The Screengrab : gangs of new york

Th-Th-That's All Folks! The Best & Worst Endings Of All Time! (Part Nine)

Andrew Osborne — Fri, 29 May 2009 00:00:00 GMT

And now, the worst...

THE BAD SEED (1956)

So, a few years back, my lovely Polish bride was in a production of the theatrical version of The Bad Seed, where bratty little hellspawn Rhoda Penmark (Patty McCormack) gets away with a whole lot of evil behavior, including (gasp!) matricide, simply because the gullible adults in the story (much like the gullible adults of today) are unwilling to see children -- especially cute little white children -- as anything but perfect little angels. But in the Hays Code ‘50s, villains simply HAD to be punished, at least in the movies, leading to one of the most ludicrous finales in cinematic history, whereby the bad seed gets her comeuppance Old Testament style with a good ol’ bolt from the blue courtesy of God (or possibly Zeus) Himself...followed by a dorky curtain call (complete with a comical “spanking” for McCormack) to reassure skittish audiences that, hey, folks! It’s just a movie! See? Everybody’s alive and well and no evil will ever befall you if you stay on the right side of the tracks with all the decent, well-dressed, respectable Christian people...honest! (AO)

THE QUIET AMERICAN (1958)

We could keep you up all night babbling about all the movies that softened and betrayed the endings of their source material (and even original screenplays, in some cases), denting otherwise excellent movies: Stella seeming to reject Stanley's blandishments in A Streetcar Names Desire, Mel Cooley squawking "Get me the FBI!" at the end of the original Invasion of the Body Snatchers, and on and on. Joseph L. Mankiewicz's adaptation of Graham Greene's novel about the dangers of well-intentioned American efforts in Indochina may take the prize, though -- partly because it has so much to recommend it (particularly Michael Redgrave's performance as the aging British reporter whose disapproval of the title character -- Audie Murphy -- is gummed up with the knowledge that the younger man is his romantic rival, and the sensuous, flowing atmosphere and camera work), which makes it all the more frustrating when Mankiewicz betrays Greene in the last scenes. The revelation that the American was the moral angel he believed himself to be, and the decision to have the woman the two men shared turn away from the surviving member of their triangle in disgust, was a significant enough alteration to lay waste to everything that had come before it. (The 2002 version, starring Michael Caine and Brendan Fraser, is in many ways a clunkier piece of filmmaking, but it holds up better just by being true to Greene.) (PN)

NO WAY OUT (1987)

This slick update of The Big Clock relocates the action from the world of magazine publishing to Washngton, D.C., where the Secretary of Defense (Gene Hackman) kills his mistress (Sean Young, so it's not as if a jury in the world would view him unsympathetically) and launches a search for the woman's other lover (Kevin Costner) while working the angle that she may have been the victim of a possibly apocryphal Soviet mole called "Yuri." Naturally, he puts Costner in charge of the investigation. In what appears to be the ending, Costner manages to slip away after exposing the bad guys; then, in the concluding scene, it is revealed that Costner, an actor who has trouble passing for anything but a lifelong resident of California, turns out to in fact be Yuri, the Russian mole. It's a twist ending, and to steal a line from David Edelstein, it's twisted, all right. (PN)

MINORITY REPORT (2002)

For the most part, Steven Spielberg's take on Philip K. Dick is one of the director's smartest and most accomplished entertainments in recent years, topped off with one of his most mind-melting bad endings; it's like seeing an Olympic athlete ace the first nine parts of the decathlon before fleeing the course to get fucked up on hillbilly heroin. The drop is so deep and so sudden that some enterprising geeks have an explanation for it: they'll tell you that everything that happens after Tom Cruise is sealed away in his frozen prison tube is actually a dream that his character has of being rescued and redeemed; despite what the movie shows you, as the credits roll, he's actually still locked away in there and the villain is triumphant. If some guys sitting at computer keyboards could come up with a nifty idea like that, how come Spielberg, with access to every writer in Hollywood and the millions to pay them, had to settle for the ending he wound up with? (PN)

HOLLYWOOD ENDING (2002)

This Woody Allen comedy stars our hero as a washed-up movie director who, given the chance to make his comeback film, suffers an attack of hysterical blindness and has to blunder through the entire production without being able to see what he's directing. Of all Allen's recent misfires, this one feels especially revealing because of the way that he fails to leap at the chance to score some sure laughs with the obvious joke that's waiting to be made: at no point do we get to see any of the footage that's been okayed by this poor bastard working in the dark. This, it turns out, is only the fair warning for the well-worn groaner awaiting us at the end, when the disgraced director receives the happy news that his blind man's movie has been declared a masterpiece by...the French! For a guy who's spent more and more time in the late stages of his career accepting plaudits from those same French critics and audiences, this counts as perhaps the laziest instance of biting the hand that feeds on record. (PN)

GANGS OF NEW YORK (2002)

