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Mrs. Parker and the Vicious Circle is a 1994 American biographicaldrama film written by screenwriter/director Alan Rudolph and former Washington Star reporter Randy Sue Coburn. Directed by Rudolph, it starred Jennifer Jason Leigh as the writer Dorothy Parker and depicted the members of the Algonquin Round Table, a group of writers, actors and critics who met almost every weekday from 1919 to 1929 at Manhattan's Algonquin Hotel.

The film was an Official Selection at the 1994 Cannes Film Festival and was nominated for the Palme d'Or. The film was a critical but not a commercial success. Leigh won the National Society of Film Critics Award for Best Actress.

Peter Benchley, who played editor Frank Crowninshield, was the grandson of Robert Benchley, the humorist who once worked underneath Crowninshield. Actor Wallace Shawn is the son of William Shawn, the longtime editor of The New Yorker.

Cast[edit]

• Jennifer Jason Leigh as Dorothy Parker
• Campbell Scott as Robert Benchley
• Matthew Broderick as Charles MacArthur
• Peter Gallagher as Alan Campbell
• Jennifer Beals as Gertrude Benchley
• Andrew McCarthy as Eddie Parker (Edwin Pond Parker II)
• Wallace Shawn as Horatio Byrd
• Martha Plimpton as Jane Grant
• Sam Robards as Harold Ross
• Lili Taylor as Edna Ferber
• James LeGros as Deems Taylor
• Gwyneth Paltrow as Paula Hunt
• Nick Cassavetes as Robert Sherwood
• David Thornton as George S. Kaufman
• Heather Graham as Mary Kennedy Taylor
• Tom McGowan as Alexander Woollcott
• Chip Zien as Franklin P. Adams
• Gary Basaraba as Heywood Broun
• Jane Adams as Ruth Hale
• Stephen Baldwin as Roger Spalding
• Matt Malloy as Marc Connelly
• Rebecca Miller as Neysa McMein
• Jake Johannsen as John Peter Toohey
• Amelia Campbell as Mary Brandon Sherwood
• David Gow as Donald Ogden Stewart
• Leni Parker as Beatrice Kaufman
• J. M. Henry as Harpo Marx
• Stanley Tucci as Newt Hunter
• Mina Badie as Joanie Gerard
• Randy Lowell as Alvan Barach

Given the historical impact of many of the people portrayed in the film, the ensemble nature of the cast led to opening credits displaying all 30 actors listed above. Other historical characters, in brief appearances, included portrayals by Keith Carradine as Will Rogers, Jon Favreau as Elmer Rice, lead character Robert Benchley's grandson – Jaws author Peter Benchley – as Frank Crowninshield, Malcolm Gets as F. Scott Fitzgerald and Gisele Rousseau as Polly Adler.

Development[edit]

Director Alan Rudolph was fascinated with the Algonquin Round Table as a child when he discovered Gluyas Williams' illustrations in a collection of Robert Benchley's essays.^[2] Speaking in 1995, he said 'the Algonquin Hotel round table, what it symbolised, and the ripple effect that went out from it, was probably up there in the 50 most significant events of the century'.^[3] After making The Moderns, a film about American expatriates in 1920s Paris, Rudolph wanted to tackle a fact-based drama set in the same era. He began work on a screenplay with novelist and former Washington Star journalist Randy Sue Coburn about legendary writer Dorothy Parker. In 1992, Rudolph attended a Fourth of July party hosted by filmmaker Robert Altman who introduced him to actress Jennifer Jason Leigh. Rudolph was surprised by her physical resemblance to Parker and was impressed by her knowledge of the Jazz Age. Leigh was so committed to doing the film that she agreed to make it for 'a tenth of what I normally get for a film'.^[2]

The screenplay originally focused on the platonic relationship between Parker and Robert Benchley, but this did not appeal to any financial backers.^[2] There still was no interest even when Altman came on board as producer. The emphasis on Parker was the next change to the script, but Rudolph still had no luck finding financing for 'a period biography of a literate woman.'^[2] Altman used his clout to persuade Fine Line Features and Miramax—two studios he was making films for—to team, with the former releasing Mrs. Parker and the Vicious Circle domestically and the latter handling foreign distribution.^[2] Altman claimed that he forced the film to be made by putting his own money into it and 'I put other projects of mine hostage to it. I did a lot of lying'.^[4]

Rudolph shot the film in Montreal because the building facades in its old city most closely resembled period New York City.^[2] Full financing was not acquired until four weeks into principal photography.^[5]

