Yup, with Cannes going on and the early-early summer movie season happening, things are hopping.
* Nikkie Finke broke the news this morning of the latest chapter in the never-ending tale of the battle over the rights to the character of “Superman.” It seems DC is countersuing lawyer Marc Toberoff on the grounds of conflict of interest. Sure does sound like “hardball” but that’s what happens when millions of dollars are at stake.
* It never ends. It just never, ever ends. A new alleged victim has come forward claiming that Roman Polanski raped her during the eighties when she was sixteen. (The terms used in the article are “sexually abused” in “the worst possible way” — I have no clue how that could not be rape, at the very least, if true). The woman is being represented by, naturally, Gloria Allred.
At this time, there’s no corroborating evidence beyond the charges. If there is, I think it’s curtains for Polanski and he’ll find himself suddenly and justifiably all-but friendless in Hollywood. It’s one thing to have one extremely nasty episode in your past, it’s quite another to be a serial sexual predator.
He had his biggest success on television with Bill Cosby on “I Spy,” historic in its way as the first inter-racial buddy adventure program on TV or, for that matter, in any medium and the tongue-in-cheek superhero comedy, “The Greatest American Hero.” Nevertheless, Mr. Culp, who died unexpectedly today from a fall at age 79, also made a notable mark on films.
Costarring with his colleague and friend Cosby, he directed an attempt to translate their TV fame into movies with 1972’s “Hickey and Boggs.” The film, which was written by a young Walter Hill, tried to go in vastly different, far grittier and grimmer direction than the TV show and failed at the box office. Recently, however, it’s been rediscovered by some cinephiles and crime film fans.
Still, a few year before that Culp appeared in one of the real cultural break-out movies of the 1960s, “Bob & Carol & Ted & Alice.” For better or worse, it helped popularized, or perhaps merely capitalized, on the idea of “swinging” and “free love” among the older, married set. I haven’t seen this one either and I have no excuse other than somewhat mixed-feelings about most of writer-director Paul Mazursky’s other movies. However, in her heartfelt farewell to Culp, Cinematical’s Monika Bartyzel was kind enough to provide the lengthy, terrific clip below. This scene with Natalie Wood really shows Culp’s way with both serious and light material as he experiences a pretty broad swath of emotions in a scene that starts out as something close to straight drama and gradually eases into some pretty delightful comedy. Now, I want to see this.