Martin Scorsese's period epic was inspired by a 1928 book that was a garish collection of tall tales recounting the "real" hidden history of New York City. By the time Scorsese and his screenwriters got through embellishing it further and welding a plot to it, the result was practically a steampunk fantasy of barbaric city dwellers with a few Mad Max extras sprinkled in having knife fights all over the Five Points district. Which is fine; it definitely counts as something to see. However, the movie crashes as it strains to build to a proper climax. The main plot, involving a conflict between the local dictator Bill the Butcher (Daniel Day-Lewis) and his arch-nemesis (Leonardo DiCaprio) happens to climax just in time to collide with the 1863 Draft Riots, an actual historic event that, as Scorsese stages it, smashes into the storyline like a runaway truck tearing through the back of the theater and steamrollers the main characters. The most charitable interpretation is that Scorsese was trying to show how petty and, in historical terms, forgotten the people whose struggles he'd been involving us in for the preceding two and a half hours really were. But it feels as if The Lord of the Rings had ended with the news that the year was actually 1945 and Mordor was on the outskirts of Hiroshima, and that just as Frodo and Gollum were battling for the ring, they were all wiped out by the dropping of the atomic bomb. (PN)

Click Here For Part One, Two, Three, Four, Five, Six, Seven, Eight, Ten, Eleven & Twelve

Contributors: Andrew Osborne, Phil Nugent

Whatever Happened to Kenneth Lonergan's "Margaret"?

Phil Nugent — Fri, 01 May 2009 17:30:00 GMT

When Kenneth Lonergan, already a successful playwright (This Is Our Youth) and screenwriter (Analyze This) made his directing debut with You Can Count on Me (2000), an acclaimed small film that did big things for the careers of its stars, Laura Linney and Mark Ruffalo, it seemed like the beginning of a promising career. Since then, Lonergan has had a script credit on Gangs of New York (directed by Martin Scorsese, who had an executive producer credit on You Can Count on Me); meanwhile, the years have gone by while his second film asa a director, Margaret has remained unreleased and possibly, depending on who you ask, unfinished. As John Horn reports, the movie, which was funded by Fox Searchlight Pictures and producer Gary Gilbert, was shot in 2005, and has now inspired a pair of lawsuits, one of which alleges that the movie remains unreleased because Lonergan, who has the power of final cut, has never been able to shape the material into a finished state that's to his satisfaction.

Margaret was never going to be an easy sell commercially. Based on a shooting script that ran more than 160 pages--a length that's liable to result in a two and a half hour movie--it was intended as a timely, post-9/11 parable about the nature of guilt and responsibility. Set in New York City, it stars Anna Paquin as a seventeen-year-old girl who witnesses a bus accident and becomes involved in a subsequent legal action against the driver, played by Mark Ruffalo. The cast also includes Matt Damon, as a teacher towards whom Paquin's character makes advances, and J. Smith-Cameron, who is married to Lonergan, as the girl's mother. (As if all this weren't involved enough, "Margaret" isn't the name of the Paquin character or anyone else in the movie: the title refers to a Gerald Manley Hopkins poem, “Spring and Fall: To a Young Child”, which comes up in the course of one of the classroom scenes. The list of high-powered prestige talents who worked on the movie include not one but two already-deceased producers, Anthony Minghella and Sydney Pollack, as well as cast members Alison Janney, Jean Reno, Kieran Culkin, Rosemarie DeWitt, Olivia Thirlby, and Matthew Broderick; Broderick, who also appeared in You Can Count on Me, is said to have loaned Lonergan a million dollars to help him complete the editing. (According to John Horn, "A Broderick spokesman said the loan was a private matter and disputed the dollar amount but did not provide another figure.") For his part, Scorsese is said to have sent in his "legendary editor" Thelma Schoonmaker to pitch in, but to no avail.

The lawsuits started flying last summer when Fox Seacrhlight "sued Gilbert and his production company, claiming he failed to pay the studio half of the film's production costs. Two months later, Gilbert's Camelot Pictures sued Fox Searchlight and Lonergan, alleging that the studio and Lonergan thwarted Gilbert's many attempts to finish the movie, forcing Camelot to pay for 'a clearly inferior and unmarketable film' that Lonergan, several people say, will not support." The $12 million that got spent on Margaret doesn't exactly make for a Heaven's Gate-style fiasco, but the situation is a source of embarrassment for all involved, not least the studio if it's true that they gave Lonergan carte blanche to make a movie that he couldn't make work--at least, not within the framework of certain conditions to which he'd agreed. (Lonergan's final-cut guarantee was contingent on his delivering a movie that was no longer than 150 minutes.) Whether Lonergan could only deliver an ambitious, sometimes brilliant failure, or if he simply turned obsessive perfectionist and couldn't let go of his baby, the studio seemed to have come to the conclusion that it was better for them to forget the movie existed rather than take it away from him and finish it for him, which would have been them look like crude buttinskys and alienated other "prestige" filmmakers they might have wanted to court in the future. Martin Scorsese reportedly declared that one version of Margaret that he saw back in 2006 was "brilliant, a materpiece." I hope he took notes.

