THE CAT’S MEOW

US, 2001, 114 minutes, Colour.
Kirsten Dunst, Edward Herrmann, Eddie Izzard, Cary Elwes, Joanna Lumley, Jennifer Tilley, Claudia Harrison, Victor Slezak, James Laurenson.
Directed by Peter Bogdanovich.

A film which has had a strange history of release and non-release. Seen on television in some countries before cinema release, it found a UK distributor, for instance, only in mid-2004. A pity, because it is more interesting and better written and acted than many a quick release.

Based on a play by Steven Peros, it is of great interest to movie buffs. We are taken back to a weekend in November, 1924, a cruise from San Pedro, California, to San Diego, with high-powered guests, a trip which one character refers to as The Cat’s Meow. Despite the disclaimer at the end of the film that it does not portray real characters, it does. It also dramatises a speculation about the weekend and the death of one of the guests, Thomas Ince, a celebrated producer, a force in the establishing of Hollywood (Cary Elwes).

The ship is owned by media magnate (the basis for Citizen Kane), William Randolph Hearst. He is accompanied by his mistress, actress Marion Davies. Edward Herrmann gives a powerful performance as Hearst and Kirsten Dunst reminds us once again of what an excellent actress she is. Other guests include a somewhat lecherous Charlie Chaplin (Eddie Izzard), the young and ambitious gossip columnist Louella Parsons (Jennifer Tilly, very effective) who was to be Hearst’s champion, especially in the denunciation of Citizen Kane and British writer, Elinor Glyn (‘It’ referring to sex appeal was attributed to her) (Joanna Lumley).

The film shows the glitter and surface glamour covering the Jazz Age combination of emptiness, ambition, deals and the wielding of power along with sexual liaisons - and letting everything out with the Charleston.

Peter Bogdanovich has had a very mixed career over thirty years, reaching his peak with The Last Picture Show and What’s Up Doc in the early 70s. This, however, is one of his better films and an interesting, if reasonably speculative, look behind the Hollywood facades.

1. Images of Hollywood, the 1920s? Celebrities, morals, lack of morals, media world? Cover-ups?

2. 1924, costumes and décor, the lavish boat, at sea, the interiors of the boat, luxury?

3. The musical score, the large medley of popular songs of the period, sung, in the background, creating atmosphere? Audience familiarity with the songs?

4. The title, the reference to the voyage?

5. Audience knowledge of William Randolph Hearts, Marion Davies, Charlie Chaplin, Thomas Ince? Elinor Glynn, Louella Parsons? Personalities, influence, subsequent careers?

6. The introduction, the voice-over by Elinor Glynn, Joanna Lumley’s vocal style, sardonic? Information, perspective?

7. The 1920s, special events, Hearst and his creating events, managing the cruise? Hearst and his newspapers, influence on the police, on doctors, the lies and cover-ups? The cremation of Thomas Ince’s body? The contradictions? The contracts for the potential witnesses?

8. The life of glitter, wealth, luxury, food and banquets, alcohol and prohibition, drugs, sexual morality? Private and public lives?

9. Hearst and the media, his power and wealth, in the light of Citizen Kane? His family, wife and children? Relationship with Marion Davies? Infatuation with her, not recognising her lack of talent, not realising her flair for comedy? His jealousy of Charlie Chaplin? The relationship with Thomas Ince, the potential deals, his putting Ince off? Managing the event, his charm, his irascible aspects, watching Chaplin, suspicious? Ince and the deals? Chaplin’s poem, letter? Seeing the man with the hat, his hearing Marion Davies talk about not loving? Shooting Ince?

10. His handling of the situation, initial upset, gaining control, the calm phone calls, to Ince’s wife, managing the doctors, the police, the media, the contracts?

11. Marion Davis and her reputation as an actor, light personality, the film clip of her acting and her fooling around, her aware of Hearst’s response to her, her hold on him? The interactions with Chaplin, Chaplin and his own life, the pregnancy of Lita Grey, his advances towards Marion, the poem, the letter? His advising Hearst about Marion’s style? Urging him to put her in comedies? Ince asking her advice? Her singing, dancing, Hearst and the serious sequences? With Ince, Ince’s death, her reaction? How substantial a character?

12. Charlie Chaplin, his reputation, by 1924? His public persona, real-life personality, the background of poverty, sexual relationships, the young pregnant woman that he married? Infatuations, behaviour, taunting Hearst, his discussions about The Gold Rush, trying to be inventive, testing people out for comic routines, eating the shoe…? His becoming the target for Hearst, his reaction to Ince’s death and Hearst’s management of the situation?

13. Thomas Ince, reputation, film-maker, difficulties, wanting a deal to combine studios, his manner, snide remarks about Chaplin, Hearst rebuffing the invitation to the deals, his birthday party, the cake, Marion’s toast? His trying to plant Chaplin’s note? His succeeding? The irony of its backfiring on him? His relationship with Margaret Livingston, her possessiveness, his priorities of business?

14. Louella Parsons, young and ambitious, fawning on Hearst, wanting to talk business, her being a witness to the killing, hysterical, her growing calm, the iciness of her lifelong contract and deal?

15. Margaret Livingston as an actress, the liaison with Ince, upset that she wasn’t informed about his illness? Her later increase in salary?

16. The doctor, a hanger-on, doing Hearst’s wishes about Ince?

17. The girls, exploitative? Eyeing the musician in the band, their behaviour? The contrast with the rather staid couple and their moral stances?

18. The information about the characters and the aftermath? Of the event and the lack of evidence? A glimpse of Hollywood life, and a speculative interpretation?