.png)
ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
I enjoyed the movie, even though it has its flaws.
One of the problems is that Daisy is really not a sympathetic character. Yes, you feel very sorry for her when Christopher Plummer's character informs her that she is no longer allowed to visit her mother in the asylum. However, she never seems to be grateful for her fame and monetary success. Instead she runs off with Redford's character when she is supposed to sing with a children's choir. She is being groomed for movie stardom the same way Judy Garland, Deanna Durbin, Kathryn Grayson, Jane Powell, and countless other singing and non singing performers were as well. The viewer doesn't really feel sorry for her since she almost seems to create much of her unhappiness. It is true that teenagers don't always think maturely, but back then with her poverty and fatherless life, one would think Daisy might be more grateful with her chance for success.
Natalie's own voice was not good enough to be used for the songs (except for the brief introduction of "You're Gonna Hear From Me"), and it's evident when you listen to the FSM Silver Age Classics double CD recording of the film. I like Jackie Ward very much as a singer, but I don't think she sounded much like Natalie Wood. Carole Richards sang for Cyd Charisse in Brigadoon and Silk Stockings, and she sounded like Cyd. Rita Hayworth's vocal dubber Nan Wynn also sounded like her. If the film contained a more believable sound, I might have been more convinced that Daisy was more realistic. For fun, go to You Tube and look up the videos of lostvocals3. He presents the songs with Natalie's recorded tracks.
I have never been a huge Natalie Wood fan. I enjoy her work, and I have seen several of her films. I do think she turned in a good performance, even though she never looked fifteen years old. They could have made the character a bit older but then you would lose out on the parts where they commit her mom due to her being a minor and also Redford's marriage proposal isn't as necessary. However, she does turn in a solid portrayal.
I wish Redford's character could have been shown dallying with a handsome hunk, but it was 1965 after all. I enjoyed his performance, but I would have liked to have learned more about his character and his career. Was his career ever in danger due to his drinking and sexual partners? Was he protected as long as his box office stayed strong? I also wish I could have seen some real reaction from Daisy when he reappears long after he leaves her in Arizona. How can he just come back with flowers after dumping her? Well, it's the character all right. He is self absorbed and lacks responsibility.
Christopher Plummer's character is ruthless. After kissing Daisy and getting involved with a minor (after he chastises Redford's character on the same behavior), he later says he doesn't care what she does or what happens to after she completes the movie she is in the middle of shooting. That's it. Finish the picture and he can get a new girl to take her place. It's true. When Garland left MGM in 1950, there was Debbie Reynolds, Jane Powell, and Kathryn Grayson to fill in. I enjoyed Plummer's chilling performance.
I too wish Roddy McDowall had more to do, but he was fine with his limited screen time. I liked Ruth Gordon and Kathryn Bard was strong too.
I agree with the many reviewers and their comments on the hairstyles and clothing not being really from the 1930s. However, I still think the film does a good job at showing the studio system at that time.
One of the problems is that Daisy is really not a sympathetic character. Yes, you feel very sorry for her when Christopher Plummer's character informs her that she is no longer allowed to visit her mother in the asylum. However, she never seems to be grateful for her fame and monetary success. Instead she runs off with Redford's character when she is supposed to sing with a children's choir. She is being groomed for movie stardom the same way Judy Garland, Deanna Durbin, Kathryn Grayson, Jane Powell, and countless other singing and non singing performers were as well. The viewer doesn't really feel sorry for her since she almost seems to create much of her unhappiness. It is true that teenagers don't always think maturely, but back then with her poverty and fatherless life, one would think Daisy might be more grateful with her chance for success.
Natalie's own voice was not good enough to be used for the songs (except for the brief introduction of "You're Gonna Hear From Me"), and it's evident when you listen to the FSM Silver Age Classics double CD recording of the film. I like Jackie Ward very much as a singer, but I don't think she sounded much like Natalie Wood. Carole Richards sang for Cyd Charisse in Brigadoon and Silk Stockings, and she sounded like Cyd. Rita Hayworth's vocal dubber Nan Wynn also sounded like her. If the film contained a more believable sound, I might have been more convinced that Daisy was more realistic. For fun, go to You Tube and look up the videos of lostvocals3. He presents the songs with Natalie's recorded tracks.
I have never been a huge Natalie Wood fan. I enjoy her work, and I have seen several of her films. I do think she turned in a good performance, even though she never looked fifteen years old. They could have made the character a bit older but then you would lose out on the parts where they commit her mom due to her being a minor and also Redford's marriage proposal isn't as necessary. However, she does turn in a solid portrayal.
