Mouse reshuffles, Leo the lion on the block, and other tales

* In the real world Obama appears to be rethinking Afghanistan; in the cable TV world Lou Dobbs is relieving CNN of his xenophobia and is threatening to go into politics while The Onion has the real scoop. Meanwhile in the movie world, Disney’s new chairman, Rich Ross, is reorganizing. It sounds as if technology will be leading the way in the new regime. Also, the structure of the organization will resemble more a television network, we’re told, than a movie studio. Once upon a time that might have worried me, but these days TV is hardly any worse than movies. I’m not sure if that’s good news about TV or bad news about movies. (A little of both?)

* The lion of Hollywood has been a bit mangy for a long time now. Peter Bart reports that MGM is about to be sold and the whole thing, 4,000 titles and all, is worth about $1.5 billion, which would be a lot of money to you and me but to a once mighty film studio sure sounds paltray. One factor, even the older titles in the library ain’t what they used to be, either. The studio’s signature titles: “The Wizard of Oz,” “Gone With the Wind,” and “Singin’ in the Rain” are now available on Warner Brother’s DVD along with a good chunk of their best known classics.  The ghosts of Culver City’s glory days are restless tonight.

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* Apparently being a movie critic these days is such an unstable, lousy position that some of the best known reviewers are jumping ship and becoming film festival programmers. Yesterday, it was Newsweek’s David Ansen. Today, it’s the L.A. Weekly/Village Voice’s Scott Foundas. Anne Thompson has the depressing news that might nevertheless be creating more opportunities for some of the better known online folks.

* The fruits of my compatriot Will Harris’s London sojourn are appearing in the form of some extremely worth-your-time interviews. First with writer/director Richard Curtis of the criticially underrated “Love, Actually” and the soon to be released “Pirate Radio.” Also roly-poly movie superstud and general all around good guy Nick Frost of “Shaun of the Dead,” etc., as well as “Pirate” newcomers Tom Sturridge and Talulah Riley gets the Harris treatment as well. Bob says collect ’em all.

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Bullz-Eye’s Pacino and De Niro on the QT

They’ve been linked since 1974 and “The Godfather: Part II.” Al Pacino, with only one major performance behind him, had become a major star with a perfectly modulated performance as reluctant Mafia prince Michael Corleone in “The Godfather.” Two years later, Robert De Niro‘s energetic work as the young Vito Corleone in the universally acclaimed sequel transformed the respected working actor into an almost instant superstar. The laws of time and space dictated that they could not appear together as father and son (this wasn’t “Back to the Future: Sicilian Style”), and so the two remained on separate tracks. Even in Michael Mann’s hugely successful 1993 action drama, “Heat,” the ballyhooed Pacino-De Niro collaboration was mostly limited to a single scene over a cup of coffee at a pricey Beverly Hills eatery. It was as if all that intensity could only be contained in a few minutes of caffeine-fueled conversation and posturing.

The release of the new cop thriller, “Righteous Kill,” promises more Bob-and-Al interaction, but there’s no reason these two acting powerhouses with Italian surnames can’t share the screen comfortably. There’s no taking away from the power of their most iconic non-“Godfather” roles: screwed-up vigilante-in-training Travis Bickle (“Taxi Driver”); hapless would-be bank robber Sonny Wortzik (“Dog Day Afternoon”); troubled boxer Jake LaMotta (“Raging Bull“); ultra-ambitious immigrant gangster Tony Montana (“Scarface“); or quick to kill wise guy Jimmy Conway (“Goodfellas“). And there’s a lot more to these two performers than barely concealed rage, well-wrought angst and occasional bouts of scenery munching.

Take a look at our list of 20 somewhat less well known performances showcasing the less obvious attributes of these two Italian-surnamed dynamos, and then come back and let us know what performances you might have added (or subtracted).

  

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