Tag: Billy Wilder (Page 2 of 3)

Wise words on the occasion of “Sunset Boulevard” turning 60

It’s the 60th anniversary of the release day of the most admired film ever made about Hollywood and the movie business and very possibly the best, Billy Wilder’s “Sunset Boulevard.” If you haven’t seen it, today wouldn’t be a bad day to do so. If you don’t have time, A.O. Scott has a pretty good quick rundown for you.

One observation about how our attitude towards aging has changed since 1950 due to culture and medical science: Norma Desmond was only 50. Meryl Streep is 61 and Helen Mirren is 65. I’m not saying we no longer have a problem with aging, just that it seems possible for some people to do it extremely well and women may at last starting to be catching up to men in being able to play the “ageless” game. Not that Desmondism was rampant in 1950 more than today, though I can’t think of any female stars of the era who were still playing leads in their sixties. Norma’s career problem wasn’t so much physical aging or even being seriously delusional, but that she had been too much associated with a moribund genre and a specific by-gone era. Sort of like David Crosby.

If you have seen the whole movie, then you should check out Edward Copeland’s enjoyable and thoughtful appreciation of one of his favorite films. Also, I thought it would be nice to hear just a couple of notes for directors by the movie’s director and cowriter, Billy Wilder, himself from back in 1976. First on the one thing a director must know how to do.

After the flip, Mr. Wilder addresses a subject highly relevant to his more atmospheric pictures like “Sunset Boulevard” and, almost as much, “Double Indemnity.”

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Hurried and harried midweek movie news

I’m blogging tonight from the Gower Gulch Starbucks, right in the heart of deepest darkest Hollywood, and as I said in the post right below this, seriously pressed for time tonight. A bunch of work still to be done ,a studio screening, plus a bunch of other stuff that won’t interest you. Also, there’s a guy behind me conducting an impromptu revival service for an audience of none, which is a little distracting.

So, that Comic-Con thumb-sucker will just have to wait as I present only a few selected items of movie news to nourish your spirits.

* Speaking of Comic-Con, in terms of innovation, influence, and ability to tell a simple story very well, Will Eisner was pretty much the D.W. Griffith, John Ford, and Billy Wilder of comic books all rolled into one, but few people who aren’t serious comics fans even know his name. 2008’s despicable “The Spirit” most certainly did not help with his memory or in terms of encouraging a younger generation to check out his work. (I’m glad the movie did horribly because if kids had liked the hyperviolent and mean-spirited film, they would have had no time for the humanistic original.).

Now, via /Film’s Russ Fischer, we hear that an appropriately low budget/indie film version of Eisner’s groundbreaking non-genre comic, “A Contract with God,” is in the works. Among other points of interest, it was the book that caused Eisner to come up with the term “graphic novel” when he was led to believe the publisher wouldn’t want to be involved with a mere “comic book.” Ironically enough, it’s actually a collection of related short stories and the term “graphic novel” actually may predate the incident, so Fischer isn’t  wrong when he says it’s not the first graphic novel. I truly hope this turns out well and makes everyone forget that other movie. It was nice that this was announced at the awards named for Eisner, who died in 2005, at Comic-Con.

eisner

* In the here-we-go-again file, it looks like Terry Gilliam’s “The Man Who Killed Don Quixote” is being delayed for the millionth time, says the Playlist. And check out that graphic making Gilliam look a bit like a certain Mr. Orson Welles, who also struggled for years to make his vision of Cervantes’ classic delusional non-knight-errant.

* Another Deadline story: Kudos to writer Phil Johnston and Zack Galifianakis for taking on the deadly scourge that is the “Reply All” button. The children must be warned.

* The Jack Sparrow comparison will come easily to many with news of Russell Brand’s possible swashbuckling debut, but any excuse for swordfighting comedies that might actually be good works for me. (Actually, the character as described reminds me more than a bit of George MacDonald Fraser’s “Royal Flash,” portrayed by a young Malcolm McDowell. Never read the book(s) or saw the movie, but since it was directed by the great Richard Lester, I really need to.)

Well, maybe this will tide you over, Tolkien-adaptation wise. No, probably not.

I was really hoping to have time for a decent Friday night/end of week movie news dump, but the truth of the matter is that I’ve no time to do one of my usual semi-comprehensive end of week looks at movie news tonight. Fortunately, outside of continuing discussions of how the receipts of “Kick-Ass” will turn out over the weekend, not a huge amount that’s too earth shattering is going on.

