It’s rare to hear a director be honest and point out a flaw in another director’s work. But Quentin Tarantino isn’t your average director.
Here’s a clip of Tarantino discussing “Bookie Nights,” a film he says he loves, directed by his friend Paul Thomas Anderson.
Tarantino discusses the Burt Reynold’s character, the obvious inspiration for his character and a line from the movie. What Tarantino says makes a lot of sense, and it’s a fair criticism of one small part of an otherwise great movie. And it’s refreshing to hear him be honest about it.
Archana Ram at EW informs us that the latest bestseller to be the subject of a big-time Hollywood movie adapatation is the instructional tome, What to Expect When You’re Expecting that will become a sort of “Pregnancy, Actually” multi-story/multi-star film.
This two-disc set is basically the agony and the ecstasy from the collected works of film critic/scholar turned boy wonder writer-director-actor Peter Bogdanovich. Placed in reverse chronological and quality order, Disc One is 1975’s agonizing “Nickelodeon,” one of a series of box office and/or critical failures that ended the young director’s early career hot streak. A forced slapstick comedy drawn very loosely from the silent era reminiscences of Hollywood greats Leo McCarey, Raoul Walsh and Allan Dwan, it’s a good-natured but entirely unfocused bore despite the strong efforts of an all-star cast led by Burt Reynolds and Ryan O’Neal, and featuring Tatum O’Neal (“Paper Moon”) and John Ritter (“Three’s Company”), among many others. The disc includes both a brand new black and white director’s cut alongside the original color theatrical version, but it will take more than the majesty of monochrome to save this one. Bogdanovich’s DVD commentary provides better movie history and better entertainment.
“The Last Picture Show” is, of course, something completely different. On his second feature, Bogdanovich blew the 1971’s cinema world’s collective mind and drew comparisons to his friend and mentor, Orson Welles, with this crisply wrought black and white adaptation of an early Larry McMurtry novel. Nominated for eight Academy Awards, it details the late teen years of two high school football players (Timothy Bottoms and Jeff Bridges) and a manipulative beauty (Cybill Shepherd) following in the footsteps of her unfaithful mother (Ellen Burstyn) in a rapidly dying Texas town. A minor cause celebre at the time because of its nudity and blunt sexuality, its glory is its acute visual storytelling and Robert Surtees’ masterful photography, a biting and heartbreaking script, and a large number of genuinely tremendous supporting performances. In particular, Cloris Leachman as a deeply lonely housewife who falls for a high school boy and Western mainstay Ben Johnson (“The Wild Bunch,” “Wagon Master”) as the charismatic walking embodiment of the town, Sam the Lion, won entirely deserved supporting acting awards. A sardonic yet humanistic exploration of fractured relationships and poor choices, it remains a riveting and moving work of cutting edge movie-making from a true cinematic reactionary.