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26 marzo Richard Widmark: 1914-2008 And just after my tenth (eleventh?) viewing of one of my favorite film noir, that daylight ménage à trois (well, ménage à trois of intimidation, which only makes it more fascinating) -- "Road House" -- just when I was really wrapping my head around my obsession with both the movie and that hot blonde laughing lunatic of menace and twisted sex appeal, he ups and leaves me.
One of motion pictures greatest actors, an icon of film noir and an intelligent, decent man in real life has left us. Richard Widmark died Monday at the age of 93-years-old.
An actor who stunned audiences (and earned his one and only Oscar nomination) with his film debut as the giggling psychopath Tommy Udo in Henry Hathaway's "Kiss of Death," a character who, in the film's most notorious scene, pushes an old woman in a wheelchair down a flight of stairs, Widmark worked a long career filled with intriguing, daring roles that left a permanent impression on the movie-going public. So much, in fact, that Tommy Udo clubs formed around the country at various colleges, honoring the maniac for not taking any guff from women, men or life itself -- no matter how venal and self destructive he was. But that was part of Widmark's power and subversion -- you enjoyed his lunatics. But his career wasn't all about hassling little old ladies, he also helped create some of film noir's most immortal characters including, in my mind two ultimate noir anti-hero icons in two ultimate noir masterpieces -- Skip McCoy in Samuel Fuller's "Pickup on South Street," and Harry Fabian in Jules Dassin's "Night and the City."
There was also "The Street with No Name," "Panic in the Streets" (where he made the smart career move by playing the good guy), the stunning aforementioned "Road House" (with Ida Lupino and Cornell Wilde), "No Way Out" (with Sidney Poitier), "Judgment at Nuremberg," "How the West Was Won," "Madigan" and more and more and more. His presence was always missed once he stepped away from the screen but it was nice knowing the man, one of the last noir icons, was still alive and kicking. That he was enjoying his very non Tommy Udo-like life away from the spotlight in Connecticut, critical of modern movies and soul baring celebrities and the general dumbing down of cinema while keeping his life in healthy perspective. He was a rare one Rest in Peace Mr. Widmark. We’ll always have Jefty’s.
--posted by Kim 25 marzo John Hughes: Gen X J.D. Salinger "John Hughes hasn't set foot in Hollywood for years, but his influence has never been more potent. The king of 1980s comedy, Hughes now qualifies as something of a Howard Hughes-style recluse -- he doesn't have an agent, doesn't give interviews and lives far away, somewhere in Chicago's sprawling North Shore suburbs where most of his films were set.
"But he has an entire generation of fans in the industry who grew up infatuated with his films, especially a string of soulful mid-1980s teen comedies that helped capture the eternal drama of modern teenage existence. They include 'Sixteen Candles,' 'Pretty in Pink,' 'Ferris Bueller's Day Off' and 'The Breakfast Club,' which no less an authority than Courtney Love once called 'the defining moment of the alternative generation.' Any number of successful actors and filmmakers, from Judd Apatow and Kevin Smith to Vince Vaughn, Ben Stiller and Wes Anderson, are fans, having soaked up Hughes' keen observational humor, love of mischief and shrewd dissection of social hierarchies."
Read the rest of this fascinating LA Times piece here.
--posted by Kim Depp Doing Dillinger I'm eagerly awaiting the newest Michael Mann picture, "Public Enemies" -- so how did I miss these first pictures from the movie?
The film looks at notorious American gangsters John Dillinger, Pretty Boy Floyd and Baby Face Nelson as they go up against the F.B.I.'s rabid manhunt.
I'm fascinated by that hot genius John Dillinger (just look at him!) and have been waiting for a new version of the gangster/American folk hero's life on screen (the first, with the great Laurence Tierney and the second, with the also great Warren Oates are both worth watching, but I always feel more could be covered). Mann's version stars Johnny Depp (as Dillinger!), Christian Bale, Channing Tatum, and Marion Cotillard.
Dammit, this better be amazing.
Anyway, here's a sneak peak.
--posted by Kim Jackman Going 'Nowhere'Hugh Jackman's new franchise (via ComingSoon):
"Hugh Jackman (upcoming 'X-Men Origins: Wolverine') and 'Eli Stone' co-creator Marc Guggenheim are teaming with Virgin Comics to create 'Nowhere Man,' an original comic book series that is designed to be transferred to the big screen as a Jackman vehicle.
