Month: January 2010 (Page 13 of 25)

Musical biopics with a difference. Maybe. Part 2

Together with the UK’s “Sex and Drugs and Rock and Roll” about Ian Dury, comes a film from the other side of the channel about the genuinely ahead-of-his-time pop maestro Serge Gainsbourg — together with Jacques Brel and Edith Piaf one of the very few French musicians to influence American and British performers. Best known outside France for a scandalous bit of pre-Prince porn-pop called “Je t’aime… moi non plus,” Gainsbourg was easily one of the most distinctive musical minds of an era full of distinctive musical minds, the late sixties and early seventies.

Here’s the trailer. Two provisos: To get the English subtitles, you might have to click the “CC” box in the lower right hand corner. Also, it’s a bit NSFW in a distinctly French way. In other words, for God’s sake don’t look at this if the sight of tastefully unclothed European beauties upsets you.

And, as a bonus, here’s a video for my favorite Gainsbourg piece influenced, naturally, by a great American movie featuring none other than his most famed collaborator and a legitimate one-time superstar, Ms. Brigitte Bardot.

Musical biopics with a difference. Maybe. Part 1

Talking with Terry Gross on NPR’s “Fresh Air” while promoting the very funny musical biopic spoof, “Walk Hard,”  star John C. Reilly made a telling observation. He noted that such figures as Ray Charles, Buddy Holly, Jim Morrison, and Johnny Cash were all very different people with very different lives, but the movies about them tended to be all kind of the same. This month in Europe, that proposition is being tested by two very interesting looking films about two extremely unusual musicians who were so unusual I never particularly expected to see a movie about either of them. Hopefully, both will make it stateside in due time.

The first movie is “Sex and Drugs and Rock and Roll,” about Ian Dury. Dury, with his crack back-up band, the Blockheads, was a figure in my personal favorite wing of the punk/new wave era of the late seventies that was embodied by his label, Stiff Records. He fashioned a surprisingly effective and popular combination of English music hall, “blue” humor, and Parliament/James Brown style funk and early hip-hip. Partially disabled by polio, he had the requisite difficult life and, physically and in every other way, he was born to be played by outstanding Peter Jackson stand-by Andy Serkis, for once free of make-up efx or motion-capture.

Olivia Williams (“Dollhouse,” “Rushmore”) seems to be everywhere all of a sudden, and I’m completely okay with that. And, as Dury’s son, that’s young Bill Milner from “Son of Rambow.” I do have to say the real-life Dury was slightly better at carrying a tune. Still, looks good and the reviews so far are promising.

Next: an arguably even more dysfunctional, but even more talented, French musical madmen gets his biopic.

TCA: Life Unexpected

When The CW held a preliminary panel during the summer 2009 TCA tour for its yet-to-be-scheduled series, “Life UneXpected” (the “X” has since been de-capitalized), one of the critics posed this question to the show’s creator, Liz Tigelaar:

“Is there any concern that you may have made this pilot for a network than doesn’t exactly exist? Because this is sort of a warm, fuzzy, family, everybody-together pilot, and if you look at The CW’s shows for the Fall, they’re less that.”

It’s true: when compared to shows like “Melrose Place” and the late, apparently-not-all-that-great “The Beautiful Life,” “Life Unexpected” stands out in a big way simply by offering some semblance of a proper family dynamic. It’s the story of 15-year-old Lux (Britt Robertson), who, after spending her life bouncing from one foster family to another, has decided it’s time to become an emancipated minor. Her journey through the legal maze leads Lux to her biological parents, Nate “Baze” Bazile (Kristoffer Polaha) and Cate Cassidy (Shiri Appleby). When a judge unexpectedly grants temporary joint custody to Baze and Cate, they agree to make a belated attempt to give Lux the family she deserves. A series on The CW that not only doesn’t immediately make parents flip out at the effect it might have on their children…? Talk about unconventional.

When The CW held the panel for “Life Unexpected” during the winter 2010 TCA tour, things once again kicked off with a question for Ms. Tigelaar, but it was a bit of a left-field query this time around…or, at least, it was to me, as I’d ever heard the rumor that her birth mother was Nancy Reagan. She’s not, as it turns out, and the question was a bit tongue-in-cheek to begin with, but the story of its origins was certainly a funny one.

“I’m adopted,” she explained, “and there’s a big kind of fantasy element of the show of being an adopted kid: you imagine who your birth mom, especially, might be. When I was little, I didn’t know that much, but I knew I was born in D.C., so I was always, like, ‘I think Nancy Reagan’s my birth mom, and this really sucks. I should be living in the White House, and I should have a $100-a-month allowance.’ It started when I was little and, weirdly, it lasted for a long time, until finally, when I was eight, my mom was, like, ‘You’re an idiot. You’re not doing basic math. There’s no way that Nancy Reagan could be your birth mom.’ But the idea of it was definitely what I brought into the series, which is, again, that fantasy of who your parents might be. I think when you have no idea and you really have nothing to go on, you really create something in your head, so this story is very much a story of Lux having this fantasy and in some ways it really coming true: her mom is this super successful, glamorous radio DJ, and her dad is this pretty cool guy who owns a bar and lives with friends and lives in a sweet loft. The idea is that just because people are kind of cool fantasy people doesn’t actually make them fantasy parents.”

