I read E.L. Doctorow's novel many many years ago and have forgotten a lot of it. I do remember that Emma Goldman was a major and vibrant character, and I believe that Harry Houdini also had a sizable role. Houdini is only glimpsed briefly in context of newsreel footage in the Milos Forman film adaptation of the novel, and Emma Goldman isn't a character at all. This leads me to conclude based on my fuzzy recollection of the novel that the movie pretty liberally adapted its transition to screen, which I suppose will disappoint those who wanted a more faithful version.
I'm glad, though, that I have forgotten the novel so much, because I was able to enjoy the film for what it is rather than for what it fails to be. And what it is is a pretty damn good movie, and one that seems to have been unfairly forgotten. It garnered 8 Academy Award nominations in the year of its release (though it won none of them), so clearly it had fans back in 1981. But you never hear about this movie now.
It's true that in weaving together the many plot strands of Doctorow's novel into a tapestry of American life at turn of the 20th century, the screenplay doesn't do all of its story lines justice. I'm thinking mostly of a plot featuring Mandy Patinkin as a Jewish immigrant who goes from selling street art in a city ghetto to successful filmmaker. The movie abandons his character for such long stretches of time, and doesn't elaborate on how he got from point A to point B, that his story arc is not only jarring but seems implausible. But otherwise the good greatly outweighs the bad in this movie, and we get the central story of radical activist Coalhouse Walker, Jr., a black man whose quest for justice leads him to criminal and bloody places, as well as the tangential story of ditsy movie star Elizabeth McGovern as she moves from one sugar daddy to another. Howard E. Rollins, Jr. received an Oscar nomination for playing Coalhouse Walker, and he anchors the film with a serious, impassioned gravitas. At the other end of the spectrum, McGovern, also Oscar nominated, gives a bonkers performance as Evelyn Nesbit as delightful as it is weird.
But most impressive to me was the performance of James Olson, who you never hear about in connection with anything, as the patriarch of an affluent family and the film's reluctant hero, a man whose own moral sense of justice won't let him sit by and enjoy his position of white privilege.
The film is full of all sorts of good actors giving equally good performances: Mary Steenburgen, Brad Dourif, a barely recognizable Debbie Allen, and, last but not least, James Cagney, clearly old and past his prime, but whose natural charisma nevertheless comes practically pouring off the screen.
In addition to its two supporting acting nominations, "Ragtime" received Oscar nominations for Best Adapted Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Original Score, and Best Original Song ("One More Hour"). I'm not a big fan of Randy Newman in general, but his score for this film is one of my all-time favorites, and I could listen to "One More Hour" at least once a day.
Grade: A
I'm glad, though, that I have forgotten the novel so much, because I was able to enjoy the film for what it is rather than for what it fails to be. And what it is is a pretty damn good movie, and one that seems to have been unfairly forgotten. It garnered 8 Academy Award nominations in the year of its release (though it won none of them), so clearly it had fans back in 1981. But you never hear about this movie now.
It's true that in weaving together the many plot strands of Doctorow's novel into a tapestry of American life at turn of the 20th century, the screenplay doesn't do all of its story lines justice. I'm thinking mostly of a plot featuring Mandy Patinkin as a Jewish immigrant who goes from selling street art in a city ghetto to successful filmmaker. The movie abandons his character for such long stretches of time, and doesn't elaborate on how he got from point A to point B, that his story arc is not only jarring but seems implausible. But otherwise the good greatly outweighs the bad in this movie, and we get the central story of radical activist Coalhouse Walker, Jr., a black man whose quest for justice leads him to criminal and bloody places, as well as the tangential story of ditsy movie star Elizabeth McGovern as she moves from one sugar daddy to another. Howard E. Rollins, Jr. received an Oscar nomination for playing Coalhouse Walker, and he anchors the film with a serious, impassioned gravitas. At the other end of the spectrum, McGovern, also Oscar nominated, gives a bonkers performance as Evelyn Nesbit as delightful as it is weird.
But most impressive to me was the performance of James Olson, who you never hear about in connection with anything, as the patriarch of an affluent family and the film's reluctant hero, a man whose own moral sense of justice won't let him sit by and enjoy his position of white privilege.
The film is full of all sorts of good actors giving equally good performances: Mary Steenburgen, Brad Dourif, a barely recognizable Debbie Allen, and, last but not least, James Cagney, clearly old and past his prime, but whose natural charisma nevertheless comes practically pouring off the screen.
In addition to its two supporting acting nominations, "Ragtime" received Oscar nominations for Best Adapted Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Original Score, and Best Original Song ("One More Hour"). I'm not a big fan of Randy Newman in general, but his score for this film is one of my all-time favorites, and I could listen to "One More Hour" at least once a day.
Grade: A