"Variety says the story was being kept under wraps, but Jackson's Seed Productions partner John Palermo said it features a protagonist reminiscent of the one Will Smith played in 'I Am Legend.' The concept is a futuristic world where mankind has traded privacy for safety, a premise that sprouted with Seed, Virgin CEO Sharad Devarajan and chief creative officer Gotham Chopra."
The sprouted premise feels like mankind trading privacy for safety. It's creepy. Even the movies discussing our brave new world feel Orwellian in their very creation. I need to stop reading about those Pellicano tapes...
--posted by Kim Richard Pryor: Live And Alive One of my favorite stand-up films and albums, "Richard Pryor Live on the Sunset Strip":
The year was 1981 and Richard Pryor, that groundbreaking genius, that innovative, influential trash-talking/truth-telling original king of comedy, was already a star. He’d released numerous inspired comedy albums, enjoyed big-screen success, most notably with Gene Wilder in “Silver Streak” and “Stir Crazy,” and his standup concert, “Richard Pryor: Live in Concert” (released as a film in 1979), had sealed the deal — this guy’s beyond-brilliant comedy had made him one of the most important humorists of the 20th century.
But back to 1981, back when he walked onstage at the Hollywood Palladium in a red suit and black bow tie and, at the start of his routine, with a clearly nervous disposition, went there. And not just there, as in all of the bold subjects Pryor was known to examine with brash humanity and riotous hilarity (racism, sex, politics and then some), but to the incident, the nearly fatal “accident” that left 50 percent of his body covered in burns. “Have you ever heard of a motherf---er burning up freebasing, other than me? If nobody else burned up freebasing, why do you think it happened to me? I did not burn up freebasing; I burned up because I quit freebasing.” By covering his monumental act of self-destruction, by delving into that day on June 9, 1980, when the comedian lit himself on fire while freebasing cocaine, and the drug addiction leading up to that infamous moment, Pryor created a routine of such confessional brilliance that it remains unsurpassed to this day. But what makes “Richard Pryor Live on the Sunset Strip” (released as a movie and album in 1982) so exceptional and important isn’t simply Pryor’s discussion of his inner demons lit up for the world to see. It’s how he approaches such searing self-examination. Discussing topics ranging from prisons to the Mafia to messy relationships to an extraordinarily moving epiphany while in Africa (Pryor decided to never use the N-word again), the comedian wants his audience to think as well as to laugh. And with his unflinching and, at times, heartbreakingly honest vulnerability, Pryor not only makes us think about the emotional and moral shakiness of the human condition, but the shakiness within our selves. How many comedians can make you laugh until you cry, then make you genuinely cry before getting you to laugh again? “Live on the Sunset Strip” isn’t just funny, it’s a profound experience. Read two other favorites (and vote!) here.
--posted by Kim 21 marzo Friday Night At The Movies: A Bitter Drill-bit To Swallow --Reviews for "Drillbit Taylor" are...ouch. John Beifuss writes, "The first film from the Judd Apatow Productions assembly line that feels like it came off an assembly line: 'Drillbit' is to Judd Apatow as 'Harry and the Hendersons' is to Steven Spielberg." Wesley Morris complains, "The makers of 'Drillbit Taylor' aren't so much interested in a movie about the tyranny of bullies as they are completely turned on by the violence they inflict." And my pal M.E. Russell (or is it my pal Shawn Levy? Who wrote this review?) is a man after my own heart: "Do yourself a favor. Rent 'My Bodyguard' instead."
--Still...old "Drillbit" is receiving better reviews than the latest Asian remake, "Shutter" (from the Thai picture of the same name, a film I haven't seen but am willing to bet is superior to the American remake...just a hunch...)
--Angela Bassett stars in "Tyler Perry's Meet the Browns." One, no one will care what the critics have to say about it because audiences love Tyler Perry's movies. And two, Angela Bassett is in it -- need more Angela Bassett on screen.
--And then there's '60s icon Marianne Faithful as a 60-something sex worker in Sam Garbarksi’s "Irina Palm" (in limited release) which looks most promising. As Prairie Miller wrote, "Garbarski combines social satire, hand jobs, feminism, and romantic grace to create a tenderhearted tale of found love and female empowerment. And he actually pulls it off, give the guy a hand. On second thought..." Oh come on...did you have to go there?
