Frank Perry’s Ladybug Ladybug feels dated in many ways, and not just because it is in black & white; it is a quintessential Cold War paranoia movie, from the era of Sidney Lumet’s Fail-Safe and Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, the only film of its era to make the threat of nuclear annihilation the subject of comedy. While those films are revered to this day, Ladybug Ladybug has fallen unfairly by the wayside, though its unique approach and hypnotic style are definitely worthy of viewing by a modern audience.
Written by Perry’s wife and frequent collaborator, Eleanor Perry, from a story by Lois Dickert, Ladybug Ladybug‘s title comes from the children’s rhyme, “Ladybug, ladybug, fly away home / Your house is on fire and your children are gone.” Based on a real incident, the film examines the course of events following a nuclear attack alarm at a small town elementary school. The alarm is a “code yellow,” which translates to “nuclear attack imminent within an hour.” After some panicked deliberation, the school’s principal, Mr. Calkins (William Daniels), decides to heed the alarm and send the children home. After this, the film follows one particular group of children as they are escorted home along a country road by a teacher, Mrs. Andrews (Nancy Marchand, best known as Tony’s vindictive mother, Livia, on The Sopranos).
Yesterday, Mike Fleming reported that Nick Cassavettes was in talks to direct the fourth, or possibly fifth — depending on how you reckon it — version of “A Star is Born,” a perpetually successful property that dates back to the 1930s.
You can complain about remakes all you want, but this is one story that really begs to be remade with every generation, as it’s always pretty much always relevant and only more topical with each new decade. In case you’ve never seen any version, it’s the story of a young actress and/or singer on the way up who becomes involved with a star very much on the way down, mostly because of substance abuse. Apparently the thinking is to once again make the on-the-go female a singer, as in the now iconic 1954 version starring Judy Garland and James Mason directed by George Cukor, and the commercially huge but critically dissed 1976 Barbara Streisand/Kris Kritofferson version directed by Frank Perry and, perhaps, an uncredited Streisand. Names like Beyoncé and Alicia Keys are being mentioned for the female lead.
The two male stars Fleming mentions are interesting. I don’t need to say why Robert Downey, Jr. is either too on the nose or absolutely and utterly perfect for the role. Real-life parallels and method acting possibilities aside, he’s a intriguing choice also because of his own forays into singing. Could make for a dramatic duet or two.
The other name being floated according to Fleming is Jon Hamm of “Mad Men.” This would presumably take the film more in the direction of the 1954 version, which featured James Mason as the alcoholic movie star in love with Judy Garland’s singer. Hamm’s a terrific and versatile actor and I’m sure he’d be very good. I just hope, however, they’re not just mentioning his name because just he does a great impression of Mason.
This Mason, by the way, is mainly inspired by his “A Star is Born” character. In real life, it was Judy Garland who had the drinking and drug issues. As for Hamm, let’s hope we see his impressionistic skills again — and the writers can again figure out something funny for him to do with them — when he returns to SNL later this month.