Something in the Air - the original French title was Apres Mai -isn't based on a book as far as I can tell but I couldn't resist posting the film's trailer for the Dreaming of France meme over at An Accidental Blog. The trailer looks - and sounds - fantastique! It takes place in Paris during the tumultuous late 60's; Apres Mai (After May) refers specifically to May of 68 - an especially dark period. The film written and directed by the accomplished Olivier Assayas (Summer Hours, Carlos) and better known to me due to my scandalously scant knowledge of contemporary french film, the "Quartier des Enfants Rougessegment" segment on Paris Je t'aime. The script won best screenplay at the Venice Film Festival last year; but what attracts me about what I see in the trailer - someone who lived through the 60's (are you sick of boomers like me lording our exciting times over you?) - is the authenticity, the rough feel of it. It's almost as if it had been shot then, back in those fast and furious times. Take a look at the trailer; see what you think. Something in the Air came out in France last November; it's currently playing here in L.A.; perhaps it's at an indie theater near you?Sunday, 12 May 2013
Something in the Air - the original French title was Apres Mai -isn't based on a book as far as I can tell but I couldn't resist posting the film's trailer for the Dreaming of France meme over at An Accidental Blog. The trailer looks - and sounds - fantastique! It takes place in Paris during the tumultuous late 60's; Apres Mai (After May) refers specifically to May of 68 - an especially dark period. The film written and directed by the accomplished Olivier Assayas (Summer Hours, Carlos) and better known to me due to my scandalously scant knowledge of contemporary french film, the "Quartier des Enfants Rougessegment" segment on Paris Je t'aime. The script won best screenplay at the Venice Film Festival last year; but what attracts me about what I see in the trailer - someone who lived through the 60's (are you sick of boomers like me lording our exciting times over you?) - is the authenticity, the rough feel of it. It's almost as if it had been shot then, back in those fast and furious times. Take a look at the trailer; see what you think. Something in the Air came out in France last November; it's currently playing here in L.A.; perhaps it's at an indie theater near you?Happy Mother's Day!
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| Leonardo and Carey in an all too brief love scene |
Things are looking up; there's another good review by Kia Makarechi over at the Huffington Post.
Since it is Mother's Day I'm going to go get pampered instead of
"The Great Gatsby" is Better Than Its Reviews
"To hear the critics tell it, Baz Luhrmann's adaptation of "The Great Gatsby" is the disappointment of the year. There's not enough jazz, they say. There was no 3-D in the 1920s! It's two movies that don't fit together! Has Jay-Z even read the book?!If you're a fan of F. Scott Fitzgerald's book, take a deep breath. It's not as bad as they make it seem.
Let's examine some of the reasons that folks are saying Leonardo DiCaprio, Tobey Maguire and Carey Mulligan's romp through Manhattan, West Egg and the barren lands in between falls flat. The primary complaints about the movie are as follows:
The movie isn't faithful to the Jazz Age.
It's true -- Jay-Z scored the movie, which features contributions from Beyonce to Nero, none of whom have much business being in a movie set in the Roaring Twenties. Except they sort of do: With one notable (and hilarious) exception, the music works in great concert with the film's narrative. When listened to as a standalone stream on NPR, the electronic dance music and hip-hop elements in the soundtrack are far more removed from the movie's subject than they are when used in the film. Lana Del Rey, Beyonce and Florence Welch's songs are used tenderly, and Emeli Sande's take on "Crazy in Love" is perfect, too. The singers Jay-Z assembled bent their talents to the movie's mood; denying their place in the movie is almost as stupid as saying Carey Mulligan can't play Daisy Buchanan because she's an English actress.
Put another way: If you want to watch a historically accurate period piece, don't buy tickets to a Baz Lurhmann movie. (It's worth noting that, in 1996, Lurhmann was lavished with praise for his "relentlessly inventive and innovative" modernization of "Romeo + Juliet.") Complaining about historical accuracy in a Luhrmann movie is like not being able to appreciate the entertainment value of an Onion article because it's "not really true."
