James Mason: Bigger than Life
I forgot to tell you that the TIFF Cinematheque is playing a retrospective of James Mason, for some reason. They’re sexing up their program this summer, calling their Pasolini retrospective “Summer of Sex, Swords and Seduction, while calling the Mason one “the original Smooth Talker,” which he is.
Mason in his movies is either having troubled relationships with people younger than him (“Age of Consent”), enduring physical pain (“Lolita”), getting mixed up with terrorist rhetoric (“Julius Caesar.”) or having an addiction that hurts his job (“A Star is Born”). Those are the best trademarks any actor could have, better trademarks than ‘pretty and crazy’ or ‘mostly does Westerns’ like those in his generation. ANYWAY, he uses two and two halves in Nicholas Ray’s “Bigger than Life.” Ed Avery (Mason) encounters anomalous pains that will kill him in a year. He thus has to take cortisone indefinitely to stay alive. He starts to abuse the drugs and says weird things towards the people in his professional and domestic life.
It’s a melodrama with a male in the centre, and there’s the duality of him feeling emasculated yet feeling the need to take on ‘female’ roles like raising his son. His jobs, teaching and answering phone calls for taxi services, are female dominated work – he’s surrounded by them while operating the switchboards. He eventually speaks out about those jobs and the threat of the pains makes him feel emasculated, while faced with the pride that he can’t ease the burden on himself and let his wife work. He can’t handle all of this and his family is what’s affected the most. He even treats his son with psychological abuse. In essence, Ed is putting too much on his plate. Or, a really early version of “Breaking Bad.”
Someone with a sense of humour would watch this film and wouldn’t understand why he’s such an upstanding citizen and then the drugs come and that audience will say ‘There you are James Mason, we’ve been waiting for you all along.’ An interesting reaction for what is arguably Mason’s best performance.
The movie’s an acquired taste. The melodrama goes hand in hand with the extremes of his reactions to the drugs that can put audiences off, no matter how realistic they could be. And there’s the ending. But unlike the juvenile tendencies in “Rebel Without a Cause” or the noir hopelessness of “In a Lonely Place” – which I do like better by the way – “Life” is Ray’s most socially conscious film.
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