Ragtime: Convulsive But Challenging

The Cooper Point Journal Volume 10, Issue 16 (February 25, 1982)

Ragtime, directed by Milos Forman

Six years and $30 million later, E. L. Doctorow’s best-selling novel has made it to the silver screen. Translating so convulsive, and at times disjointed, a narrative was no mean feat. Probably wisely, Forman opted to trim out whole sections of the book. What is left, while it jumps about and slides from here to there, never rambles. While re-creating only a part of the intricately-woven plot (for example, Emma Goldman and Sigmund Freud are wholly missing in the film adaptation) Forman was able to still remain true to the spirit and tone of the book. Originally producer Dino (King Kong) DeLaurentis had slated Robert Altman (Nashville) for director of Ragtime. Much speculation had been bandied about concerning the replacement of Altman with Czech-born Forman, but clearly, the film suffered little by the change. They were both good choices in that their respective masterworks, Nashville, and One Flew Over the Cuckoo’s Nest share the common concern over the sense of value and the cost of freedom which is also essential to Ragtime. In Forman’s pared-down version the film’s attention is focused on father, mother and younger brother as they learn, along with the audience, the central theme of both book and film: what price pride?

Like a slice of life blown entirely out of proportion; like a math theorem taken out to its illogical conclusion by way of validation, as in a story by Kafka; the film is pervaded throughout in a nearly surreal, absurdist élan. When you add to that the visual elegance of the ’30’s (re-created at no small expense to the point of remaking the J.P. Morgan Library, replete with saplings in lieu of the full-grown trees actually there) Ragtime virtually sweeps one up and out into another place and time. Ragtime is irresistible.

Forman’s choice of lesser-known actors to star in the film works well by fusing the actor to his/her role without diverting consciousness that we are watching the same actor in another guise.

Elizabeth McGovern is the quintessential Evelyn Nesbitt – the showgirl whose beauty drives men to murder and whose sheer stupidity is unrivaled in film. Brad Dourif as Younger Brother is an excellent recreation of the book’s most deliberately weird character. Mary Steenburgen as Mother is played with sympathy and subtle grace.

The one notable exception to the rule was the return of James Cagney to the screen after a 20-year absence. I think he waited too long in returning. Not that his performance was so outstanding but rather because he’s now too old to be more than a curiosity piece.

The two biggest surprises as far as the acting goes were Norman Mailer as the architect Stanford White and Howard Rollins as Coalhouse Walker Junior. Mailer’s part, though small, was essential in establishing the tone of the film early on. The writer did an admirable job as actor. But it was Rollins (a black actor from Baltimore – first seen in the TV productions Roots 2 and King) who unquestionably stole the show. His was an absolutely flawless performance which ran the gamut from tender-loving father to terrorist. In him did the themes coalesce until Coalhouse Walker became the epitome of glorious pride as had McMurphy in One Flew. We will be seeing much more of Howard Rollins in the future; hopefully in roles which will allow his great depth and sensitivity full rein.

This Ragtime is a challenging movie and one not to be missed by those of you who are tired of the bubblegum which by necessity, it seems, has to be the rule. Let me put it this way: if you choose to miss this one, don’t bitch about the trash.