--posted by Kim
Have 'Gub' Will Travel One of my favorite mockumentries, "Take the Money and Run":
As funny and innovative as Woody Allen’s hilarious mockumentary “Take the Money and Run” is, the movie still has the power to make me tremendously sad. I realize that discussing the depressiveness of a comedy about the world’s most inept criminal may seem an odd way to celebrate one of film’s greatest mockumentaries — a cinematic genre that, “The Blair Witch Project” aside, is almost required to be funny — but it’s this down-and-out poignancy that has made the picture stick with me all these years.
“Take the Money and Run” was also the very first Woody Allen movie I ever saw (it would frequently pop up on network TV), and I think all those pre-cable, lonely childhood TV viewings add an emotional hue (brown-tinted) to my memories. But apart from my own recollections, the picture’s low-budget grittiness, mixed with Allen’s singular observations and Marx Brothers-inspired humor, gives the comedy an, at times, surrealistic look at desperation. Any fans who remember the picture’s memorable bank hold-up gag — during which the unruffled teller can’t read Allen’s stick-up note, insisting the crook spelled the word “gun” as “gub” — know what I mean. Even those attempting to threaten and rob the world can’t get by without suffering life’s day-to-day indignities. And Allen’s Virgil Starkwell has suffered his share of indignities. With formal voice-of-God narration by Jackson Beck, we learn about Starkwell’s background. From nerdy kid who so irritated his parents with cello lessons that they threw the instrument out the window, to petty thief, to terrible pool hall hustler, to spectacularly unsuccessful bank robber, to husband (married to pretty Janet Margolin), to poor man nearing starvation — Starkwell’s unlucky life is a true-crime fiasco. He’s such a loser, in fact, that when his parents are interviewed for the film, they don Groucho Marx noses and glasses to hide their identities. That’s just one of many jokes that range from amusing, to hilarious, to wonderfully absurdist in this little movie that packs a much bigger wallop today than was probably originally intended. Far ahead of its time, and not appreciated enough within both Allen’s legendary canon of work and the genre of mockumentary, “Take the Money and Run” is something of a slap-dash masterpiece. The great Christopher Guest — with his involvement in “This Is Spinal Tap” (co-wrote and starred in) and “Waiting for Guffman” (co-wrote, starred in and directed) — is usually considered one of the real innovators of the mockumentary, but he must give credit to Woody Allen. And “Take the Money and Run” has to be one of his favorite films. I wonder if it makes him sad, too? Read the other choices (and vote!) here.
--posted by Kim 18 marzo Ledger's Joker: 'Thrilled'
Can't wait. Footage from Christopher Nolan's "The Dark Knight" has been unveiled and the buzz concerning the tragically departed Heath Ledger's performance is powerful: "Heath Ledger's Joker springs full-blown in this summer's 'The Dark Knight,' the sequel to 2005's 'Batman Begins' that was previewed for theater owners Thursday with a clip showing the new movie's opening sequence. Unlike 1989's 'Batman,' in which the deranged, disfigured clown appearance of Jack Nicholson's Joker resulted from a dip in chemical goo, 'The Dark Knight' starts right in with the bad guy in all his psychopathic glory. "'I believe whatever doesn't kill you simply makes you stranger,' Ledger's depraved Joker cryptically tells an accomplice in the opening scenes, in which he pulls off a daring bank robbery. "In an interview at ShoWest, a theater-owners convention where distributor Warner Bros. showed off footage of 'The Dark Knight' and the rest of its summer lineup, director Christopher Nolan said it was almost inevitable that the sequel would pit Christian Bale's Batman against the Joker. "'The psychopathic clown, that's an icon to stand with the guy with the ears and cape,' Nolan said. "It's just a wonderful visual relationship, and it's a terrifying image.' "Long before Ledger's death of an accidental prescription drug overdose in January, the marketing of the movie had focused on the villain's rise to power and his creepy appearance. There had been speculation among critics and fans that the studio and filmmakers might take a different approach to selling the film in light of Ledger's death, but the marketing has gone on as originally planned. "'I think he'd be very pleased to see we're just moving ahead as is,' Nolan said. 'If you try to honor somebody, you honor them by respecting their work and putting it out there for as many people to see. He was immensely proud of the work he did on the film. I feel a great burden to present that in an undistorted form.' The last time producer Charles Roven saw Ledger was when he showed the actor the very footage that was screened at ShoWest. "Fans have been buzzing over the anarchic style Ledger brings to the role in the movie's trailer, but the actor himself was utterly taken by what he saw of himself on screen, Roven said. "He was just blown away by his own performance,' Roven said. 'He said, `Can I see it again?' So he was really, really thrilled.'" The movie opens July 18. Again, cannot wait. --posted by Kim Anthony Minghella: 1954-2008 Tragic and alarmingly too soon. Director Anthony Minghella has died at the age of 54:
"Minghella, who won an Oscar for 'The English Patient' and directed such hit movies as 'The Talented Mr. Ripley,' 'Cold Mountain' and 'Truly Madly Deeply,' has died. He was 54.
