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A roundtable chat with Minnie Driver and Scott Speedman of “Barney’s Version”

A Brit who’s been successfully playing Americans for decades and a charmingly laid back Canadian with a definite air of California dude-ism about him, actors Minnie Driver and Scott Speedman might seem like a somewhat random pairing. Even in the new film version of the late novelist Mordecai Richler’s tragicomic swan song, “Barney’s Version,” their characters make for some pretty strange bedfellows. On the other hand “Driver and Speedman” does sound like the title of a late seventies cop show.

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Ms. Driver portrays the second Mrs. Panofsky, an otherwise unnamed Jewish Canadian princess who marries the very flawed Montreal TV producer Barney Panofsky (Paul Giamatti, who picked up a Golden Globe for the part Sunday night), only to find her new husband oddly distant, starting on the very day of their wedding. That’s because that’s also the day Barney meets – and goes completely nutso over – the woman who will eventually become Mrs. Panofsky #3 (Rosamund Pike). In Mrs. Panofsky’s corner: her outspoken ex-crooked policeman father-in-law (Dustin Hoffman), who speaks approvingly of her “nice rack.”

Speedman, for his part, is Barney’s multiple drug using novelist pal, Boogie. Best known for handsome-guy roles in the “Underworld” films opposite Kate Beckinsale and as the male lead in “Felicity” opposite Keri Russell, Speedman’s Bernard “Boogie” Moscovitch is a frequently charming rascal/jerkwad who both fails and assists his best friend in rather spectacular fashion, eventually starting a chain of events that may or may not lead to his murder by Barney.

Speedman entered the room first in typically low-key fashion, acting every bit the likable thirty-something surfer dude or ski-bum he could easily be cast as. Ms. Driver followed along, making a flirtatious joke about Speedman’s good looks and generally providing jovial company for a room full of entertainment writers one Beverly Hills winter’s day.

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Pretty pictures for Anne Hathaway, aka the next Selina Kyle

Time is still an issue for this blogger, even after taking yesterday off to meet deadlines and handle a number of matters, so I’ll just have to ignore such genuinely important issues as the Comcast/NBC-Universal merger. Instead, I’ll concentrate on some much more pleasant news that, as we’ve all long suspected, the next top-tier villain in the Christopher Nolan/Christian Bale “Batman” franchise will be Catwoman. The better knews is that Anne Hathaway has the gig and I think she’ll be great. (Tom Hardy will be second banana Bat-villain, Bane.)  Even so, She’ll have some big shows to fill. Specifically, the mighty Michelle Pfeiffer and the delightfully underrated Lee Meriwether.

I was going to show you some clips of each but suddenly YouTube is going insane tonight — holy crappy timing, ‘Net 2.0! — and embedding from there suddenly doesn’t seem to work for me. So, instead, you’ll have to make due with the enticing images below.

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A roundtable chat with Paul Giamatti and Rosamund Pike, of “Barney’s Version”

If you’re going to be shallow about it, Paul Giamatti and Rosamund Pike might seem like a slightly odd pair of movie lovebirds. However, the love affair between their characters in “Barney’s Version” hasn’t aroused any of the complaints Seth Rogen regularly gets when his movie character gets lucky with a beautiful woman. No offense to Rogen, but maybe that’s because Giamatti gets a pass for being an extraordinarily brilliant actor — who, as it happens, just picked up a well-deserved Golden Globe for his performance in this very film — and Pike gets points for having the sense to work with him, not to mention for being rather extraordinary herself.

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In fact, the pair have some things in common. Pike’s parents are accomplished serious musicians and she is an Oxford Graduate. Paul Giamatti’s father was the noted Yale University President and Commissioner of Baseball, A. Bartlett Giamatti. Naturally, the younger Giamatti is himself a graduate of Yale. Both have also been busy working actors for some time. After “American Splendor,” “Sideways,” and — on a more heroic level — the miniseries “John Adams,” not to mention innumerable outstanding supporting roles, Giamatti is a bonafide star. The sky is the limit for Ms. Pike, a vastly-above average “Bond girl” opposite Pierce Brosnan in 2002’s “Die Another Day,” who more recently has received a lot of notice for her very diverse roles as a less than brilliant conman’s girlfriend in “An Education” and, more under the radar but no less brilliant, as a highly educated but frustrated housewife and mother in “Made in Dagenham.”

When I and a bunch of other junket journos encountered Giamatti and Pike, they were promoting the new adaptation of Mordecai Richler’s tragicomic final novel about the life and loves of a youthful hustler and bohemian turned aging Montreal television producer and crank. For us shallow types, Giamatti bats 1000 well out of his league with three wives in the course of “Barney’s Version,” played by the lovely Rachelle Lefevre, Minnie Driver, and Pike as Miriam Grant-Panofsky, whom he actually loves. If you read my review, you’ll see that I think the film is a very mixed bag, but the performances are first rate throughout. In addition to that Golden Globe, Giamatti’s performance was praised by his colleague Ron Perlman, and easily deserves whatever accolades it may find. Pike is, as the cliche goes, luminous in a role as a really good person that a lesser actress would have rendered merely saintly and dull.

