexuality that seems to work for Capote, such as making advances to his 'straight' plumber who then becomes one of his part-time tricks. He's a tortured soul who goes out of his way to sabotage anything of benefit to him, and apparently has zero control over it. I can only assume publishing private details of his closest friends were an attempt at the ultimate self-sabotage, and it worked. It's hard to feel sympathetic towards someone who was given such a wealth of positives and achievements only to systematically ruin each one. On one hand, it's clear he is a very unhappy person who seeks the occasional distraction with friends and flirtations, but to go on TV incoherent and doing things that are in nobody's best interest seem to be the real person inside.

This season is meticulously produced with obvious attention to detail. While I've seen remarks about the acting being over the top, I expect that was the goal. They're presenting rich people with an obvious superiority complex because, once again, stereotypes often exist for a reason. The story would meander from time to time but it wouldn't be long until Capote was drunk again or there was another social lunch with lots and lots of smoking. I'm basing my rating on the overall storytelling and production, not necessarily the story itself.

As someone who worked with actors all his life I'm enormously grateful to Ryan Murphy for putting together with such seriousness and such care this series about a subject that is very rarely if ever touched. And when it is, it tends to be a caricature, a satire, an exaggeration of an exaggeration. Here the drama was tangible and the work of Jessica Lange and Susan Sarandon, superlative. They managed to transport us from the times of Bette Davis and Joan Crawford, as women and actresses, to our times, without betraying it. The characters were one hundred per cent present and the actresses playing them were one hundred per cent present. If acting is an art, and it is, that mysterious fusion between actor and character is the manifestation of it. - Many young actors I'm working with at the moment, some of which had never heard of Steve McQueen, let alone Bette Davis or Joan Crawford, saw "Feud" and compelled and inspire them to want to know more. In the last few weeks I've had them come to me with stories of "All About Eve", "Humoresque", "The Little Foxes", William Wyler, George Cukor... So "Feud" has become a tool, an agent provocateur, a gateway to history, the history of their own profession. It's not wishful thinking on my part. I see it in the young one's faces. Discovering passionately, and their horizons broaden automatically. It's a joy to see. As I close this comment a heartfelt hurrah to Alfred Molina and Stanley Tucci for their fearless, remarkable performances and to everyone involved, thank you very much.