Minghella's death was confirmed Tuesday by his agent, Judy Daish. No other details were not immediately available. "'The English Patient,' the 1996 World War II movie that won nine Academy Awards, was one of a series of literary adaptations directed by Minghella. Others included 'The Talented Mr. Ripley' (1999) and 'Cold Mountain' (2003). Minghella was recently in Botswana filming an adaptation of Alexander McCall Smith's novel 'The No. 1 Ladies' Detective Agency.'" A major loss to the world of filmmaking. --posted by Kim Actor Walks Off Natalie Portman MovieHasidic actor Abe Karpen walked from his role as Natalie Portman's husband while shooting their movie "New York I Love You." His reasons are religious as his rabbi pressured him to quit: "First he couldn't hold Natalie Portman's hand - and now a Williamsburg Hasidic Jew-turned-actor has to give up his chance to hit it big in a Hollywood movie. Abe Karpen, 25, a married father of three, was cast as Portman's husband in 'New York I Love You,' a film composed of 12 short stories about love in the five boroughs. "'I am backing out of the movie'said Karpen, a kitchen cabinet salesman. 'It's not acceptable in my community. It's a lot of pressure I am getting. They [the rabbis] didn't like the idea of a Hasidic guy playing in Hollywood. 'I have my kids in religious schools and the rabbi called me over yesterday and said in order for me to keep my kids in the school I have to do what they tell me and back out,' Karpen said." Wonder if Christopher Hichens has anything to say about this? --posted by Kim The Spacey Age
Where has Kevin Spacey been hiding himself these days? Sure, he turned up as a fantastically fiendish Lex Luthor in Bryan Singer's forgettable "Superman Returns" and added comic flair to the Christmas-time comedy "Fred Claus." But where are the great actor's John Does, Jack Vincennes and Lester Burnhams of filmdom? And, further (for those of us old enough to remember), where are his Mel Profitts? They're all still hanging around, albeit most likely on stage, where the Oscar-winning actor has been (since 2003) artistic director of the prestigious Old Vic Theatre in London. Performing in productions ranging from Shakespeare's "Richard II" to Philip Barry's "The Philadelphia Story," Spacey has kept himself busy on the boards, while maintaining a low profile on screen. But with the gambling picture "21," which is based on a true story, Spacey returns as a brilliant math teacher and mentor to a group of card-counting MIT students as they take on Vegas. It should be a juicy role for an interesting actor who, stage or no stage, should be writ large more often. With this in mind, and anticipating a bigger return to the big screen, we honor 10 of Spacey's greatest performances. From serial killers, to disenchanted dads to Bobby Darin, he's created some legendary characters. Here's to hoping for a few more. 10. "The Ref" (1994) If you've seen Kevin Spacey's "Saturday Night Live" appearances, you know the guy is funny. So why he doesn't attempt comedy more often is a mystery -- he's a complete natural and wonderfully gifted. Proof positive lies in Ted Demme's "The Ref," a movie in which criminal Denis Leary makes the regrettable decision of taking a squabbling couple (Spacey and Judy Davis) hostage in their own home. Dragged into the middle of the bitter pair's feuds, Leary endures Spacey's hilarious wrath, with lines that make you wince and laugh: "I'd love to run around and take classes and play with my inner self! I'd love the freedom to be some pissed-off criminal with no responsibilities, except I don't have the time! But you don't see me with a gun. And you don't see me sleeping with someone else. You think my life turned out the way I wanted because I live in this house? You think every morning I wake up, look in the mirror and say, 'Gee, I'm glad I'm me and not some 19-year-old billionaire rock star with the body of an athlete and a 24-hour erection!' No, I don't! So just excuse the s--- out of me!" Brilliant. Read the rest of my picks of Spacey's best here. --posted by Kim 17 marzo 'Horton' Number One"Horton Hears a Who!" was the number one movie this weekend, taking in $45.1 million, the best opening so far this year. Not too surprising.