Rosamund Pike arrived first, but in a moment Paul Giamatti entered, bantering with a female reporter. “She forced me to proclaim myself an ‘indie darling’ yesterday,” Giamatti said.

“Nobody forced you to do anything,” the reporter remonstrated.

“Yes, you did,” he argued. “You tricked me into saying it on camera. She said, ‘When you became an indie darling,’ and I went ‘Well, when I became an indie darling…'” and I thought, ‘I just said those words! Goddammit, that’s on film now, forever.'”

Giamatti, a born comedian as well as a master thesp, was already breaking up the room.

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The Golden Globes happened, the world continues to turn

You probably know by now that the big water cooler topic in Hollywood about last night at the Golden Globes isn’t so much the awards themselves. Yes, there were some nice surprises in the acting categories, most notably for Paul Giamatti in “Barney’s Version.” “The Social Network” remains a big Oscar favorite, and so on. (You can see a complete list of last night’s winners here, by the way). No. It appears the most criticized man in Hollywood this day is not Mel Gibson or Jeff Zucker, but one Mr. Ricky Gervais.  Here, via the Guardian, is the opening monologue for those of you who missed it or want to relive the moment.

It seems to me that there is no more thankless high-profile task in major-league Hollywood today than being a stand-up hosting an award show. Much better to be an actor doing tightly scripted song-and-dances. As a conventional host, if you’re too much of a flatterer you annoy everyone who wasn’t personally flattered, but just ask Chris Rock and Jon Stewart how even relatively tame cracks can be bandied about in the press for days as writers panic on behalf of show biz egos.

Mary McNamara‘s piece at the L.A. Times underplays the criticism that Rock received at the time for his not-too-extreme critique of Jude Law’s acting abilities compared to Hollywood greats. David Letterman was bashed for being too silly. Stewart was deemed insufficiently differential and not funny enough, though to me it was case of maybe being too honest for the room. Of course, that was the Oscars — which shouldn’t be taken all that seriously but still has a certain mythological import to it — and this was the Golden Globes, the famously drunken award show with the often bizarre nominations and sometimes strange wins.

My attitude is this: Yes, Gervais crossed the line at points — though determining where the line is isn’t always so easy. The crack about Scientology and certain allegedly closeted top stars was pretty nasty, and worse, wasn’t funny. I could understand why the head of the HFPA was angry — though if he didn’t want to have cruel jokes made about him and his job, he’s heading the wrong organization. On the other hand, Gervais was often very funny with better aimed and gentler jabs, and last night’s performance does have its fans. I thought the joke about Bruce Willis being Ashton Kutcher’s dad was funny and it looked to me like Willis maybe thought so too. Others were somewhere in between. They hired Gervais, but what they really wanted was Don Rickles. Someone who’d insult people in such a way that no one would take it seriously. That’s hard to do if you don’t happen to actually be Rickles.

I wouldn’t want to be Gervais, or Gervais’s publicist, today but I think we all take these things way too seriously, and everyone still has their careers. We spend too much time reading the tea leaves and are too quick to make Nikki Finke-style conclusions about the goodness or evil of certain figures based on pretty minimal information. The Steve Carrell “it never gets old” line and putative feud over the different versions of “The Office” struck me as more Jack Benny and Fred Allen than West Coast vs. East Coast rappers. They might well have been “joking on the square,” but they might just as easily have been nervously joking.

Anyhow, if any of you have any thoughts on the matter, feel more than free to pipe up in comments. Oh, and be nice!

RIP Susannah York

Susannah YorkThe English actress Susannah York has left us too soon at age 72, another loss to cancer. She never stopped working but her best known film roles were probably 1966’s “A Man for All Seasons,” an Oscar-nominated turn in Sydney Pollack’s pitch-black 1968 drama, “They Shoot Horses, Don’t They?,” and a film I have no clue why I’ve never seen, Robert Aldrich’s 1969 “The Killing of Sister George.” That production was dogged by controversy around the depiction of lesbian sex, a huge taboo just a few years after the abolition of the movie production code.

She was also an anti-nuclear activist back when the topic was truly a matter of planetary life and death and vastly more controversial than it is now.  Notably, she championed jailed Israeli nuclear technician Mordechai Vanunu, whose opposition to nuclear proliferation caused him to expose his nation’s nuclear weapons program. Also, for you geeks out there, she played Superman’s mom in the 1970s films and wrote a pair of fantasy novels as well.

I strongly suggest you read the entire fascinating and informative summary of the ‘net reaction to York’s passing at MUBI.

I stumbled over this film festival tribute online. It’s a little heavy on the music, but it gives us some sense of the woman — who I gather was a real trooper in every sense of the word — and of her work.

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