The first half is more fun than the second half.
This one really takes the cake. Yes, Lurhmann's trailers promise a slick, non-stop party and the movie's party scenes are particularly well tailored, but "The Great Gatsby" is ultimately a wholly depressing affair. The second act of the novel is a slow, aching arch toward utter despair, culminating in one intense sequence with approximately two twists. My colleague and HuffPost's Senior Entertainment Writer Mike Ryan wrote that Luhrmann abandons the pomp of the first act halfway through "and tries to become something that resembles a faithful adaptation," but I'd argue that the movie is actually shockingly faithful all throughout. Once the lights shut off in Gatsby's mansion, it's imperative that the story feels like a new movie, because it is. Until that point, Gatsby's world was solely one of aspiration and imagination. Now that he has once again seen Daisy in the flesh and the challenges that await each of then have been made tangible, things are different. If you leave "Gatsby" feeling dejected, as I did, Lurhmann has been faithful to Fitzgerald's book.
The movie has "no soul," and it's in 3-D.
The Associated Press' Christy Lemire wrote that the movie is "all sparkle" (perhaps she missed the hour that Mr. Ryan found so boring?) and that Luhrmann's decision to include actual words on the screen and film in 3-D make the movie even more lacking in "soul." I'll freely admit that this movie doesn't need to be in 3-D, though the treatment is brighter and more clear than most recent blockbusters. But there's a simple solution for those who don't like their Gatsby in 3-D: Watch it in 2-D. The words and phrases that appear on screen can just as easily be seen as proof that Lurhmann respects the text and believes in the strength of Fitzgerald's famously powerful sentences. (This also happens twice, and one instance features the book's final sentence, one of the most respected endings in American literature.)
All of this is not to say the book is without flaws. Gatsby's origin story is curiously repeated and some of the performances seem a tad off kilter. But as the New York Post's Lou Lemenick smartly wrote, Lurhmann's take on James Gatz is "a movie that may not be truly great but certainly stands out like a beacon in a sea of silly blockbusters." The problem with reviews of the movie isn't that they dare find fault in the Luhrmann's ambition, but that they're unreasonably harsh.
It seems we've been conditioned to see witty superhero franchises and overbearing "art films" as surefire pathways to critical appreciation, particularly in the summer. Make a movie that dares blend fun with some heavy, famous fiction? You're out of luck, old sport.
"
More Gatsby Posts
Saturday, 11 May 2013
The Fault in our Stars is finally right next to my bed, on top of my pile. Perfect timing since it was just announced that Ansel Elgort has been signed to play the basketball loving (loathing?) Gus to Shailene Woodley's Hazel. And despite Ansel's wierd name, the boringly named John Green approves. OKAY!!Green told EW
“Ansel is whip-smart and uber-charismatic and everything I dreamed for Augustus Waters. ... I am by nature a cautious pessimist, but I’ll just say it: Now that we have Shailene and Ansel, I am completely, unreservedly psyched about this movie.”
More importantly at this point, since the story is in the hands of the director, Josh Boone, he likes Ansel too -
“Ansel Elgort is the epitome of the boy John Green brought to life so vividly in his novel and he truly embodies the character traits we admire so much about Gus. His humor, sensitivity, honesty and confidence floored us. Watching him with Shailene was like seeing the film for the first time. Hearing then say okay to each other was incredibly moving. We couldn’t be more thrilled to have found our Gus.”
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| Shailene Woodley is also Tris in Divergent Elgort plays her bro |
Producer Wyck Godfrey weighed in with the praise you'd expect from a producer; I like what he said about falling in love with Gus. It's so true!
”We were all swept away by the humor, charm, and aching vulnerability Ansel brought to his portrayal of Gus. His performance completely annihilated our concerns about his playing Caleb in Divergent with Shailene, and we are confident that the fans of Fault will fall in love with him the same way that Hazel does–slowly, and then all at once.”
