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A roundtable chat with Luke Evans and Dominic Cooper

Tamara Drewe,” the latest from the brilliantly versatile non-auteur directing genius Stephen Frears, is a relationship comedy with tragic overtones based on Posy Simmonds’ graphic novel of the same name, in turn inspired by Thomas Hardy’s 18th century novel, Far From the Madding Crowd. The film pits three not-quite-alpha males against each other for the attention of its mercurial and not always lovable title character, played by the beautiful Gemma Arterton. Two of them, fast rising up-and-comers Luke Evans and Dominic Cooper, were set to meet at L.A.’s Four Seasons with a dozen or so entertainment journalists.

It was therefore more than a little bit amusing when the two fictionally competitive actors entered wearing near identical high-end v-neck fashion undershirts and tight-fitting low-rise pants. It was an apparent complete coincidence or perhaps not so random given the popularity of this ultra-casual look among today’s mod set. In any case, Cooper compared their combined look to “a boy band.”

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Dominic Cooper made his first big splash in Alan Bennett’s Tony winning, “The History Boys,” starring in both the London and Broadway productions in 2004 and 2005. His film career, however, goes as far back as a bit part in another adaptation of a British graphic novel: the Hughes Brothers’ 2001 version of Alan Moore and Eddie Campbell’s “From Hell.” Other key parts include a memorable role as disreputable Peter Saarsgard’s business partner/buddy in “An Education” and the lovestruck movie fiance to former real-life girlfriend Amanda Seyfried in “Mamma Mia!” Notable upcoming roles include playing the part of Howard Stark (Tony’s future dad) in the largely World War II-set “Captain America: The First Avenger.” In “Tamara Drewe,” Cooper plays self-involved rock drummer Ben Sergeant of the band Swipe, with whom the gorgeous protagonist dallies for large portions of the film.

With a background in such musicals as “Avenue Q” and the “remixed” “Rent” on the London stage, Luke Evans, who plays all-around good guy and potential once-and-future Tamara Drewe paramour Andy Cobb, has found his way into a number of big budget films, including playing Apollo in “Clash of the Titans” and an upcoming role as no-less than Zeus in Tarsem Singh’s “Immortals.” He also recently completed the role of Aramis in Paul W.S. Anderson’s 3-D version of the oft-filmed “The Three Musketeers.”

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Boardwalk Empire 1.4 – “Well, I ain’t buildin’ no bookcase…”

Welcome back to Chicago! Yep, looks like my suspicion at the end of last episode was on the money: Jimmy’s first stop in Chi-Town was to get back into Al Capone’s good graces, although it’s pretty evident from Al’s idea of a prank that he’s more than a little bit of a loose cannon. Firing a gun off at that range is likely to cause permanent hearing loss, wouldn’t you think? Still, it’s true: opium is good for what ails you. Not that Jimmy’s interested in pursuing that particular line of medication. His focus is more on his new female companion and nursemaid, Pearl, and after seeing how violently Al deals with his “clients,” it was all too easy to imagine Jimmy following Pearl to California. Al reminds him that he’s got some pretty big coattails that he’s welcome to ride on, but Jimmy shrugs, tells him he’s only passing through, and then offers the kind of advice which reveals that he could have his own criminal empire if he’d just put his mind to it. The difference between their styles of business only becomes more evident during their meeting with Charlie Sheridan (not to mention when they’re getting fitted for new suits), but I can’t blame Jimmy for wanting to let Al be hoisted with his own petard: the dude asked for it with his boorish manner. I mean, I know how history ultimately turns out, but surely Al needs to learn when to be a thug and when to be a businessman. On a related note, though, as soon as Sheridan’s boy came back into the whorehouse, I knew Pearl was in trouble, but I didn’t know exactly what was going to go down. Rough stuff, that. Come to think of it, it probably couldn’t hurt Jimmy to know when to be a businessman and when to be a thug.