But what I really want to know is, how many walk-outs were there during "Funny Games"?
 Here's the top five movies over the weekend:
1. "Dr. Seuss' Horton Hears a Who!" -- $45.1 million.
2. "10,000 B.C."-- $16.4 million.
3. "Never Back Down" -- $8.6 million.
4. "College Road Trip" -- $7.9 million.
5. "Vantage Point" -- $5.4 million.
--posted by Kim 14 marzo Friday Night At The Movies: Not So 'Funny'
Like the 1997 original, the reviews for "Funny Games US" are incredibly divided. The Village Voice's J Hoberman wrote, "Professional obligations required that I endure it, but there's no reason why you should" while the Onion AV Club's Scott Tobias called the picture a "chilly and extraordinarily controlled treatise on film violence." Stacie Ponder, she of the great Final Girl wrote an interesting piece that really understands and reflects on what Haneke is attempting to study with his uncomfortable (that's an understatement) picture. Writes Ponder: "Did I actually enjoy Funny Games? No, absolutely not. I didn't "enjoy" it at all. I marveled at the acting. I was astounded by what I was seeing. I took notes on Haneke's storytelling techniques. This, however, is one of the toughest films I've ever had to sit through...mind you, Haneke doesn't really show us any of the brutality. The aftermath- and we do see the aftermath- of the violence tends to be the raw emotional aftermath. You don't need to see a damn thing to feel for this family; it's mostly a dance of words, of anticipation, expectation, and tension. "I commented afterward that I loved the fact that there was no explicit violence, that I could react so very strongly without it. Would actually seeing a helpless character get punched in the face have made me even more sympathetic? No, I don't think so. My viewing companion, however, was disappointed by the lack of explicitness. This shocked me, and we ended up talking about why she felt that way- which is, at least in part, the point of the film." Read Ponder's entire piece here. And...since I know what I'm in for, it's hard for me to say I'm excited about seeing "Funny Games" also, but I'm eager enough to think about why I'm so eager. I'm certainly curious regarding the director's shot-for-shot approach and how Naomi Watts, Tim Roth and Michael Pitt handle these roles, but...maybe I am excited. Also, I really need to think about why the film's horrifying yet beautiful poster stirs me so. It's unnervingly spectacular. --posted by Kim 13 marzo 2008 Spring Movie Guide To get you ready for spring (I can never remember when it actually begins) MSN presents its annual Spring Movie Guide and the movies look...promising. Here's Kathleen Murphy's take on the cinematic warm-up:
It's always hard to come down from the high of the winter movie season, when it seems like nearly every release is good enough to make Oscar sit up and take notice. Still, after such a bombardment of excellence, it's almost a relief to slip-slide down into spring's cinematic Slough of Despond, traditional dumping ground for movies dead on arrival. Don't get me wrong -- it's wise to keep an eye out for pearls among the dreck. Quirky and terrific films that studios don't understand or haven't a clue how to market can show up in this sad season. And interesting B-list "product" that's been postponed in favor of award-bait flicks finally sees the light of day -- or rather the dark of the multiplex. Comedy springs up like crabgrass during the months before summer's blockbusters erupt. This year, for good or ill, TV vets dominate the scene, behind and in front of the camera. Arguably, the boob tube has become the conduit of choice for fresh comic fodder these days. Bringing their "Saturday Night Live" and "30 Rock" brand of wry- and feisty-funny to "Baby Mama," Tina Fey and Amy Poehler are well on their way to becoming the Odd Couple of Comedy, a Martin and Lewis team for modern-day hipsters. "SNL" standouts -- such as Bill Hader, Jason Sudeikis and Fred Armisen -- are spreading like kudzu, often in movies starring fellow refugees from the box. Rainn Wilson, Dwight Schrute in excelsis, goes all Dewey Cox in "The Rocker," backed by a veritable tsunami of TV-spawned talent: Will Arnett ("Arrested Development"), Christina Applegate ("Samantha Who?"), Jeff Garlin ("Curb Your Enthusiasm") and beloved "WKRP in Cincinnati" disc jockey Howard Hesseman. Paul Rudd contributes comic cred from "The 40-Year-Old Virgin" and "Knocked Up" to "Forgetting Sarah Marshall," Judd Apatow's latest screwball comedy-wannabe starring Jason Segel ("Freaks and Geeks"), Kristen Bell ("Veronica Mars") and Bill Hader. Two to keep an eye out for, both directed by actors turned auteurs: Helen Hunt, mostly missing in action since her