It’s tempting at a time like this to pontificate (I just discarded a paragraph where I did just that). Honestly, though, I really don’t have a clue what happened to Corey Haim, who will forever be known as one of the stars of “The Lost Boys,” one of the “The Two Coreys” and one half of a Hollywood punchline, and why he died from what appear to be drug-related causes at 38.
All I can do is wonder what it must be like to get singled out at age 16 for a bit of praise on television by one of the nation’s two top-film critics, and then a few years later to be frequently name-checked in an insulting way by, seemingly, everyone; to get referenced in a hit song, ironically by a band that’s also in danger of becoming something of a footnote; and, of course, to find yourself trading on your own embarrassing form of celebrity. It certainly can’t make getting off drugs any easier, but then we all have problems, right? Also, I can’t lie and tell you he had the stuff to be another Montgomery Clift, though, looking at his credits, he worked more than most of us remember.
Anyhow, because it’s the thing to do, here is Corey Haim in his moment of glory.
I just woke up and realized that there’s more to life than our talented and ever controversial lantern-jawed friend. For example…
* I’ve made it clear too many times that I’m not innately hostile to remakes. But in the annals of apparent bad ideas, Robert Zemeckis using his invariably uninspiring/unconvincing style of motion-capture to remake the Beatles psychedlic animation “Yellow Submarine” is a real contender. I don’t consider the original a great film but it is what it is and remaking it with two of the original Beatles now long passed on seems bizarre to me. I truly don’t see a point here, but maybe I’m missing something.
* I’ve been remiss in not mentioning the whole mishegas going on between Redbox and Warner Brothers. If Warners doesn’t want to sell them the titles prior to 28 days after their release on home video, I’m not sure if there’s any legal justification for forcing them too, but then I’m not a lawyer. On the other hand, as Patrick Goldstein points out in the article from Monday I linked to above, business models like Redbox are going to be unavoidable as the home entertainment market becomes ever more important.
I get more DVDs than I have time to watch for free as part of my critic gig, but I honestly have never understood why anyone would purchase a DVD of a movie that isn’t a huge favorite, much less a movie they’ve never seen before. It’s not like a CD where you can pop it into your car stereo or put it on for background music while you make dinner and, of course, people are figuring out ways to not buy those as well. Seems to me that the economy is forcing people to be a little more discriminating.
* Executive Tom Sherak is the new head of the Academy of Motion Pictures Arts & Sciences (AMPAS to its friends), stepping in for the term-limited Sid Ganis. Anne Thompson has no problem with it. Stepping right into character, Nikki Finke has a huge problem with it, and so do many of her commenters, while the rest are pro-Sherak. Why is it that every time I read the comments at Ms. Finke’s, I get the feeling I’m watching the road company version of “All About Eve”?
* The guy has “movie star” written all over him — he’s a little bit Gregory Peck, a little bit Cary Grant (including Grant’s gift for comedy), with a touch of young Montgomery Clift — so especially with the widely touted ratings success of “Mad Men” on Sunday night, it’s no surprise Jon Hamm is getting movie work. The latest addition to his resume is Zack Snyder’s “Sucker Punch”. Anne Thompson prefers “The Town,” however. One thing’s for sure, if anyone ever decides to do “The James Mason Story,” he’s the guy.
Like all character actors, Karl Malden never got quite the same level of attention as costars like Marlon Brando, Vivien Leigh, Steve McQueen, Anthony Perkins, Montgomery Clift, Michael Caine, and George C. Scott. Even the seventies TV series he starred in, “The Streets of San Francisco” found him being overshadowed in the eyes of the teenybopper set by his young punk of a male ingenue costar, Michael Douglas. That was largely because Malden was the kind of performer who understood that acting is a team sport. His best scenes were like great duets with near perfect communication between him and his scene partners. The exception were American Express travelers’ checks; those, he wiped off the screen.
Karl Malden died today at age 97, having been more or less fully retired since appearing in a 2000 episode of “The West Wing.” While he was never precisely an A-lister, he was a go-to actor for secondary leads, president of the Motion Picture Academy, and as far as I can tell a universally respected figure among actors and everyone else associated with the movie industry. He was also married to the same woman for seventy years, a rare enough Holllywood achievement to merit it’s own special Oscar. Not a bad life.
Below the fold is a video tribute I found that, from the misspellings, I gather may come from Serbia. (Malden, whose real name was Mladen Sekulovich, was the son of a Serbian father and a Czechoslovak mother.) The image quality could be better and some of the clips are a little too brief, but it does give you an excellent overview of his truly diverse film career, which included work with some of the greatest Hollywood directors including Elia Kazan, John Frankenheimer, and Alfred Hitchcock. It also includes some interesting moments from two oddball spy films, “Murderer’s Row,” which I haven’t seen, and the underrated “Billion Dollar Brain,” which included some pretty amazing scenes between Malden and Michael Caine as his old spy buddy, Harry Palmer, as well as Françoise Dorléac as his treacherous spy girlfriend (though he’s pretty tricky himself).