Very interesting post, mmcloughlin!
Two things helped Julia do a better job in the role. First, the writing got a lot better after so many people during the first two seasons complained endlessly about it. Second, Julia has no problem going beyond the script if she needs to, in order to give a better performance than what was written for her.
Geraldine was a good actress but she was a script-bound actress who would not do the writers' work for them. If you gave her a good script, you got a good result. If you gave her a bad script, you got a bad result. The salient point being that whatever you gave her to do, that's exactly what she did.
Julia, by comparison, does not have a problem with adjusting what the writer gives her in order to make it better. She might not change a single word, but she will not necessarily perform the words as they are actually written.
Bette Davis did something similar but for a different reason. Davis wanted to make sure people recognised and remembered her from one film to the next, so she periodically delivered a line in a completely unnatural way - a Bette Davis way - so that people were constantly reminded they were watching Bette Davis.
Example: Davis stood in for Raymond Burr in an episode of *Perry Mason* playing an attorney named Constance Doyle. In one scene, she asks the defendant (her client) why he went to the dead man's house. As written, the line is naturally read, "But why did you go to his HOUSE?", i.e. with the stress on 'house' and the upward inflexion normal when asking a question. But that's not how she delivered the line; oh, no - to remind people they were watching Bette Davis, she deliberately misdelivered the line as "But why, did you go, to HIS; house." Her delivery had the same rhythm as "the floor of the house that JACK built."
Julia, of course, only misreads a line deliberately in order to make it better. She wants to remind you that you're watching Miss Marple, not Bette Davis.
Geraldine, by contrast to both Julia and Bette, would not deliberately misread a line. The result, alas, was that her portrayals of Miss Marple were anything but Miss Marple - a fact she knew better than anyone. But she was under contract, so that was that. Mercifully, you can tell just by watching and listening to the 2004 series in its early days that the problem lay entirely with the incredibly poor writing of the series, which was at least partly the result of ITV insisting their Marple series be "updated."
That's really interesting. Thank you for taking the time to post it. I'll have to try to tuck it in the back of my mind for when I watch as I've seen only a limited number of Miss Marple productions.
So, Geraldine gave as good as she got - literally; and it's our great misfortune that what she got was very bad. Julia got better than Geraldine got, and she was able to improve it a little further - or the series would have qualified for a mercy killing. The writing, in particular, greatly improved after Julia took over the role (because the writers had to keep up with her).
This is another interesting observation, particularly coupled with what you wrote about Julia's and Geraldine's differing approaches to the scripts they receive(d).
Isn't it fairly common for different actors to treat scripts from very different perspectives? I think it has to do with an actor's specific training, experience, and temperament.
I admittedly know very little about acting, writing, and production. I do, however, find it fascinating to get any insights or inside perspectives. It strikes me that different actors, directors, and writers hold scripts in very varying regards. Some seem to feel that the script is almost sacrosanct while others seem to view it as a starting point.
I'm not an artistic person by any stretch of the imagination, but I am intrigued to gain insights into artistic minds. This is a bit of a tangent, but I seem to recall that when Richard Chamberlain appeared on the American show Leverage there was discussion about his professionalism and how he had approached the scripts. IIRC, in one scene he changed a single word and despite it being truly of no consequence, he apologized for doing so. (I'm unsure to whom and my memory is foggy regarding this, so take it with a grain of salt.) I simply remember being intrigued that he seemed to feel he had done something wrong or offensive. Particularly given the high regard and respect he seems to invoke.
By the way, Hollywood decided to not make further Marple movies with Margaret Rutherford after they learned Christie had said, of Rutherford in the role, that she "looked like an overstuffed bulldog." Rutherford herself was deeply hurt by the remark, though Christie did not intend it to be an insult.
I've never seen Margaret Rutherford except on DVD covers. I cannot imagine how
overstuffed bulldog could be viewed in any way that is not at least a little negative. Of course, I also cannot picture Agatha Christie deliberately hurting someone's feelings or saying something hurtful. Is it possible that she made the comment privately, never expecting or intending Rutherford to hear it? Or do I have a very incorrectly skewed view of Christie?
Also, I didn't realize that Rutherford's work was produced by Hollywood. Not having seen it, I cannot comment on the quality, but being in the US, I will say that if it falls short I blame Hollywood!
As an aside, I've seen at least one of the Rula Lenska commercials and must admit to wondering who on earth she was when I watched it. But I must admit, she's gorgeous with beautiful hair! Later I got to see her in a small but funny role on One Foot in the Grave, which was nice.
Alberto VO5 Hair Spray With Rula Lenska (Commercial, 1979)http://m.youtube.com/watch?v=5-SJoIpTPk8Rula Lenska for Alberto VO5 1979 TV adhttp://m.youtube.com/watch?v=lqUxUC8L0aU "It's a real burden being right so often." Captain Malcolm Reynolds, Firefly
reply
share