Academy Award-turn in "As Good as It Gets," helms and stars in "Then She Found Me," which promises smiles of the grown-up kind. The buzz is that Hunt's back in form as actress -- and shines as director, too. Then there's George Clooney -- who clearly channels both Cary Grant and Clint Eastwood -- making a possible touchdown with "Leatherheads," his third directorial effort. Described as a cross between "Slap Shot" and "The Philadelphia Story," Clooney's comedy was originally scheduled for release last December -- not a good sign. On the family-fare front, we can look forward to Dr. Seuss' beloved "Horton Hears a Who!" with genuine pleasure. The A-list voices in "Horton" just don't stop: Jim Carrey, Steve Carell, Carol Burnett, Seth Rogen, Isla Fisher, Will Arnett and Amy Poehler, for starters. Graced with Abigail Breslin, Jodie Foster and Gerard Butler, "Nim's Island" bids fair to charm fans of "Charlotte's Web" and "Bridge to Terabithia," and "Foodfight!," touted as "the most complex digitally animated film ever undertaken," might just turn out to be spring's "Ratatouille." Enough with the comedy -- let's get all dark and violent! Tarantino's muse Uma Thurman dives into the darkness behind her brain in "The Life Before Her Eyes," a surreal excursion leading to awful revelations. And, for sure don't miss "Paranoid Park," maverick director Gus Van Sant's riveting portrait of a teen trapped in a noirish nightmare. By all means, sign up for "The List," which gains you entry into a world of pleasure-pain, anonymous sex and murder. Fun times with Ewan McGregor, Hugh Jackman and Michelle Williams. Darker still are two horror movies that should top spring's must-see list: "Doomsday" uses yet another nasty plague in Britain to conjure up the long-term perils of trying to wall out dangerous and unwanted immigrants. Director of two of the decade's most provocatively scary movies -- "Dog Soldiers" and "The Descent" -- Neil Marshall knows how to mine the genre for rich commentary on how and where we are as human beings. Visit "The Ruins" on the strength of the absolutely terrifying novel by Scott B. Smith (Academy Award screenplay nomination for "A Simple Plan"). If the movie catches an iota of the book's grisly horror, we're in for a really bad -- by which I mean good, of course -- time. Rising from the abyss, we can look forward to two very different heist movies scheduled for spring release: the Michael Caine-starrer "Flawless," and "The Bank Job," featuring tough guy Jason Statham. You can depend on Caine to gift his thief with complex character, while Statham does action with authentic muscle and flair. Long-time-no-see Kevin Spacey's out and about again in "21," as a math professor who teaches his students how to beat casino odds. Adrien Brody and Mark Ruffalo comprise a double whammy of top-of-the-line actors in "The Brothers Bloom," a tale of fraternal con-artistry directed by Rian Johnson, who made the 2006 cult fave "Brick." And speaking of "Brick," the splendid Joseph Gordon-Levitt joins Ryan Phillippe ("Breach") in "Stop-Loss," a very personal Iraq War-flavored drama by Kimberly Peirce ("Boys Don't Cry"). As usual, niche-audience entries, crowd-pleasers and/or certified losers will abound on spring screens: Martin Lawrence and Tyler Perry churn out their branded entertainment, "Never Back Down" delivers still another variation on the "Karate Kid" template, Roland Emmerich yet again directs large if not deep with the epic-sized "10,000 B.C.," and Rob Schneider sleazes on in a Big House laffer. Courage, fellow film buffs! Summertime's a-coming. Check out the entire Spring Movie Guide with galleries, genres, release dates and trailers here. --posted by Kim
11 marzo Heath Ledger's Final Role Continues Since everything Terry Gilliam does is interesting, even his stumbles, this news of his work in progress, "The Imaginarium Of Doctor Parnassus," is exciting.
The director's half-completed picture starring the late Heath Ledger will continue in a very cool, unique way:
"Producers working on Heath Ledger's final film have vowed not to alter the tragic star's last performance, even though the actor never got the chance to complete the project before his untimely death. 'Work on The Imaginarium Of Doctor Parnassus' resumed on Monday after the 'Brokeback Mountain' star's death halted filming on the project earlier this year. In his honor, Hollywood superstars Johnny Depp, Colin Farrell, and Jude Law have signed up to feature in the film, which is due for release next year. However, the film's director Terry Gilliam and its producers have promised to preserve every detail of Ledger's final performance, and that the hiring of the three new stars will not affect his work.