I wish Redford's character could have been shown dallying with a handsome hunk, but it was 1965 after all. I enjoyed his performance, but I would have liked to have learned more about his character and his career. Was his career ever in danger due to his drinking and sexual partners? Was he protected as long as his box office stayed strong? I also wish I could have seen some real reaction from Daisy when he reappears long after he leaves her in Arizona. How can he just come back with flowers after dumping her? Well, it's the character all right. He is self absorbed and lacks responsibility.
Christopher Plummer's character is ruthless. After kissing Daisy and getting involved with a minor (after he chastises Redford's character on the same behavior), he later says he doesn't care what she does or what happens to after she completes the movie she is in the middle of shooting. That's it. Finish the picture and he can get a new girl to take her place. It's true. When Garland left MGM in 1950, there was Debbie Reynolds, Jane Powell, and Kathryn Grayson to fill in. I enjoyed Plummer's chilling performance.
I too wish Roddy McDowall had more to do, but he was fine with his limited screen time. I liked Ruth Gordon and Kathryn Bard was strong too.
I agree with the many reviewers and their comments on the hairstyles and clothing not being really from the 1930s. However, I still think the film does a good job at showing the studio system at that time.
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
CRITICA EN EL PERIODICO "ABC DE SEVILLA"
."La rebelde" es una película que puede servir de radiografía de la industria cinematográfica norteamericana, y de carambola, nos proporciona una pista para interpretar las incongruencias y paradojas de la sociedad de aquel país. Robert Mulligan nos narra cómo un hombre de empresa de Hollywood convierte a una pobre muchacha de quince años en una estrella, en una lastimada criatura "olímpica" (como diría los sociólogos), y cómo la sociedad opulenta cae en arrobamiento ante el nuevo ídolo de fragilidad tan humana. Y la "pequeña estrella de América" (Natalie Wood), manipulada por los eficaces engranajes que han echo posible la llamada cultura de masas, en la medida que se ve obligada a dejar de ser humana ha de sentir más dolorosamente su irremediable fracaso. Quizás el titulo español de esta cinta, publicitario sin duda, pero algo pretencioso, induzca a un malentendido a muchos espectadores. La película parece que denuncia la falacia del mundo del cine, pero ella misma empieza por caer en lo que denuncia. Su confección responde a una fórmula que por no emplear otra palabra, llamaremos comercial, y que trata de obtener del espectador las mismas reacciones de arrobamiento que el empresario Raymond, lograba provocar con su pequeña estrella. Es honesto poner esto en evidencia y saber que para Hollywood su propia caricatura, tomada como <gran idea comercial> y potenciada por sus portentosos medios, puede ser un gran negocio. ¿No son los mismos espectadores los que admiran a Natalie Wood los que admirarían a Daisy Clover?. La película es sin duda muy comercial, y son muchos los momentos, que aislados del contexto de la novela rosa que le sirve de fondo, son de gran valor humano. Los escenarios pueden ser calificados con plena razón <de película>, es decir, de una elegancia algo más que exquisita. Las cámaras han sido capaces de captar unos colores bellísimos y una tonalidad de verdes y azules que es un gozo contemplar. En cuanto a los actores, Natalie Wood encarna a una <rebelde> adolescente un tanto especial. Christopher Plummer interpreta de forma convincente un personaje que, por su sed de poder y de riqueza, se nos antoja el más humano. Los aficionados a la sociología tendrán muchos motivos de enseñanza en la obra...y en el publico. A. R
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
Confined and Boxed In
Every time I watch this movie, I am more and more impressed with the range of ability that Natalie Wood exhibits. Terrific job on her part. As for the story itself, what really strikes me about "Inside Daisy Clover" is the countless times that she is alone, confined and boxed in. The entire time that Daisy is trying to break loose and make a noise in the world, she continuously finds herself practically jailed. The little booth where she makes her first records, the tiny shop where she sells star photos, the claustrophobic cabin she shares with "The Dealer," the sound room where she dubs "The Circus Is A Wacky World"--all of these create a sense of suffocation. With Daisy constantly placed in these pressure cookers, you just have to believe that sooner or later she is going to explode!
ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
A strange, but great film
A decidedly odd film that is wonderfully script and filmed, with lovely performances from Natalie Wood, Robert Redford and Christopher Plummer (of course). Upon first viewing this film I thought it to be rather strange because it is very unlike most movies I have seen. It tells the story of the tomboyish Daisy Clover in such a truthful and sometimes upsetting manner that you have to adjust to it. It is also very unsettling and rather thrilling to see Christopher Plummer as a sort of villain or The Prince of Darkness as Robert Redford's character calls him. His manic wife is also brilliant, especially in the scene where she gives her drunken confession to Daisy about her affair with Robert Redford. But of course this film would not be half of what it is without the great and adventurous acting skills of Natalie Wood, who was able to be a convincing fifteen year old when she was in her late twenties. The end of the film is perfect, and shows that Daisy Clover is truly a free spirit. I highly recommend this film to all of those who loved Natalie Wood and such films as Bare Foot Contessa.
ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
The Gal Really COULD Act!
Last night I had the pleasure of watching my third Natalie Wood film of the week, and it was 1965's "Inside Daisy Clover," which I had never seen before. In this one, Natalie lives with her senile mother (Ruth Gordon, in her first picture since the '40s) in a little shack on Angel Beach, California. She sends a recording of herself singing to studio head Raymond Swan (Christopher Plummer...yes, in the same year that he appeared in "The Sound of Music"...quite a year for him), who sees something in her and turns her, practically overnight, into "America's Valentine," and a movie sensation. Daisy soon starts to realize that the Hollywood life has its perils and pitfalls, and eventually marries another popular star, Wade Lewis (the ridiculously, almost angelically handsome Robert Redford), who turns out to be gay, or at least wildly bi. A nervous breakdown of sorts and a run-in with the satanic Swan lead to a suicide attempt for poor Daisy, before she sees the light. Anyway, this film is not as great as I was hoping it would be, but is still pretty darn good. Like 1963's "Love With the Proper Stranger"--another Natalie film, and one that I watched the other day--it was directed by Robert Mulligan, but is not as fine as that earlier film. And it is not as fine, I thought, as the film that Natalie and Redford appeared in the following year, "This Property Is Condemned." Still, as I say, it does have much to offer. The promotional film that introduces Daisy is a wowser, filled with amazing special FX (especially for the mid-'30s), although the song that Daisy sings in it hardly sounds as if it comes from that era; it almost sounds like a 1960s Vegas lounge act kind of number. As would be expected, Natalie and the other performers are all aces. Almost forgot to mention that Roddy McDowall is in here also, playing Swan's unctuous assistant. All in all, great fun, if nothing classic, but so good to see Natalie once again proving the critics wrong. The gal really COULD act!
Last night I had the pleasure of watching my third Natalie Wood film of the week, and it was 1965's "Inside Daisy Clover," which I had never seen before. In this one, Natalie lives with her senile mother (Ruth Gordon, in her first picture since the '40s) in a little shack on Angel Beach, California. She sends a recording of herself singing to studio head Raymond Swan (Christopher Plummer...yes, in the same year that he appeared in "The Sound of Music"...quite a year for him), who sees something in her and turns her, practically overnight, into "America's Valentine," and a movie sensation. Daisy soon starts to realize that the Hollywood life has its perils and pitfalls, and eventually marries another popular star, Wade Lewis (the ridiculously, almost angelically handsome Robert Redford), who turns out to be gay, or at least wildly bi. A nervous breakdown of sorts and a run-in with the satanic Swan lead to a suicide attempt for poor Daisy, before she sees the light. Anyway, this film is not as great as I was hoping it would be, but is still pretty darn good. Like 1963's "Love With the Proper Stranger"--another Natalie film, and one that I watched the other day--it was directed by Robert Mulligan, but is not as fine as that earlier film. And it is not as fine, I thought, as the film that Natalie and Redford appeared in the following year, "This Property Is Condemned." Still, as I say, it does have much to offer. The promotional film that introduces Daisy is a wowser, filled with amazing special FX (especially for the mid-'30s), although the song that Daisy sings in it hardly sounds as if it comes from that era; it almost sounds like a 1960s Vegas lounge act kind of number. As would be expected, Natalie and the other performers are all aces. Almost forgot to mention that Roddy McDowall is in here also, playing Swan's unctuous assistant. All in all, great fun, if nothing classic, but so good to see Natalie once again proving the critics wrong. The gal really COULD act!
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
Another Underrated Goodie!
Amazes me how this movie receives so little attention. It is far more complex than many similar Hollywood themed films. Some great actors.. Natalie Wood, Christopher Plummer, Robert Redford, Roddy MacDowell and the always extraordinary Ruth Gordon( quite heart rending here). Bearing in mind when it was made and who it was made by. It is a great story, obviously based on Judy Garland, but with a richness that is absorbing and never ceases to be entertaining. Natalie was about 27-28 at the time but she looks great and if you didn't know she was 28 , she does not look that much older than the part she is playing of a street wise old before her time kid. ( Someone in another review says she thought she was miscast and it should have been played by Tuesday Weld, and the reviewer endorses this opinion- well, much as I admire ms weld's talents, it is hard to imagine her as Daisy and harder still to see her improving upon Natalie's performance). I would recommend this movie to any film fan, and while not perfect (how many films truly are?) is much better than it's reputation allows.
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
.JPG)
--
MY WEB PAGE TO NATALIE WOOD
