ELSA AND FRED
US, 2014, 103 minutes, Colour.
Shirley Mac Laine, Christopher Plummer, Marcia Gay Harden, Scott Bakula, Chris Noth, George Segal, James Brolin, Erika Alexander, Wendell Pierce, Reg Rogers.
Directed by Michael Radford.
With Hollywood’s perspective on film-making, that box office receipts come from younger audiences, there are not too many films made for older audiences. The Best Exotic Marigold Hotel and its sequel, as well as a number of films featuring Maggie Smith new detention, are reminders that grey-haired or silver-haired (and some with the touch of dye!) enjoy a film outing. Elsa and Fred certainly fits the bill.
While it was being film, Shirley Mac Laine was 79 and Christopher Plummer 84. Also in the cast was a younger George Segal, only 81 James Brolin a mere 73.
This is a remake of an Argentinian film of the same name, from 2005, and is directed by Michael Radford, British director who has filmed all over the world, Africa for White Mischief, Chile for Il Postino, and who also directed The Merchant of Venice with Al Pacino.
Christopher Plummer is Fred, getting too old to live alone and manage himself but resenting that he has to go into a unit. His daughter, played by Marcia Gay Harden, fusses about and his son-in-law would like a loan to float a business deal. Fred is something of a curmudgeon, not prone to looking happy. And he is unimpressed by the fact that they have employed a carer for him.
Elsa lives across the way, and in her behaviour and attitudes, chatting and laughing, she resembles the Shirley Mac Laine of so many films over the decades. And why not? Audiences have liked her and responded well to her – and, ultimately, so does Fred.
One of Elsa’s idiosyncrasies is her love for Fellini’s film La Dolce Vita, especially the Trevi fountain scene with Anita Ekberg going into the water, watched by Marcello Mastroianni. Elsa has a poster on the wall and watches the film over and over. And she has a dream that one day she will go to Rome, dress up like Anita Ekberg and re-enact the famous scene.
Fred has no such dreams and finds Elsa a little irritating, though he kindly believes some of her wild stories, especially when she pleads and describes needy family so that he will give her back the cheque to pay for the damage she did to his daughter’s car. Truth is not her forte and we discover throughout the film that she has told some little white lies as well as whoppers. But she takes a shine to Fred, trying to persuade him to take a little step by step and move outside his room.
She does and gradually Fred comes to life, though his goodwill is sorely tested by Elsa, her behaviour, and her playing with the truth.
But, this is a feel-good film for the older audience and, despite ups and downs, moments of love, moments of exasperation, Elsa and Fred offers an affirmation of life and its possibilities.
1. The appeal? The stars? Their age, characters – and romance?
2. The film originally Argentinian, adapting the original to New Orleans, the city, the streets, the streetcars, apartments, the park, flash restaurants? The interiors of the apartment block? The musical score?
3. The motif of La Dolce Vita, film, the Trevi fountain, and Anita Ekberg, Marcello Mastroianni, the spirit of the film, of the scene, Elsa watching it, the poster in her apartment? Elsa’s dream to relive the scene in Rome?
4. Frank, Lydia, her husband, her son, moving Fred, Elsa curious, bumping into the car, driving off, denying any accident, her face and noises at the young boy to stop him talking? His still telling his parents? The impact, accosting Elsa, her son, giving her a cheque, her sob story to Fred, Fred believing it, pity, for the ailing child? Yet Elsa using the cheque the artist’s son?
5. Shirley Mac Laine as Elsa, exuberant, her Mastroianni performances, the touch of the outrageous, her telling fanciful stories, people believing them, she believing them? Her son, careful, his job, married three times, his children? The artist son and the contrast? The money for the show, his painting, the show and his exhibits? Response to his paintings? Elsa and Fred at the opening? Elsa’s as a widow, and yet not? Saying her husband had an affair, but not? Her talk, charm? Interest in Fred, the attraction, visiting his apartment, his lying down, not wanting to go out? Her philosophy of taking little steps? Going to the park, the bill at the restaurant, enjoying it, the prices and their running away, driving off? Going to the party for the grandchild, Fred discovering the truth, the arrival of Elsa’s husband, the husband coming to visit Fred and telling him the true story? Fred following her, the dialysis?
6. Christopher Plummer as Fred, a touch of the curmudgeon, wanting to be by himself, moving into the apartment, the woman hired to look after him, his reaction to her? Discussions with his daughter, her visits, her husband of the plea for the loan, Fred’s comments about his gadget – rather useless? Saying yes to the loan, then changing his mind? Elsa and the cheque, his allowing her to have it, the talk, her stories, his believing them, in his apartment, the small steps, persuaded to go out, dressing up, the meal, the running away, the walk, the discussions with his grandson?
7. Fred and the visit from George, the doctor, the role of friendship, talking together, his influence?
8. Elsa’s son, his care for her, the three wives? The party? The contrast with the artist son?
9. The woman, the hired help, Fred not wanting her, the Super, being busy, Elsa arranging that the young woman should help the Super?
10. Elsa’s lies, believing or not, wanting trust from Fred? Fred following her, discovering her illness?
11. The decision to go to Rome, the touristic sequences, the night, Elsa dressing as Anita Ekberg, her age and look, the wig, the dress, getting Fred to buy the milk for the cat as in the film, his only getting yoghurt? The re-creation of the scene, Elsa in the fountain, Fred in the fountain, the glamour, the exuberance, the delight and the fulfilment of her dream?
12. Fred, the aftermath, sadness at Elsa’s death, his getting a new lease of life, change and future?