So TFIOS fans, what do you think? Is he your vision of Gus? Did you picture a guy with a bit
The film set for release next March, starts shooting this August; and yes director Boon confirms Amsterdam will play Amersterdam.
I'll post updates on my reading progress on my Currently Reading (the movie I am reading now) page.
Friday, 10 May 2013
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| THE GREAT GATSBY |
There have been four movie versions of the book; the most well known being the 1974 adaptation starring Robert Redford and Mia Farrow. The difference between that iteration and Baz Luhrmann’s movie is night and day. Where that attempt to film F. Scott Fitzgerald’s great American classic suffered from being too slow and stuffy; this year’s Gatsby is nothing if not fast paced and dazzling. Luhrmann’s camera dances, glides, swoops, twists and sharply turns but seldom sits still long enough for us to simply see; the over-the-top, outrageous and ‘bazzling’ elements in Luhrmann’s repertoire - those stunning sets and costumes - have the power to buckle our knees and sweep us right off our feet if only Luhrman would allow us to linger, to stay just a little bit longer. That’s probably my one real complaint about the film; even at two and a half hours the story speeds by so fast, almost too fast to fully feel, absorb and appreciate.
And, contrary to criticism, there is plenty to feel, absorb and appreciate.
Fast. While Luhrmann gives this high octane version its’ thoroughly modern feel with his very active camera; JayZ succeeds with an equally energetic score to create a seamless fusion of pop, hip hop and Gershwin that feels as fresh and thrilling as jazz must have felt at the time - Luhrmann’s intent - music alive with the thrill of breaking all the rules, defiant of taboos. I'm not usually a fan of hip hop but Luhrmann, whose penchant for putting contemporary music in his soundtracks is well known, might have struck a gold chord here; the score may well be the way to the hearts of the masses of young people Luhrmann would love to lure into seeing the film and yes, reading the book. The director was on Colbert last night - as was Carey Mulligan (Daisy) in a very funny ‘didn’t read the book’ skit - and it’s clearly important to Luhrmann that we get it. He was understandably proud that interest in the film generated more sales of The Great Gatsby novel in one recent week than F. Scott Fitzgerald had seen in his lifetime, when this now great American novel was largely ignored at the end of Fitzgerald's days. He was also visibly moved to recount a conversation with Fitzgerald’s grand-daughter; the gist being that he got it right. A little self-serving, agreed.
MLH and I saw the first showing of The Great Gatsby at an L.A. theater last night; some of the mostly twenty-something audience donned Gatsby-themed gear; a few young women wore flappers’ headbands, one of their boyfriends sported slicked back hair and too-tight sport jacket. When Leo made his entrance - perhaps one of the most audacious and delightful movie entrances ever - to the accompaniment of fireworks and Gershwin - the crowd laughed, cheered and clapped with delight. DiCaprio turned out to be as grand as his entrance; his desperation to be the GREAT Gatsby was in his eyes, and almost palpable in that deep crevice between them. The accent and ‘old sport’ affectations, far from being over the top, were delivered in just the way a self-made man would; one can almost see his James Gatz practicing his ‘old sport’ in his shaving mirror at precisely 5pm just as F. Scott Fitzgerald had Jay write in his daily schedule “Practice elocution, poise and how to attain it 5.00-6.00.”
MLH and I both felt Daisy - lovely, spoilt, cowardly - was perfection as played by Carey Mulligan but in the spirit of full disclosure MLH worked with Ms. Mulligan on Drive where she had very little to do but stare and look love struck - ‘she does that so well’ MLH said. While we waited for and got Daisy’s “I hope she’ll be a beautiful little fool” line, Luhrmann skipped the famous reference to Daisy’s voice being ‘full of money,’ an impossible definition to live up to; any effort sure to sound as artificial as Mia Farrow’s turn in that 1974 failed effort.
Joel Edgerton was fine as Tom; if not quite the physically hulking and barely restrained bully I pictured and who looks more like Tom Hardy to my mind. But Edgerton did channel the dark undercurrent of cruelty of a man who charms one moment but the next, spurred by a drink, will just as likely give you the back of his hand.
