I keep forgetting that Mike Myers is not actually playing an Indian in The Love Guru, and yet I’m constantly reminded by the film’s commercials, which show that ridiculous shot of a little kid’s body with Myers’ giant head digitally superimposed onto it. Really, Myers’ character (Pitka) is a white American who is left on the doorstep of an Indian ashram when he’s a child. Then he’s raised as Indian, I guess (or simply Hindu, but then why the accent?).
Apparently the character, Pitka, couldn’t simply look and talk like Myers. He had to have that silly accent and the clothes and the facial hair, despite the fact that Deepak Chopra, who partially inspired the character (and who appears in the movie), is able to wear jeans and be clean-shaven. Because who would believe Myers as an Indian guru with just the voice, the clothes and his baby face?
Of course, Myers is not the first actor to wear or grow a beard and/or mustache in order to take on the guise of another ethnicity. Sure, it’s also the accent and the makeup that transforms the actor, but with the most recognizable faces, it’s the facial hair that really seals the deal for supposed authenticity.
Charlton Heston as Mexican in Touch of Evil (pictured above) - Maybe if Heston could maintain the accent he wouldn’t have needed the mustache. But then in photos he still would have just looked like regular old Heston. With the whiskers, however, he looks like regular old Heston with a mustache. If this look defined a man as Mexican, then many characters from the ’30s must have been Mexican. Rhett Butler? Mexican. Nick Charles (and anyone else played by William Powell)? Mexican. …Read more
My favorite anecdote about Charlton Heston, who died over the weekend at the age of 84, has to do with him fighting for the role of the Mexican cop in Orson Welles’ Touch of Evil. As Glenn Kenny tells it:
…any self-respecting cinephile knows that it was only through Charlton Heston’s intervention that Welles directed Touch of Evil in the first place. Welles had only been contracted to co-star in the picture as corrupt bordertown cop Hank Quinlan. When the producers contacted Heston for the lead role of Mexican narc “Mike” Vargas, they told him, “We’ve got Welles,” to which Heston replied, “Any picture Welles directs, I’ll make.” Which sent producers scurrying back to Welles, who rewrote and directed the picture for no extra fee.
Manohla Dargis, in her tribute to Heston, also waxes rhapsodic on Welles’ film, and particularly, its infamous opening tracking shot.
Shortly after the film opens, Vargas and his delectable new American bride, Susan (Janet Leigh), kiss at the Mexican-American border, a passionate embrace that leads to a cataclysmic explosion and soon plunges the newlyweds into a phantasmagoria of sleaze, violence and very low camera angles. Vargas, a celebrity cop who has brought a case against a drug ring that’s about to go to trial in Mexico City, spends much of the story separated from Susan and circling Quinlan, a dirty American lawman.
You can watch the first five minutes of Touch of Evil above. For more Heston memorials, check out David Hudson’s master list at GreenCine Daily.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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