Nucky’s practicing to look surprised for an upcoming birthday party when the ever-gorgeous Lucy pops by to inform him that she’s going shopping…which, of course, means that she needs money. After she departs, he chats further with Eddie about the guest list for the party, talking about how he’s anticipating to pull in some funds from an upcoming road appropriations bill. The fact that he’s pointedly underlined this fact leads me to believe that things aren’t going to go quite how he’s hoping they will. Nucky seems to be the only one in his camp who cares about finding out who Chalky’s man last week, but as he loudly reminds them, “Chalky cares, so that means I cares, and you can bet your ass, come Election Day, you’re gonna care, too.” It looks like Nucky’s chances at reelection are directly tied to whether or not he pulls in the African-American vote, but you’ll notice that Nucky has no ego about his situation and makes the very important distinction that it’s not that the populace in that community are doing what he tells them, it’s that he tells Chalky, and they do what Chalky tells them. Eli’s got a good point – Chalky’s not going to want to give up what he’s got – but better safe than sorry. Nucky’s getting positively anal about making sure everything’s right for the party and is stressed out to the Nth degree, leaving Eddie trying to maintain his good-cop persona and save face, but even he seems a little nervous about how crazy Nucky’s getting. It’s clear that he won’t be calming down until things have been smoothed over in Chalky’s community.

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Mad Men 4.12 – A Certain Kind of Girl

Sorry for the delay in knocking out this week’s blog, but I spent the weekend attempting to cover the New York Comic Con, and the end result was that, upon flying home and making it into my house at about 10:30 PM, my attempts to watch and blog the show while wearing my spiffy new “Mad Men” button from NYCC – it has an illustration of Roger Sterling, along with the words, “When God closes a door, he opens a dress” – were interrupted by my complete and utter inability to stay awake.

So here we are on Monday morning, and although I’m still pretty freaking tired, I’m at least slightly better rested than I was last night.

Guess I picked the right button: it’s another episode directed by John Slattery. Things kick off with Don having an off-the-record meeting with a guy from Heinz, trying to get a feel for whether or not the company might be willing to hook up with Sterling Cooper Draper Pryce. It’s clear that he respects Don and his work (though he may just be saying that because Don’s behind his premise that beans don’t have to be funny), but they’re on different timetables. There are two people at that table, but only one of them has any real confidence that SCDP will be around in six to eight months, and, frankly, you can’t blame Heinz for wanting to make sure that they’re working with an ad agency that’s going to have some sort of staying power.

Mad Men - Don Draper with Pete Campbell

Geoffrey Atherthon lays the state of SCDP on the line, using dating metaphors to make his point, and since “tobacco is your ideal boyfriend,” he’s helped provide the firm with a meeting with Philip Morris about their new cigarette line for women. “We will listen more than we will speak,” says Bert, matter-of-factly. “Like a good girlfriend,” smirks Atherton. Immediately after the meeting, everyone begins to break into small camps: Bert and Roger discussing what sort of clients they should be pursuing, Harry and Ken mostly just trying to figure out where they stand in the firm, and Pete and Lane talking about the state of the office and Don saving the day. Meanwhile, Don and Faye are chatting as well, but it’s work-related, so the conversation ends in a handshake, a decision which clearly bemuses Don. I’m guessing it probably wasn’t a coincidence that the shot was framed in such a way that Megan appeared to be between them.

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A roundtable chat with Gemma Arterton of “Tamara Drewe”

There’s no getting around it. Gemma Arterton is extremely attractive and also striking, and even more so in person. That’s especially so if you’ve found yourself seated right next to her at a roundtable with about 11 or 12 other writers and the prior two males you’ve sat next to at that table (no names) seemed as if they might have recently rolled out of bed and thrown on a gallon of expensive aftershave/cologne. The utterly tasteful Ms. Arterton, however, was appropriately dressed and scented, though she did remove her huge and apparently uncomfortable pumps to reveal perfectly painted toenails.