"However, the film's director Terry Gilliam and its producers have promised to preserve every detail of Ledger's final performance, and that the hiring of the three new stars will not affect his work. A statement released by the movie's producers reads, 'Since the format of the story allows for the preservation of his entire performance, at no point will Heath's work be modified or altered through the use of digital technology. Each of the parts played by Johnny, Colin and Jude is representative of the many aspects of the character that Heath was playing.' Gilliam adds, 'I am delighted that Heath's brilliant performance can be shared with the world. We are looking forward to finishing the movie and, through the film, with a modicum of humility, being able to touch people's hearts and souls as Heath was able to do.'"
--posted by Kim Hopelessly Devoted One of my favorite sites, Noir of the Week, has just written up a movie I simply must see. Ralph Meeker, Janice Rule and Paul Heinreid?! Where has "A Woman's Devotion" been all my life?
The piece starts with a question regarding the picture's deservedness within the canon of noir:
"Any list of the classic attributes of this thing called film noir congers up images of high heels on wet pavement, dark & gritty urban landscapes, double crosses and that four lettered F word; fate.
"So how then do honeymooners frolicking on the sun splashed beaches of Acapulco cut the mustard as noir? In no less the works of noted noir authorities Mike Keaney and Art Lyons in their books on the subject; 'Film Noir Guide' and 'Death on the Cheap: The Lost B Movies of Film Noir' is this film found.
"As the debate continues to rage over the merits of style vs. theme we’ll have to op out for theme on this hard to find entry. The oft told tale of the unstable WWII vet plays out again with disastrous consequents for any female near our protagonist when a loud noise is heard."
Read the entire piece here.
And noir, not noir, noir-ish, whatever, I can't wait to track this one down. I'm devoted.
--posted by Kim Their Satanic Majesties Request Speaking of Rock N' Roll -- as in real, dangerous, sexy, brilliant Rock N' Roll, here's my take on the greatest rock documentary of all time, Albert and David Maysles' genius "Gimme Shelter," a movie that remains stunning:Since we often need official markers to notate the beginning and end of our eras, there are many who believe that the music festival at Altamont Speedway, that infamous 1969 concert featuring the Rolling Stones on their North American tour, flat-out killed the 1960s. Or rather, the late 1960s, when peace, love, brotherhood and understanding weren’t just drug-addled hopes of hippies but real-life responses to turbulent times — when civic change and war protest were passionate issues.
And it’s tough to not view Altamont as both a dark climax to the late 1960s and the ushering in of a more cynical, dissolute era — the 1970s. Remarkably, this harsh time transition was captured on film in the brilliant documentary “Gimme Shelter,” directed by verité masters Albert and David Maysles (“Salesman,” “Grey Gardens”), filmmakers who surely didn’t know just how historic their picture would become. The documentary and tour it presents begin innocently enough with Mick Jagger and company greeting Madison Square Garden (“Welcome to the breakfast show!”) before dazzling the audience with “Jumpin' Jack Flash.” But the movie begins to reveal a sense of foreboding, and as we watch the band members goof in their hotel rooms, record their lovely ballad “Wild Horses” (Keith Richards is especially moving here, lost in the music, the camera noting a hole in his boot) and arrange for the free Altamont show, we already know something terrible is going to happen. Watching the Stones’ reaction to playback of the eventual tragedy is fascinating — how affected are they by all of this? During the ill-fated concert, in which a member of the Hells Angels (hired as security) stabs a black concertgoer, the Stones appear quite affected. But not because they know what is actually happening. Rather, the entire show feels on the verge of violence — something is clearly amiss as we watch Jagger attempt order with his rather helpless refrain of, “Brothers and sisters! Brothers and sisters!” And yet, as disturbing as “Gimme Shelter” remains, the picture is a magnificent time capsule of a band at its peak. With Jagger strutting his stuff in his blue jumpsuit, Uncle Sam top hat and pink silk scarf, the Stones are pure live-wire, sass and sexy eloquence. (Perfectly, Ike and Tina Turner add to this eroticism with an obscenely genius performance at Madison Square Garden.) But watching the Altamont show, you also remember there was a reason why the Stones seemed debauched and sinister. After all these years, many still believe that “Sympathy for the Devil” played during the stabbing (it was actually “Under My Thumb”), which isn’t surprising. The forces of darkness were indeed summoned that day. Read other takes on great Rock Docs (and vote) here.
