"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 However, not unusually for the great director, financial support was withdrawn shortly afterwards, and Welles passed away in 1985.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.
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.