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Tamara Drewe,” a romantic farce with tragic overtones that opened this week for its initial run in four theaters in L.A. and New York, stars Arterton as an autobiographical newspaper columnist whose recent plastic surgery has transformed her from large-nosed semi-ugly duckling to tiny-nosed brunette bombshell. It’s a comedy with tragic overtones drawn from the the graphic novel of the same name by cartoonist Posy Simmonds, which is itself a sort of homage to Thomas Hardy’s “Far from the Madding Crowd.” The film was directed by Stephen Frears, a director noted for tremendous versatility who confuses us critics by changing his style with just about every film. His output has ranged from from such recently enjoyable, grandma-friendly arthouse fare as “The Queen” and “Mrs. Henderson Presents,” to low down tales of crime and skullduggery like my personal favorite, 1984’s “The Hit.”

I was not blown away by much about this particular movie, however, including parts of Arterton’s performance, but that’s me. It has fared reasonably well over at Rotten Tomatoes and may well please other fans of this sort of English countryside comedy, which I usually enjoy myself. Ms. Arterton has also generated good reviews in “The Disappearance of Alice Creed,” as well as co-starring in “Clash of the Titans,” “Prince of Persia: The Sands of Time” and as Strawberry Fields in “Quantum of Solace” alongside Daniel Craig’s 007, forever tagging herself with the sobriquet “Bond girl.” Still, at 24, she has a maturity and self-possession about her that, at the very least, makes her more of a Bond woman. Or maybe it’s just that she’s tall.

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Weekend box office: “The Social Network” wins the popularity contest a second time

There weren’t a lot of big surprises this weekend. As I guessed might happen on Thursday, the rather run-of-the-mill competition from “Life As We Know It” and “Secretariat” was not enough to surpass the second week showing of the Oscar-trending drama from director David Fincher and Aaron Sorkin, one of the very few writers around that audiences might actually know.

According to Box Office Mojo’s weekend chart, “The Social Network” earned an estimate of $15.5 million. It’s also worth nothing that it’s actually in a few hundred fewer theaters than either of the new films it’s competing against. It’s healthy per screen average of $5,594 makes the fiscal victory, modest as it is, a bit sweeter. It’s week 2 drop was modest as well, just 30.9%. Those Academy Award legs may already be showing.

Speaking of the competition, the strangely premised “Life As We Know It” came in second with an estimate of over $14.6 million. Tween girls and degenerate gamblers apparently didn’t come through that much for their favorite animal, so “Secretariat,” about the Triple Crown winning horse of the early seventies, merely didn’t win or place, but it did show with an estimate of $12.6 million.

The 3D bump, and a truly idiotic publicity stunt, failed director Wes Craven’s return to the dead teenager genre. “My Soul to Take” set a new record low for 3D movies with an estimate of only a bit over $6.9 million, in fifth place behind Zack Snyder’s surprisingly leggy owl animated movie that I don’t feel like typing the name of right now.

The semi-limited release of the dramedy with indie roots, “It’s Kind of a Funny Story,” did lackluster business to match its unexciting reviews — a disappointment given the track record of directors Ryan Fleck and Anna Boden.  It generated only an estimate of $2 million and change in 742 theaters.

Among truly limited releases, the winner this week in terms of per-screen averages was Charles Ferguson’s Wall Street/fiscal collapse documentary, “Inside Job” which earned a bullish estimate of $21,000 per screen in two theaters. Shock value at one remove, however, was not enough for the remake of the ultra-controversial “video nasty,” “I Spit On Your Grave” which earned only an estimated $33,000 from 12 screens. “Tamara Drewe,” which you’ll be reading about here some more this week, did respectable business with $19,000 from four arthouse screens in L.A. and New York.

Doing strong business this week was the young John Lennon biopic, “Nowhere Boy,” and a movie I failed to mention last time. “Stone” with Edward Norton and Robert DeNiro, which premiered in six theaters. Yes, Ed Norton and Robert DeNiro’s new movie was in only six theaters this weekend.

And, finally, a quick housekeeping note. Columbus Day isn’t exactly a major holiday in Southern California, unless you work for the Post Office or a library — I don’t remember ever even getting a day off from school for it — and it’s certainly only a box office footnote in the movie business. Nevertheless, I need a breather while I catch up on other matters. So, while all the usual wackiness here at Premium Hollywood will continue from my highly esteemed colleagues, I’ll be taking a bit of a blogging break tomorrow and probably Tuesday.

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