--posted by Kim
Madonna Thanks Her Critics Madonna is an actress after all...
She never made the transition in the mold of multi-media star Barbra Streisand, another talented, driven self starter and inspiration to those who defy the odds, BUT she did make "Desperately Seeking Susan" and "Evita" as well as "The Next Best Thing" and "Swept Away."
Inducted into the Rock and Roll Hall of fame (a very staid affair -- there's no way you can pretend this event is wild and crazy), Madonna gave a long speech discussing everything from Madonna Wanna-Be's to dropping ecstasy. She thanked some people, including her critics:
"Even the naysayers who said that I was talentless, that I was chubby, that I couldn't sing that I was a one hit wonder, they helped me too. They helped me because they made me question myself repeatedly and they pushed me to be better and I am grateful for their resistance."
Watch the speech here.
And read more about the inductees, including John Mellencamp, The Ventures (yes!), Philly soul producers Kenny Gamble and Leon Huff, the Dave Clark Five and the great Leonard Cohen (who, among many other distinctions memorably contributed songs to Robert Altman's masterpiece "McCabe and Mrs. Miller").
Anyway, the whole thing always looks and feels like an ill-fitting suit. I do love that Iggy and the Stooges performed "Burning Up" and "Ray of Light" while everyone just blankly stared at him. After all these year, and while simply being low key, amidst all the suits and clinking cocktail glasses, Iggy manages to make people uncomfortable.
Leonard Cohen summed it up almost perfectly: "This is a very unlikely occasion for me. It is not a distinction that I coveted or even dared dream about."
Thank you Mr. Cohen and indeed. While penning their next "Highway to Hell" or singing about "the darkest depths of mortor" what rocker dreams of making a speech to recording industry executives, Tom Hanks and Meg Ryan? I wish Bad Company was still together so they could write a song about it.
--posted by Kim 10 marzo Work It Ladies
Whether sleeping one's way to the top, kidnapping a boss for progressive office improvements or embezzling wads of cash, women in the workplace have always made for intriguing cinematic fodder. They also reflect changing, evolving or, sometimes, de-evolving attitudes and actions concerning career gals in society, something that's been relevant since the beginning of film. And Hollywood never tires of the topic. With March's Women's History Month in mind, I'm returning to memorable cinematic depictions of working girls. Some might be considered role models, some quite questionable at their jobs and some just plain mentally disturbed. But all of them are fascinating -- here's my pick of those who deserve raises. "Network" (1976) Name: Diana Christensen (Faye Dunaway) "His Girl Friday" (1940) Name: Hildegaard 'Hildy' Johnson (Rosalind Russell) Read my entire list of working girls here
--posted by Kim Mad For Miriam With last week's release of the fantastic pre-code DVD set, "Forbidden Hollywood Collection Vol. 2" (which includes "The Divorcee," "A Free Soul," "Night Nurse," "Three on a Match" and "Female"), a more permissable Hollywood is on certain movie lovers minds. (I still can't get over how stunning "Three On a Match" was. My lord! What squares we are these days!) In league with my sinful thoughts is Erich Kuersten who writes a spectacular ode to pre-code hottie Miriam Hopkins at Bright Lights After Dark.
Sayeth Kuersten:
"Imagine Angelina Jolie and Jennifer Aniston deciding to live together and share Brad Pitt! How hot would that be? But no, now we live in a much more (as in less) enlightened age, but once, long ago, these sorts of things happened...in pre-code films... to Miriam Hopkins.
"There's no Miriam Hopkins to be found on the recently released dvd set, 'Forbidden Hollywood Vol. 2,' but frankly, when I think of pre-code sexiness, it's Miriam who comes to mind. Sure, Joan Blondell, Mae Clarke, Greta Garbo, Barbara Stanwyck, Jean Harlow, etc. are all hot and brilliant, but often they are too full of sarcasm and/or aloofness to be sexy in the demure, warmly inviting way we shy sensitive guys secretly long for."
--posted by Kim
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I know "Horton Hears a Who" and "Doomsday" opened today but the movie that's got me most curious is Michael Haneke's shot-for-shot re-make of his own brilliant, "Funny Games."
I've always enjoyed this especially sexist, but hilarious quote uttered by Spencer's Tracy's drinking buddy in "Woman of the Year": "Women should be kept illiterate and clean, like canaries." Funny, but...au contraire you jerk. What kind of movies would be made about them?
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