Tag: Shirley MacLaine (Page 2 of 2)

Raimi & Spidey part company; Hanks to direct again with Roberts in tow; history repeats on “Thor”; an auteur departs; ASC, WGA, and ACE noms; Nikki Finke makes a friend

Spiderman

My highly esteemed colleague Will Harris has been right on top of  the huge small screen stories that seem to be breaking right and left at the TCA conference this week. Still, it’s not like there hasn’t been any news in movieland. It’s almost hard to know where to start.

* The Hollywood Reporter as well as Nikki Finke and new stablemate Mike Fleming (more on that below) are carrying the news that, in the wake of ongoing script problems, the kibosh has been put on Sam Raimi’s “Spiderman IV” with Tobey Maguire and Kirsten Dunst and a 2012 reboot, written by James Vanderbilt (“Zodiac“) announced. The new film will feature a once-again teenage Peter Parker, so Taylor Lautner is no doubt already in touch with his agent.

THR says the script problems had something to do with a disagreement over supervillains between Raimi and Sony and/or Marvel Studios. Finke also notes that the fourth installment would probably not have been in 3-D and it seems reasonable that that might have been a factor, given the current mania for the process.

* In another apparent scoop for new Deadline team member Mike Fleming, Tom Hanks is returning as a writer-director for the second time since making his 1996 charmer, “That Thing You Do!” A comedy, “Larry Crowne” will reteam him with his “Charlie Wilson’s War” co-star, Julia Roberts. Like “Up in the Air,” according to Fleming it’s somewhat topical in that’s it’s about a middle-aged guy forced to reinvent his career at a time when past generations where just starting to settle down.

While he’s at it, Fleming also has the word on Shia LaBeouf not going agentless after all and signing with CAA. Agents around the world can all breathe easier now.

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Movie Moments: Chita Rivera

Unlike the other arts recipient of the Presidential Medal of Freedom, Sidney Poitier, Broadway legend Chita Rivera hasn’t had an extensive career in movies. In 1960, she originated the role of Rosie in the first Broadway production of “Bye Bye Birdie.” When the time came to do the film version, however, Hollywood blew its shot at having a positive portrayal of a Latina actually be played by a Latina. Instead of using Ms. Rivera, a great dancer and singer, the part went to Janet Leigh, a “name” whose considerable talents were mainly in acting.

Still, a few years later, the great director-choreographer Bob Fosse choose to include Ms. Rivera in his first film, “Sweet Charity.” Unfortunately, 1969 was exactly the wrong year to release a more or less traditional musical. “Charity” bombed, forcing Fosse to completely rethink the musical form for the movies and Rivera to keep plugging away in New York. Fortunately, that means we have a couple of great movie-moments from this semi-forgotten classic featuring Chita Rivera as Nickie, a tough-talking taxi dancer. Here, along with friends Helene (Paula Kelley) and Charity Hope Valentine (Shirley MacLaine), she reconsiders her career choice.

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Being There: Deluxe Edition

These days, it seems almost impossible to bring up “Being There” without some unimaginative goon coming along and comparing it to “Forrest Gump.” That’s unfortunate, because if, like me, you’ve got little patience for that particular Zemeckis opus, you may be inclined to skip “Being There” altogether. This would be a grave mistake. The big difference between the two films is that “Gump” wants to be an important film, but in doing so, it achieves the opposite. “Being There,” on the other hand, has no such aspirations and manages to become an important film because it isn’t trying so hard. And if you’ve never seen the film and think you know everything there is to know about Peter Sellers, then “Being There” will show you the actor as you’ve never seen him before.

Chance (Sellers) is a middle-aged man best described as “simple.” He’s seemingly spent his entire life living with and tending to the garden of a very rich man. Since the old man is dead at the start of the film, we’re given very little information about Chance. Where did he come from and how did he come to be in the employ/care of the old man? We never find out. Chance is the blankest of all slates, and his only real exposure to the outside world has come through the television. He seems to enjoy the news and “Captain Kangaroo” equally. But now that the old man has passed on, Chance is given no choice but to go out into the world on his own, for the very first time, and it’s a strange place that doesn’t necessarily work as it does on TV.

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