On the flip side of the coin, however, “Life Unexpected” also explore how different things are today for individuals in their thirties than they were when, say, “thirtysomething” was on.

“In our parents’ generation, maybe thirtysomething means maybe 401(k) plans and mortgages and suburbs and dogs,” Tigelaar said. “And for me – and maybe some other people – thirtysomething can mean a person who really has prioritized their professional life over relationships or whatever. Or a guy who still lives like a frat guy and lives with his buddies and plays video games and drinks Coors Light. So what happens when you make it a coming-of-age story, instead of the one person who is the age of a person that would need to grow up, the grownups are the people that need to come of age, and Lux is the catalyst for them to do that. I think that was the impetus of the idea.”

The thing that I love about the show so much – and the CW has been so great and really believing in these characters – is that all these characters get to be flawed, damaged, real people who grapple and struggle, and things aren’t easy and they don’t do things right,” she explained. “They often do the right things for the wrong reasons and the wrong things for the right reasons…and it’s kind of fun to live in that world every day.”

Friday movie news dump: Critic’s Choice Awards; Hollywood helping Haiti (updated)

I’m getting off to a late start tonight, so let’s get on with it.

* Via Roger Ebert’s tweet, we have the news on the Critic’s Choice awards, which are voted on by broadcast and some internet critics. “The Hurt Locker” won best picture, and best director for Kathryn Bigelow. “Inglourious Basterds” also had an extremely good night, as did Jeff Bridges. There was a tie for best actress between Sandra Bullock and Meryl Streep. Good ol’ Nathaniel R. liveblogged the proceedings.

Christoph Waltz in And, if I was a betting man (and I sorta kinda am), I’d be tempted to head up to Vegas and bet the farm on basterd Christoph Waltz and Mo’Nique of “Precious” for the supporting role categories at the Oscars.

UPDATE: I failed to note  earlier that “Avatar” managed a near clean-sweep of the more production/technical oriented awards, though the Best Make-Up award went to “District 9.”

* In light of what’s been going in Haiti, I’ve been feeling a bit guilty on not mentioning it and focusing on what is, after all, a business that is all about diversion and distraction. So, I’m glad to be able to make tonight’s longest item a mention of the massive fundraising telethon George Clooney is organizing and cohosting, along with Wyclef Jean and Anderson Cooper, on January 22nd. Nikki Finke is also reporting that Not On Our Watch, an “international advocacy and grantmaking organization” founded by Clooney and friends Matt Damon, Don Cheadle, Brad Pitt, and others has donated $1 million to emergency medical care. The super-cool Anne Thompson has some more details and links to places where you can give, and also has some additional news on good works done by show biz folks.

It’s also nice to report that the interwebs have been doing a fabulous job of fundraising but, of course, this is a really massive disaster and more will be needed for a nation that has already been long on the ropes. On the political net, DailyKos diarists are posting new rundowns of places to help each day. The Huffington Post and Rachel Maddow‘s sites have an excellent rundown of organizations that need your help. If those links are a bit too latte-sipping Blue State for your tastes, conservative blogger the Anchoress has also posted a list of many of the same organizations. I’d also like to put in a plug for the excellent Oxfam America which is already on the the ground in Haiti and has been especially active in terms of providing water and sanitation, which is going to be absolutely vital. Please click on any of these links and, especially if you can afford to an haven’t already given something, do what you can.

* The bidding, or whatever it is, on MGM is underway.

* I should probably have mentioned yesterday how Nikkie Finke’s “Toldja!” yesterday was that Disney has a new production chief with a quite interesting creative background that includes the upcoming “Tron: Legacy” and Project Greenlight. Following up on yesterday’s news, Finke points out an apparent irony.

* The extremely smart Jonah Hill to turn producer for…”21 Jump Street” with the directors of “Cloudy with a Chance of Meatballs“? Sure, why not?

jonah-hill-transformers-2

Know your ghost writers

Via EW’s Mandi Bierley, we have a French trailer (that’s why the subtitles and that errant F-word) for the upcoming film from a director you may have heard of named Roman Polanski. And, yes, it’s possible to think Polanski fully deserves more jail time and to pay to see a movie directed by him in totally good conscience. It’s also possible to buy a record produced by Phil Spector without remorse, and I hope we can all agree that what he did was actually a lot worse. Anyhow, here is the trailer for “The Ghost Writer.”

And, just to make life a bit confusing and interesting, it turns out that there’s also a recently released apparently more or less direct-to-video film called “Ghost Writer,” a solo-feature directorial debut from the always entertaining actor Alan Cumming, who also co-directed a movie called “The Anniversary Party” I quite liked back in 2001. Under a different title, “Ghost Writer” seems to have divided the very few critics who’ve seen it, but it definitely does not look dull. Both movies have very interesting casts.

« Older posts Newer posts »

© 2024 Premium Hollywood

Theme by Anders NorenUp ↑