The big surprise for me was Tobey Maguire as Nick. I haven’t been a fan; Maguire’s clueless Joe routine has only annoyed me up to now but I found his naïvete as Nick endearing and authentic. In a change from the novel, Luhrmann has Carroway in a sanatorium to get treatment for his alchoholism (‘everyone drank back then’ he tells his shrink); with encouragement from this doctor, Nick begins to write Gatsby’s story.
And like the novel, the vision of Gatsby that Luhrmann gives us, is Nick’s vision, a vision filtered by friendship and affection. Nick, at once flattered and surprised that the great Gatsby takes him into his confidence, is ever-present in the love story of Jay and Daisy, a willing accomplice to their joyous days. He may feel awkward and uncomfortable acting the beard in the company of Daisy’s brutish husband, Tom, but in the end Nick has Jay’s back. In today’s parlance, the Jay and Nick are bro’s and it’s a fine bromance, indeed. .
Luhrmann has likened the lives of Daisy and Tom to those of celebrity couple Liz and Dick, an oddly outdated reference for such a contemporary piece of work, but what he really means is that Daisy and Tom lead indulged celebrity lives like Katie and Tom, Angelina and Brad, Stacy and George, celebrities whose lives are lived in the glare of the spotlight and ever-present papparazzi. The world hangs on their every word, retweeting their blurbs, inflating their importance and their worth. Careless and entitled, the Buchanan’s of the world take what they can and then move on, leaving a slew of servants and hired help to clean up after them and leaving Gatsby, were he alive, a step away from being reduced to a love-sick stalker charged with a restraining order at the very least.
The Great Gatsby is a poignant story about undying love, following your heart as far as you can go, about striving for the American dream, about trying and failing and trying again. I remember liking but not loving the book back when I was young and it was required reading. I found the story’s end too disappointing, Gatsby too tragic a figure and Daisy simply indecipherable. How could she stay with that belligerent racist bully? The tawdriness of his affair with Myrtle; the ugliness of the accident; none of it added up to the pretty romantic picture I craved.
When I reread the book recently it all made sense; my cynical adult self knew instantly (even if I hadn’t known) that Daisy and Gatsby would never make it; their failure was as inevitable as death and taxes. I closed the book and wept with the hopelessness of it all. Seeing the movie, watching DiCaprio reach out for that green light that blinks barely out of reach, his dream dying, I was glad Gatsby was spared the knowledge that his flickering hope would die out completely.
No tears but a solid night at the movies.
For more Great Gatsby posts visit my Gonzo for Gatsby page.
Read my take on the 1974 film starring Robert Redford and Mia Farrow.
Thursday, 9 May 2013
"Gatsby? What Gatsby"
spoiler alert spoiler alert spoiler alert spoiler alert spoiler alert spoiler alert spoiler alert spoiler
The notion of a spoiler alert seems ludicrous for the hugely hyped film version of the 'great American novel almost every American had to read in high school. However I recognize that not everyone in the world has multiple copies of The Great Gatsby on their bookshelves. So if there are things you don't want to see or know about Baz Luhrmann's splashtacular adaptation, don't watch the following B roll footage showing Luhrmann, the actors, et al at work (and play) behind the scenes on The Great Gatsby. Quite a bit is without sound but there are times when you can hear Baz speaking with the actors, rehearsing and using his hands to frame out his camera's position. At moments the hands-on director almost seems to give line readings to both Edgerton and DiCaprio. Kind of cool to see the cast watching themselves on the monitor holding 3D glasses up to their eyes!
To create the lavish party scene at Gatsby's mansion, Lurhmann combined scenes shot on location in Sydney where St. Patrick's Seminary doubles for Gatsby's mansion, as well as on a Sydney soundstage where Luhrmann's production/costume designer - and wife - Catherine Martin had Gatsby's pool set constructed.