The film's large cast followed Leigh's lead and agreed to work for much lower than their usual salaries. Rudolph invited them to write their own dialogue, which resulted in a chaotic first couple of days of principal photography. Actor Campbell Scott remembered 'Everyone hung on to what they knew about their characters and just sort of threw it out there.'^[2] Actress Jennifer Beals discussed this in her appearance on the Jon Favreau documentary program Dinner for Five, where she stated that much dialogue was improvised in the style of the real-life characters actors were playing, but that many of those characters were not integral to the plot. As such, many of the actors had much larger parts that were edited to nearly nothing. The cast trusted their director during the 40-day shoot. They stayed in a run-down hotel dubbed Camp Rudolph and engaged in all-night poker games. Leigh chose not to participate in these activities, preferring to stay in character on and off camera. She did a great amount of research for the role and said 'I wanted to be as close to her as I possibly could.'^[2] To this end, Leigh stayed for a week at the Algonquin Hotel and read Parker's entire body of work. In addition, the actress listened repeatedly to the two existing audio recordings of Parker in order to perfect the writer's distinctive voice. Leigh found that Parker 'had a sensibility that I understand very, very well. A sadness. A depression.'^[2]

Reception[edit]

A rough cut of Mrs. Parker and the Vicious Circle was screened at the 1993 Cannes Film Festival where it divided film critics. It was rumored afterwards that Leigh re-recorded several scenes that were too difficult to understand because of her accent but she denied that this happened.^[5] The film was an Official Selection at the 1994 Cannes Film Festival and was nominated for the Palme d'Or.^[6]

For her performance in the film, Leigh was nominated for both the Golden Globe Award for Best Actress in a Motion Picture – Drama and Independent Spirit Award for Best Female Lead.

Year-end lists[edit]

• 4th – Michael Mills, The Palm Beach Post^[7]
• 6th – Desson Howe, The Washington Post^[8]
• 10th – Scott Schuldt, The Oklahoman^[9]
• Top 10 (listed alphabetically, not ranked) – Jimmy Fowler, Dallas Observer^[10]
• Top 10 (not ranked) – Betsy Pickle, Knoxville News-Sentinel^[11]
• Honorable mention – Jeff Simon, The Buffalo News^[12]
• Honorable mention – Glenn Lovell, San Jose Mercury News^[13]
• Honorable mention – Michael MacCambridge, Austin American-Statesman^[14]

References[edit]

1. ^Mrs. Parker and the Vicious Circle at Box Office Mojo
2. ^ ^abcdefghiCarpenter, Tessa (August 29, 1993). 'Back to the Round Table With Dorothy Parker and Pals...'The New York Times. Retrieved May 26, 2010.
3. ^Johnston, Trevor (March 10, 1995). 'Living by her wits'. The List. Retrieved August 26, 2020.
4. ^Weinraub, Bernard (July 29, 1993). 'Robert Altman, Very Much A Player Again'. The New York Times. Retrieved May 26, 2010.
5. ^ ^abAppelo, Tim (December 23, 1994). 'Finding Dorothy Parker's Voice'. Entertainment Weekly. Retrieved May 26, 2010.
6. ^'Festival de Cannes: Mrs. Parker and the Vicious Circle'. festival-cannes.com. Retrieved August 30, 2009.
7. ^Mills, Michael (December 30, 1994). 'It's a Fact: 'Pulp Fiction' Year's Best'. The Palm Beach Post (Final ed.). p. 7.
8. ^Howe, Desson (December 30, 1994), 'The Envelope Please: Reel Winners and Losers of 1994', The Washington Post, retrieved July 19, 2020
9. ^Schuldt, Scott (January 1, 1995). 'Oklahoman Movie Critics Rank Their Favorites for the Year Without a Doubt, Blue Ribbon Goes to 'Pulp Fiction,' Scott Says'. The Oklahoman. Retrieved July 20, 2020.
10. ^Zoller Seitz, Matt (January 12, 1995). 'Personal best From a year full of startling and memorable movies, here are our favorites'. Dallas Observer.
11. ^Pickle, Betsy (December 30, 1994). 'Searching for the Top 10... Whenever They May Be'. Knoxville News-Sentinel. p. 3.
12. ^Simon, Jeff (January 1, 1995). 'Movies: Once More, with Feeling'. The Buffalo News. Retrieved July 19, 2020.
13. ^Lovell, Glenn (December 25, 1994). 'The Past Picture Show the Good, the Bad and the Ugly -- a Year Worth's of Movie Memories'. San Jose Mercury News (Morning Final ed.). p. 3.
14. ^MacCambridge, Michael (December 22, 1994). 'it's a LOVE-HATE thing'. Austin American-Statesman (Final ed.). p. 38.

External links[edit]

• Mrs. Parker and the Vicious Circle on IMDb
• Mrs. Parker and the Vicious Circle at Rotten Tomatoes

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About Jon Favreau

Jonathan Kolia Favreau (born October 19, 1966) is an American actor and filmmaker.

