Abel Ferrara Would Like Werner Herzog and Nicolas Cage to Please Die in a Fire

Scott Von Doviak — Tue, 27 May 2008 15:30:00 GMT

When we first brought you the news of Werner Herzog’s planned remake of The Bad Lieutenant starring Nicolas Cage, we wondered whether the director of the original version, Abel Ferrara, was cool with his intensely personal vision being monkeyed with. Now we have an answer, which appears to be: not so much.

According to Spoutblog, Ferrara addressed the issue during his Cannes press conference for his latest effort, Chelsea on the Rocks. “Ferrara twice talked about Werner Herzog’s alleged Nicolas Cage-starring remake of his Bad Lieutenant,” writes Karina Longworth, “once in response to a question from a reporter, and once just because he apparently felt like he needed to vent. First, Farrara tagged a comment about the remake on to his answer to a question about working outside the Hollywood system. ‘As far as remakes go, Harvey [Weinstein? Not mentioned in this Variety story in connection to the project. Keitel, who starred in the original? Hmmmm....] begged me not to say anything mean, or stupid. [pause] But I wish these people die in Hell. I hope they’re all in the same streetcar, and it blows up.’”

So yeah, he seems pretty cool with it. Later a reporter mentioned the remake and Ferrara responded, “It hasn’t been remade yet.” When told that it would be, he said, “Don’t count on it.” Could there be litigation in the future? But they’ve already gone to the trouble of making this handsome poster!

Cannes Rundown, Days 10 and 11- I'd be the screenwriter who speaks Chinese and plays the oboe. That would be cool.

Paul Clark — Sun, 25 May 2008 04:01:00 GMT

As the Cannes Film Festival enters its final days before the announcement of awards on Sunday, here’s one final roundup of reviews. We begin with Charlie Kaufman’s highly-anticipated (by me, anyway) directorial debut Synecdoche, New York. Would Kaufman’s inexperience behind the camera cause him to become timid and soften his edge? If reviews are any indication, don’t bet on it.

AO Scott in the New York Times- “Mr. Kaufman, the wildly inventive screenwriter of “Being John Malkovich” and “Eternal Sunshine of the Spotless Mind,” has, in his first film as a director, made those efforts look almost conventional. Like his protagonist, a beleaguered theater director played by Philip Seymour Hoffman, he has created a seamless and complicated alternate reality, unsettling nearly every expectation a moviegoer might have about time, psychology and narrative structure.”

But not all were so impressed. J. Hoberman in the Village Voice- “Collapsing in sodden self-reflexivity after a promising 40 minutes, Kaufman’s arch, interminable phantasmagoria—with Philip Seymour Hoffman as a Job-like theater director—retroactively improved all but the most miserablist movies I saw at Cannes.”

Other competition titles:

Jeff Wells on Paolo Sorrentino’s Il Divo- “I knew I was seeing something intensely audacious and stylistically exciting, but the political arena it depicts is so dry and complex and wholly-unto-itself that gradually the film makes you feel as if you're lying in an isolation tank.”

Laurent Cantet’s The Class/Entre Les Meurs, according to Time Out’s Geoff Andrew- “Everything rings absolutely true in this film, and everything is utterly engrossing from start to finish, despite the apparent lack of a straightforward narrative during the first hour… There are no easy answers proffered to the various questions raised about education, schools and society, but the film makes for admirably lucid, subtle and thought-provoking drama throughout. And the kids are terrific.”

Cinematical’s James Rocchi tears into Wim Wenders’ latest, The Palermo Shooting- “After Palermo Shooting ended (with a title card offering the film as a tribute "To Ingmar (Bergman) and Michelangelo (Antonioni)," which made me imagine Bergman and Antonioni saying Uh, thanks, but. ... from the next world), the Cannes press audience booed and laughed and stumbled out into the streets for detailed digressions and discussions on how, exactly, Wenders had, as our British friends say, lost the plot. Palermo Shooting goes fairly off the mark, or fires blanks, or has a damp fuse; I'm not sure about which firearm metaphor applies here, and if Wenders can't be bothered to have any cohesion to his signs and symbols, why should I?... It's still a little sad to see a major filmmaker make such a series of major mistakes in the name of a fairly minor film.”

While I certainly admire Cannes’ devotion to Wenders, perhaps the competition would be better served if, instead of reserving spots for ex-Palme winners past their prime, the selectors would give some love to gifted up-and-comers who deserve a higher profile People like, say, Kelly Reichardt, whose Wendy and Lucy played in Un Certain Regard. Here’s ScreenDaily’s Mike Goodridge- “Reichardt's films are quiet and detailed, and in Wendy And Lucy , she provides an all too believable picture of how fine is the line between getting by and becoming homeless and destitute… Unlike Old Joy, which was a two-hander, Wendy And Lucy is told entirely from the point of view of one character - and her dog, of course. The beauty of the film is not only in telling a story with so few words but in showing the wordless tenderness that exists between woman and dog in a society which has cast her onto its fringes. “

Also of note was the Un Certain Regard prizewinner, Tulpan. Here’s ScreenDaily’s Jonathan Romney on the film- “Shy courtship, stark landscapes and a spirited supporting cast of livestock make Tulpan a vivid, intensely enjoyable debut feature from former documentarian Sergei Dvortsevoi. The Kazakhstan-set film hardly breaks new ground, in both setting and mood pitching its tent very close to The Story Of The Weeping Camel. But it similarly blends intimate, gentle fiction with a strong dose of ethnographic observation, to immensely charming effect.”

Justin Chang in Variety on Albert Serra’s Birdsong- “Patience was no doubt required of the Three Wise Men as they made their way toward Bethlehem, and the same will be required of auds who seek out "Birdsong," Albert Serra's minimalist reinterpretation of the Magi's journey. Hushed, contemplative but often quite droll experiment offers beautifully sculpted images on a black-and-white canvas across its sometimes hypnotic, sometimes tedious runtime.”

Wendy Ide praises Eldorado in the London Times- “This off-beat tragicomic road movie from Belgium is one of the sleeper hits of the festival. Screening in the Director’s Fortnight sidebar, it’s a far cry from the dour, grey perception of Belgian cinema fostered by the work of people like the Dardenne brothers…The landscapes and soundtrack choices evoke American road movies of a bygone era; the sensibility is definitely European.”

Abel Ferrara’s Chelsea on the Rocks, according to Dennis Lim in the Los Angeles Times- “Abel Ferrara's new film, "Chelsea on the Rocks," represents a kind of homecoming for the Bronx-born director and longtime chronicler of the New York City underbelly. Ferrara, best known for urban tales of damnation such as "Bad Lieutenant" and "King of New York," moved to Italy several years ago, fleeing a city transformed by the Rudolph W. Giuliani regime and the Sept. 11 attacks, not to mention a cultural and economic climate that had grown more hostile to maverick filmmakers.”

Finally, here’s a link to Karina Longworth’s live-blogging of Quentin Tarantino’s Film Lecture at Cannes. I’ve seen how fast that dude talks, and my fingers are hurting just thinking about it. Bang-up job, Karina.

The Screengrab : chelsea on the rocks

Abel Ferrara Would Like Werner Herzog and Nicolas Cage to Please Die in a Fire

Cannes Rundown, Days 10 and 11- I'd be the screenwriter who speaks Chinese and plays the oboe. That would be cool.