However, I do have time for one item that will definitely put a mild damper on the days of hobbit-heads of all shapes and sizes, and aren’t almost all of us at least slightly hobbit-headed. We have word — really more in the nature of a reminder — from none other than producer Peter Jackson that the all-but promised twin film adaptations of J.R.R. Tolkien‘s unintended prelude to The Lord of the Rings books, The Hobbit, to be directed by Guillermo del Toro aren’t exactly a 100% completely done deal yet, though I’d be beyond shocked if they somehow didn’t happen considering the talent involved and the success of the earlier films.

Nevertheless, the films have not been greenlit and, therefore, no start date has been set. For the same reason, no actual casting has been done. Oh, and by the way, the script was only finished last week. (Well, some movies don’t have a script when shooting starts. Some good ones, too — but not too many that weren’t made by Billy Wilder and none that requires this level of technical preparation.)

Of course, considering everything, doing the films should be a slam dunk but, as previously mentioned in many places the ongoing disaster and ensuing sale of MGM has simply gotten in the way. The Playlist has the details and the, er, gentle reminders to be cool, though most of the actual news is contained in this brief interview with Moviefone.

In the meantime, well, any excuse to run this great musical moment from “Flight of the Chonchords.” How often can you summarize over 10 hours worth of movie in under two minutes, and with such a good collection of beats?

Movie loving movie moments, Pt. 1

For numerous reasons, I haven’t had time to give certain movie news items their due this week, like the inevitable lawsuit that accompanies any unexpectedly successful film and countless items about who’s going to be in which movie (maybe), or how every single movie will be in 3-D or whatever.

But here’s the thing, I’ve been through a lot this past month or so (though things seem to be resolving themselves nicely, thank you), the Oscars are coming and for numerous reasons, I’m behind on my movie going and badly in need of a shot or two or three of movie love.

I may acknowledge the results of the very important Independent Spirit Awards tomorrow morning — a bit begrudgingly since Film Independent teased me by sending me an application and then rejecting me as not quite important enough to attend. However, as far as my other daily blog posts are otherwise concerned for the next two days as I prepare for the closest thing this non-sports-fan has to a superbowl, they are going to be little shots of film love. Nothing but clips that will remind me why I love movies and maybe draw you in a bit too.

So, why do I love movies, well, for starters there’s violence.

And where there’s violence, there must also be a little sex.

More to come.

Golden Globe movie wrap-up: It’s an “Avatar,” “The Hangover” kind of a crazy, mixed-up night

First of all, I would like to thank my DVR for allowing me to watch a three hour telecast in less than 115 minutes. Also, Will Harris, you crazy Golden Globes Premium Hollywood TV live blogger, put down the Maker’s Mark and go to bed!

But, before I get carried away with paraphrasing Sandra Bullock‘s Best Actress in a Drama acceptance speech tonight, first of all let me make clear that I’m not going to attempt to one-up Mr. Harris’s live-blog extravaganza. No, I’ll simply start by linking to a complete list of tonight’s results and some (I’m thinking relatively brief) thoughts on the cinematic goings on tonight.

Okay, so here’s that link to the results courtesy of /Film and now on to the bloggy/thinky portion of tonight’s festivities.

Big deals: Clearly, the film headlines tonight are the awards that went to James Cameron’s ultimate-big-deal of a movie called “Avatar” and this year’s ultimate mega-successful modestly budget comedy, “The Hangover“. It’s the kind of comedy that never gets nominated for, much less wins, awards no matter how well constructed, and this was one incredibly well-constructed comedy. I’m delighted to see it get this kind of recognition. I truly couldn’t imagine a better movie with that premise and its success shows that you can make a male-oriented farce that respects its viewers’ intelligence and better natures. As for “Avatar,” does anyone even care what I think? It is what it is. Ask me again in a couple of months.

Biggest non-surprises of the night: The supporting actor twosome Mo’Nique from “Precious” and Christoph Waltz from “Inglourious Basterds” won, yet again, and seem about as big a lock for Oscars as you ever get. Both are sure getting a lot of practice at the art of acceptance speeches. Mo’Nique’s speech was both king of moving and way over-the-top in that actory way some folks (like Drew Barrymore, who praised it one of her typically overwhelmed acceptance speeches) just eat up with a fork. Waltz, who really does seem to be a pretty humble guy, was a bit more low key with a nice riff on the international nature of the Hollywood Foreign Press’s awards. I think we’ve got a buddy-cop movie, possibly directed by Michael Bay, with Waltz and Mo’Nique in our collective futures. “Bad Goys”?

Jeff Bridges Best Actor award is starting to edge into the same kind of category and he’s starting to look like a gigantic Oscar shoe-in. It’s as if everyone suddenly remembered how great he’s been in countless movies all at the same time. “You’re really screwing up my under appreciated status here,” he said. As well they should.

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