Category: Actresses (Page 86 of 258)

Sherlock Holmes’ most terrifying assignment

We’re in the mid-Holiday lull here and I’d rather not bore you me with rehashing the weekend box office or endless lists and Oscar speculation…though here’s a cool compilation of various awards guru’s thoughts, via Anne Thompson who happens to be one of them, for those who can’t get enough of that.

Instead, in recognition of the success of “Sherlock Holmes” over the weekend, I’m going to bore entertain you with a scene from what I think has to be the best of the near sub-genre of off-beat, “non-canonical” Holmes films, Billy Wilder’s 1970 “The Private Life of Sherlock Holmes.” Below, Robert Stephens as Holmes meets with a genius obsessed Russian ballerina and her manager, who is helping her with a highly personal matter. Can Holmes be of assistance?

Fun fact: that’s real life Russian expat ballerina Tamara Vladimirovna Tumanova playing the dancer, she really was 49 years old in this scene and was married to the great screenwriter Casey Robinson.

So, is Holmes telling the truth re, Tchaikovsky not being an isolated case? About him and Watson — not a chance, not in a mainstream movie in 1970, anyway. But what about himself? Well, for that you’re going to have to watch the whole flick, which is really quite a wonder. Both a darned good Billy Wilder comedy and a great, if episodic, Sherlock Holmes mystery drama.

The reason it remains obscure is that while Stephens is a very good Holmes and Colin Blakely is an entirely solid Watson, they weren’t exactly huge on that indefinable whatsis that makes for star power. If Wilder had gotten his original choices, Peter O’Toole as Holmes and Peter Sellers as Watson, you likely would have heard of this film by now, I think.

Come to think of it, Robert Downey, Jr. and Jude Law might have worked quite well here also. How sad no one every thinks to reshoot great screenplays since remakes nearly always use entirely new screenplays. In this case, the studio demanded a shorter version of Wilder and I.A.L. Diamond’s original script, forcing Wilder to thoroughly re-edit the film, so it would also be a kind of restoration.

Advice for directors of new musicals in a wicked little town

So, earlier tonight I went off on a bit of rant inspired by a really strange sounding remark made by show-biz reporter-pundit Nikki Finke to the effect that she thinks “Nine” failed at the box office not because it’s a fairly poorly received film with a vague premise, but because it wasn’t gay friendly enough. No need to repeat my snark-laden commentary, but I thought I’d present the piece below as a bit of food for movie thought.

I debated whether or not to include this sequence in my recent look at musical films of the 2000s, but opted to include another scene from John Cameron Mitchell’s amazing “Hedwig and the Angry Inch,” easily my choice for one of the two or three best musicals made over the last decade or so. Now it seems apt.

Given the storyline, this movie — and this scene — certainly does not lack for the LGBT awarness Finke seems to demand of a modern musical. However, the reason I’m including it here is that, despite my personal opinion that Kate Hudson is way cuter than anyone you’re about to look at (sorry, Kwahng-Yi, et al), I think Mitchell’s approach to filming a musical sequence is pretty vastly superior to Marshall’s — though they are both disciples of Bob Fosse.

Sometimes all you need to do is to keep things simple. So far, I’ve never seen Marshall try that approach. Maybe he’ll give it a shot sometime.

“Avatar” tops a weekend of holiday box office bounty

If you’ve been following the horse-race over at Nikki Finke’s place, you’ll know it’s been a very long holiday weekend of box office ups and down. However, for those of us who can wait a day or two for the results, it’s actually somewhat simple.

Avatar movie image (3)

James Cameron‘s super-expensive 3-D extravaganza for Fox, “Avatar,” emerged as the victor of a three-way battle for the top prize with an outstanding second-weekend estimated take of $75 million and an absolutely minuscule drop from it’s first weekend of 2.6%, according to Box-Office Mojo. The Hollywood conventional wisdom has it that most science fiction films drop by at least 50% on their second weekend. Clearly, this is not most science fiction films and the fact that people are waiting to see this one in 3D and paying extra for the privilege is not hurting. So, as I’ve alluded to often enough, the word of mouth on this thing is something else. However, as always, I await the backlash as some folks plunk down their extra-heavy 3D ticket price and fail to have a religious experience.

Robert Downey Jr. and Jude Law as Holmes and Watson, or some version thereofSecond place, of course, was Guy Ritchie’s unorthodox action-comedy take on probably the oldest genre franchise in the biz, “Sherlock Holmes.” The Robert Downey, Jr./Jude Law team-up loosely drawn from the late 19th/early 20th century works of Arthur Conan Doyle defeated “Avatar” and all-comers on its record setting Christmas opening. It then fell a bit and earned a still whopping estimated $65.38 for Warner Brothers, a company that certainly has some experience with franchises. Better yet, this one is in the public domain, which means fewer folks get a share in the wealth.

Fox’s “Alvin and the Chipmunks: The Squeakquel” actually beat “Avatar” by a couple of million on its early opening day last Wednesday, but fell sharply on Christmas Eve and rebounded the rest of the weekend, for a very healthy estimated third place showing of $50.2 million. Critics may detest it; parents may barely tolerate it, but, to paraphrase the old blues song, the little kids understand (or don’t know any better). The film’s total estimated take starting from its early opening is just a tad over $77 million.

Considering it’s a Golden Globe-nominated sex comedy presumably aimed at a very grown-up audience — not only because of the average age of its stars but also because it’s R-rated, Universal’s “It’s Complicated” has generated the critical equivalent of a shrug, with our own David Medsker coming down on the very much negative side. That doesn’t bode extremely well for this sort of movie, which can use all the critical and awards help it can get.

Meryl Streep and Alec Baldwin in Still, this weekend’s rising tide managed to lift this boat to the tune of an estimated $22 million or so, which is really not bad for this kind of film. Or, it wouldn’t be because Nikki Finke claims the budget was $80 million, which is way high for this kind of movieĀ  and suggests to me that it’s possible stars Meryl Streep, Alec Baldwin, and Steve Martin let their agents negotiate extra-hard for a big pay-day because they were perhaps less than wowed by the film artistically. Universal just doesn’t seem to be cutting itself any breaks lately.

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“Have Yourself a Merry Little Christmas”

Since it’s a nostalgic bittersweet, family-oriented musical comedy set in the turn of the century midwest starring Judy Garland, some of you might assume that “Meet Me in St. Louis” is kind of a drippy, saccharine movie. Trust me, it’s sweet but anything but drippy and established Vincente Minelli as one of the greatest of Hollywood directors. If your cable system has TCM, you can see for yourself; it’s showing at 10:00 pst/1:00 a.m. est tonight.

In the meantime, here’s big sister Judy Garland trying to console Margaret O’Brien with one of the loveliest pop Christmas songs ever written. This always gets to me.

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