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1

I’m a very lazy person by nature. I have to be really engaged, and then I go straight from lazy to obsessive. I couldn’t study chemistry, but I could memorize all the books for Dungeons and Dragons. It was ridiculous. The trick is to find what I like to do. Jon Favreau

2

You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there’s something about cooking – food being prepared is incredibly captivating. It became just a fun box of tools to use as a director. Jon Favreau

3

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I’ve been in the service industry. I’ve bar-tended. I’ve waited tables, and I’ve worked at pizza places; I’ve made pizza. I’ve had a lot of jobs, and many of them were in the food service industry. Jon Favreau

4

I like happy endings in movies. I think life has a happy ending. When it’s all said and done, it’s all something worthwhile, and I want my movies to reflect that. There are enough things to be sad about. When you pop in a movie, let the message be one that’s one of hope. Jon Favreau

5

Everybody loves a hit. There is nothing as fun as making a cultural splash with a movie. Jon Favreau

6

There’s a nostalgic aspect to the ‘Iron Man’ franchise for me. Jon Favreau

7

I was 22 and had worked on Wall Street for a year, and quit my job. I bought a motorcycle and sort of had this fantasy that I’d go cross-country like ‘Easy Rider.’ I went from New York to L.A., and on the way back, I stopped in Chicago and saw a friend of mine who was into improv. And I figured it might be fun to give it a shot. Jon Favreau

8

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The ultimate storyteller is Shakespeare, who was able to get the ‘groundlings’ to laugh at his bawdy humor and storylines but could still be studied by scholars to this day for the complexity of his language, meter, and symbolism. That’s the real guy. Jon Favreau

9

Ever since I read ‘Kitchen Confidential,’ I saw a little light bulb go off. Being a chef is like being on a pirate ship; it’s not like ‘Who Is Killing the Great Chefs of Europe?’ or whatever my impression was as I was growing up. Jon Favreau

10

I’ve been fascinated by the world ever since I read ‘Kitchen Confidential’ by Anthony Bourdain. I’ve watched ‘Top Chef’ and watched interviews with chefs on ‘Charlie Rose’… I thought they’re really intriguing characters, and they really encapsulate that tension between vision and commerce, art and commerce. Jon Favreau

11

For me, I love food. It’s my greatest pleasure and also the thing that could ruin you as well. It’s one of those things where, if you’re not thoughtful about it, it could be unhealthy. But if there’s a mindfulness about it; it actually is a wonderful tool of emotional expression. Jon Favreau

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12

Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself. Jon Favreau

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13

I think what is nice about ‘Elf,’ and why it doesn’t play as one long sketch, is that the character actually grows up during the course of the film. It’s not just a character that you can keep checking in on and keep doing sketches about. It’s a story. I’m pretty proud of how we told it. Jon Favreau

14

I want to make sure everyone’s having a good time because when I ask you to come to my movie, I’m throwing a party for you. I want you to enjoy it. Jon Favreau

15

‘King Kong,’ especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was. Jon Favreau

16

Online theft has changed the business model of filmmaking because the DVD market is very soft. So, more ambitious, compelling, character-driven narrative of a certain budget level isn’t really a viable business model in the eyes of the studios right now. Jon Favreau

17

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I love ‘Star Wars,’ you know, and I can’t remember the last story meeting I’ve been in where ‘Star Wars’ wasn’t referenced. It’s so perfect in so many ways. Jon Favreau

18

I think that part of the reason that ‘Iron Man’ was so successful was that we really chose to break new ground in a new area tonally, cast wise, the way we depict the hero, what his abilities are. It felt fresh in a genre that is beginning to feel stale if it’s not done with the proper amount of inspiration and a strong voice or tone. Jon Favreau

19

Jon Favreau Movies

Acting is the most fun. I like to do it and it’s great that I can still do that, but you know, you don’t really have a lot of control over things, so it’s real hit or miss. Jon Favreau

20

I don’t think I’m egotistical as much as I’m taking responsibility for what I’m putting out there. Jon Favreau

21

I find that people… very few people think that what they’re doing is bad, and usually the people who think what they’re doing is bad it has more to do with guilt. Jon Favreau

22

The irony is that the more unapologetically sexist men are in movies, the more women tend to be attracted to them in person. Jon Favreau

23

I was the worst extra, I was ‘that’ guy. I was the guy on the phone trying to get the Oscar for best extra – for best background performance. Jon Favreau

24

I’ve cut myself out… I’ve cut scenes out that I was in and that’s when you realize that you’ve got to make the best movie you can. Jon Favreau

25

I’ve always wanted to call the shots because I would rather fail than not have a chance to figure it out on my own. Jon Favreau

26

I don’t ‘handle’ people. It’s so much easier to manipulate actors than to really have an earnest discussion with them. It’s very easy to say whatever’s going to appease them and then turn around and do whatever you want to do. It’s difficult to be forthright with people, because the job does not lend itself to that. Jon Favreau

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