You can get a look at other sets and locations at my post Gatsby is in the House; a look at Chez Jay
Favorite bits: Carey Mulligan and Tobey Maguire dancing a vigorous 1920's number; Joel Edgerton and Isla Fisher share a decidely off camera laugh; the beginnings of a wild party at Tom and Myrtle's city hideaway; anytime Leonardo DiCaprio is on screen.
Visit my Gonzo for Gatsby page
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| Tom Buchanan (Joel Edgerton) cigar smoking bully |
"I couldn't forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy-they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made. . . ."
Chapter Nine, page ten
The final chapter in my chapter by chapter countdown is here. Gatsby officially comes out tomorrow, although plenty of us will be in our seats at the late shows tonight. My showtime is at 10:25pm; the studios are pushing those 'opening weekend numbers' back further and further.
Despite the bad reviews I'm still excited to see it for myself.
This final image is of big bad Tom Buchanan in that final chapter where Nick just washes his hands of everything. I still haven't seen my ideal Tom (although Tom Hardy just came to mind) but Edgerton does seem to capture that undercurrent of cruelness in this production photo. Tom is just the type to blow smoke in your face, and so smug with his air of entitled, arrogant ignorance.
By the way I've stopped even glancing at the reviews; I'm going and I can't wait, critics and intellectual snobbery be damned.
Go to my Gonzo for Gatsby page
Read The Great Gatsby online at no charge at publicbookshelf.com
Wednesday, 8 May 2013
movie based on the book written by Neil Gordon
The Movie in a Nutshell
A former Weather Underground activist goes on the run from a journalist who has discovered his identity.
Adapted by Lem Dobbs
Directed by Robert Redford
Starring Robert Redford, Shia LaBeouf, Stanley Tucci, Susan Sarandon, Julie Christie, Sam Elliot, Brit Marling, Ana Kendricks, Terrence Howard, Nick Nolte, Chris Cooper, Richard Jenkins and Jackie Evancho as Redford's daughter.
In 'my take on the book' post I called Neil Gordon's epistolary novel The Company You Keep, 'a superb political thriller with a wonderful soft underbelly of love, loyalty and the deepest ties of all, family.'
Robert Redford's film, which features Redford in the role of the former Underground member and Shia LaBeouf as the reporter closing in on him, got no love at all on its release here in the states; I thought it was quite good if not equally superb.
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| Redford's Mug Shot as Nick Sloane |
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| Mimi Lurie (Julie Christie) and Redford |
Susan Sarandon plays the small but pivotal part of Sharon Solarz; a woman who's been living underground as an ordinary suburban wife and mother for the past 30 years. Solarz is captured by the FBI just as she's on the brink of turning herself in. Her arrest gets the whole ball started; Grant knows the feds will figure it all out and be on his trail soon. Sarandon is fine as the woman whose teenage kids are finally old enough to deal with it; in fact almost all the performances from the star-studded cast are excellent - if anything their appearances in the film are too brief.
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| Brit Marling (Becca) Shia LaBeouf (Ben) |
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| Terrence Howard plays FBI agent in his sleep |
The rest of the cast, in their smattering of small parts, are wonderfully overqualified for their roles; each performance rings with authenticity. Except for Redford and Jackie Evancho. I was afraid that Redford, who I have loved for a very long time, would too old for the part but Dobbs wrote in a line about Grant marrying a much younger woman which made the age factor less important. Still there was something about Redford's performance that struck me as lacking. It was a question of connection. I missed it between Redford and Julie Christie and it wasn't there in Redford's scene with his young daughter Isabel; Jackie Evancho from Americas Got Talent. Instead Redford - as director - has Jackie 'act' adorably sardonic; and his father is- oh God am I really saying this -awkward; leaving the father/daughter interactions feeling forced.
Everyone else is really good though, and as I said, I did enjoy it.
Kudos to Dobbs for taking such a complex book and crafting such a good political thriller from it. The Company You Keep is in theaters now.
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