Tag: Jack Nicholson (Page 2 of 3)

Tuesday night trailer: Halle Berry goes full dissociative in “Frankie and Alice”

Members of the headshrinking community can’t even agree whether dissociative identity disorder, aka multiple personality, even exists, but it sure makes for award-winning drama. It got Joanne Woodward, with a little help from shrink Lee J. Cobb, an Oscar in Nunnally Johnson’s 1958 “The Three Faces of Eve.” It helped Sally Field, costarring with Ms. Woodward as Dr. Cornelia Wilbur, shed her “Flying Nun”/”Gidget” past with a nice shiny Emmy for 1976’s “Sybil.”

Now Halle Berry, or at least her producers, are apparently hoping for a bit more of that award-winning subject matter. This time there’s a racial twist and Stellan Skarsgard is probably just the right guy to step into the weighty shoes of the Woodward/Cobb role. Phylicia Rashad costars as Berry’s mom who, if “Frankie and Alice” runs true to form, will come in for most of the blame.

I might sound like I’m making snarky light of this as obvious Oscar bait. In a way I am, but I’m also entirely open to the possibility that, like “The Three Faces of Eve” and “Sybil” before it, “Frankie and Alice” will turn out to be a provocative, terrifically compelling drama with a first rate, if inevitably showy, lead performance. There are worse sub-sub-genres and the issue of ethnic identity and subtle self-hate is certainly not going away any time soon.

One interesting side note. Looking at the IMDb listing for this film, part of the original story credit — presumably the factual basis of the film — goes to the late Southern California-based psychologist Oscar Janiger. Janiger is best known noted for us his experimental use of LSD as a therapeutic tool during the late fifties and early sixties, with his most famous clients being Cary Grant and, a little less surprisingly, Jack Nicholson.

H/t /Film.

A chat with Gale Anne Hurd, producer of “The Walking Dead”

Gale Anne Hurd, producer of There aren’t many producers around these days whose name can help sell a movie or TV show, but Gale Anne Hurd is the rare exception. Probably best known as one of the co-creators of “The Terminator” franchise, Hurd has been an important player in numerous mega- or merely major productions, including both “Hulk” and “The Incredible Hulk,” “The Abyss,” “Armageddon,” “The Punisher,” and the underrated 1999 comedy “Dick,” which starred Dan Hedaya as Richard Milhous Nixon and a young Kirsten Dunst and Michelle Williams as a couple of teenagers who wind up bringing down a presidency.

Clearly one of the more hands-on producers around, Hurd is pleasant and businesslike when talking to a member of the show-biz press, but clearly has the gumption to deal with the biggest and most difficult of personalities, which is how I segue into the obligatory mention of the fact that she spent the part of the late eighties and early nineties being married to first James Cameron and then Brian De Palma. Moreover, she began her career working for one the most fascinating and effective producers in the history of the medium, Roger Corman, but more of that in the interview.

Still, nothing she’s done is quite like her current project, the zombie horror drama and comic book adaptation, “The Walking Dead.” The AMC television series, adapted from a series of acclaimed comics by Robert Kirkman primarily by writer-director Frank Darabont (“The Shawshank Redemption,” “The Green Mile,” “The Mist”) is currently receiving maximum exposure on the web. The publicity train was only just getting started when I spoke to Ms. Hurd at a mammoth new San Diego hotel adjacent to the Comic-Con festivities last summer.

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I had typed my questions on my laptop, which I was afraid might be a little off-putting. So, after a quick greeting, I tried to explain why.

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Trailer for a Sunday afternoon: “How Do You Know”

Even James L. Brooks’ most successful movies as a writer-director — “Terms of Endearment” comes to mind — have often had a tendency to be mawkish and a little too overtly manipulative for their own good. On the other hand, there’s absolutely no doubt that the man can write. He’s penned some of the sharpest and most memorable, witty, and just plain funny dialogue of anyone in post classic-era Hollywood.

So, why did he fail to put a question mark in the title of “How Do You Know”? I guess the logic is that periods are routinely left out of titles that are complete declarative sentences like, I don’t know, “Bring Me the Head of Alfred Garcia” or that titles which do contain question marks, like “Who is Harry Kellerman and Why Is He Saying Those Terrible Things About Me?,” have often been attached to box office failures. I don’t care; I’m missing the question mark. Anyhow, take a look.

I don’t know about you, but I think this is an absolutely first-rate trailer¬† in that it held my attention beautifully and I laughed very loudly at least three times. No question about it (yuk, yuk, yuk), “How Do You Know” looks like the kind of movie that may briefly bring back what was once a relatively frequent Hollywood stand-by: the sharply written, (I hope) not too sentimental, screwball romantic comedy that appeals to people of all ages and genders, though an IQ might help.

Considering the December release date, it’s looking like Columbia is hoping for some Oscar love. It’s been sixty years since a brainy and heartfelt rom-com like “The Philadelphia Story” could be a serious Oscar player. However, we know the Academy loves Mr. Brooks so, Reese Witherspoon, Paul Rudd, Owen Wilson and maybe even Jack Nicholson have a much better chance at Oscar nominations this year than, say, the cast of “Machete.”

R/t Anne Thompson.

Red Carpet Chatter: Mike Nichols Gets His AFI Lifetime Achievement Award

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Born in 1931 in what was very soon to become Hitler’s Germany, young Michael Peschkowsky was living in Manhattan by 1939. It was great luck both for the future Mike Nichols and for the country that accepted him.

Nichols is, of course, one of the most respected directors in Hollywood, and for good reason. He’s the original, craftsmanlike, and emotionally astute directorial voice responsible for such sixties and seventies classics as “Who’s Afraid of Virginia Woolf?,”¬† “Carnal Knowledge” and, of course, “The Graduate” (the source of his only directorial Oscar so far) as well as such eighties, nineties, and oughts successes as “Silkwood,” “Working Girl,” “The Birdcage,” and “Closer.” Even if some of the later films are not on the same level of quality as his earlier films — and several, especially his 1988 box office hit, “Working Girl,” stray into mediocrity — it’s still one of the most impressive and diverse careers of any living director in Hollywood.

That’s just on the big screen. On television, Nichols has rebounded in the eyes of many critics, directing two of the most acclaimed television productions of the last decade, 2001’s “Wit” with Emma Thompson, and the outstanding 2005 miniseries adaptation of Tony Kushner’s brilliant and mammoth epic play, “Angels in America.” With his 80th birthday just a year and a half away, he’s still working hard with two thrillers movies planned, including an I’ll-believe-it-when-I-see-it remake of Akira Kurosawa’s “High and Low” currently being rewritten by the decidedly counter-intuitive choice of Chris Rock.

Before he directed his first foot of film, Mike Nichols was a noted theater director. That in itself is not so unusual a root for directors to travel. What is different is that, before he was a noted theater director, he was half of one of the most influential comedy teams in show business history, Nichols and May. (His comedy partner, Elaine May, went on to become an important, if less commercially successful, writer and director in her own right.)

Still, from the moment he directed his first major play, Neil Simon’s “Barefoot in the Park,” Nichols mostly abandoned performing. Today, his highly regarded early work is mostly known only to fairly hardcore comedy aficionados.

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Can you dig it?

From “Head” (1968) starring the Monkees, directed by Bob Rafealson and co-written by Jack Nicholson. It’s not exactly your usual rock and roll movie, but it’s not without some fun. If you live in L.A. and aren’t a college football fan (go Bruins), you can see it tomorrow night in a spanking new print with “A Hard Day’s Night.”

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