Screengrab Presents: Cinema’s Greatest Comebacks (Part Two)

Andrew Osborne — Thu, 18 Dec 2008 21:30:00 GMT

PAM GRIER in JACKIE BROWN (1997)

I suppose this one doesn’t entirely count as a comeback, since the former blaxploitation star of urban classics like Coffy and Foxy Brown has yet to land another starring role as meaty as Jackie Brown, the drug-mule stewardess who outsmarts both her murderous boss (Samuel Jackson) and the feds on her tail before riding off into the sunset with a suitcase of cash in Quentin Tarantino’s underrated adaptation of Elmore Leonard’s Rum Punch. Then again, hardly any actresses (especially those of, ahem, a certain age) get to star in major motion pictures as realistically smart, complex, vulnerable women like Jackie, who succeed not with machine guns or sex (although there’s plenty of that simmering just under the surface in Grier’s palpable chemistry with Robert Forster, as bail bondsman Max Cherry, Jackie’s reluctant partner in crime -- one of the great screen couples of all time), but rather through believably human ingenuity and courage. Yet, at the very least, Grier finally earned some overdue respect as an actress from those who’d previously looked down on her B-movie roots, and though she didn’t win an Oscar for her Oscar-worthy career best performance, she at least caught a second wind in her career as a character actress, with relatively high-profile gigs like Jane Campion's Holy Smoke and The L Word...though, come to think of it, maybe it's time for yet another Pam Grier comeback so those of us without Showtime can maybe see her a little more often.

ROBERT ALTMAN, THE PLAYER (1992)

The rise and fall and rise of Robert Altman is well-known to movie geeks, but no list of great cinematic comebacks would be complete without a nod to the director who rose to prominence during the anything goes, lunatics-running-the-asylum ‘70s era of American filmmaking, when Uncle Bob churned out a head-spinning number of modern day classics like M*A*S*H and Nashville before biting the Hollywood hand that fed him one too many times and getting banished to the wilderness, only to raise his career from the dead once again by chomping down even harder on that very same Hollywood hand. After foolishly viewing film as a creative means of expression (rather than the branding mechanism and product placement delivery system we now know it to be), Altman was kicked to the curb by the powers-that-be once the Suits reasserted corporate control of the studios in the early eighties. Not only was Altman an idealistic pothead who wouldn’t know a high-concept Eddie Murphy vehicle if it bit him in the ass, but he was OLD, a condition the New Hollywood power elite feared might be contagious. Yet even in exile, Altman found a way to keep on keepin' on: he was an early adapter of cheap, indie video technology, which he used to keep his director-fu sharp with adaptations of stage plays like Secret Honor and prescient experiments like the political fictumentary Tanner ’88, all of which helped him to eventually reboot his career thanks to an independent film about Hollywood full of cameos by old friends and (at least according to Wikipedia) unpaid stars who just happened to show up at the L.A. locations where Altman was shooting and agreed to improvise some lines. The Player, a critical and financial success, was nominated for an “all-is-forgiven” Oscar that gave Altman the clout to work fairly steadily for the remainder of his life, generating both hits (Short Cuts, Gosford Park) and misses (Prêt-à-Porter, Kansas City)...any one of which remains far more interesting and unique today than all the Transformers in Toy Town.

DANIEL DAY-LEWIS in GANGS OF NEW YORK (2002)

In the late eighties and throughout the nineties, Daniel Day-Lewis developed a reputation as one of the world's finest and most versatile actors, due in no small part to the exhaustive amount of work he put into his characterizations. Eventually, the work began to take its toll, and following 1997's The Boxer, Day-Lewis took an extended sabbatical from acting. After five years pursuing various interests (like spending time with his family, not to mention those strange rumors about an apprenticeship with an Italian cobbler) Day-Lewis was finally lured back into the business by his onetime collaborator, Martin Scorsese. Once on board, Day-Lewis threw himself completely into the role of Bill "The Butcher" Cutting as he had with his other great performances, going so far as to speak in the character's voice even when he wasn't on the set. The result was a Day-Lewis performance completely unlike any he'd given before, making Bill a ferocious villain who rules the city by virtue of being the most ruthless monster to prowl the streets. Yet what makes the performance truly scary is his unpredictability, whether he's menacing his former lover with a set of throwing knives ("whoopsie-daisy!"), tap-tap-tapping a dagger against his glass eye, or standing over the body of a man he's just killed with a look-at-what-I-just-did smirk on his face. Day-Lewis has often spoken about how each performance makes him feel uneasy about whether he'll ever act again, and with such single-minded devotion to his craft it's little wonder that he feels that way. Yet it's also this devotion, coupled with Day-Lewis' genius, that makes each of his performances feel like a gift, and we undoubtedly have Scorsese to thank for making his subsequent performances -- including his towering turn as Daniel "Draaaaaaaaaaaaaaainage!" Plainview- possible. And you say his next movie is a musical? We can't wait.

ALEC BALDWIN in THE COOLER (2003)

When Alec Baldwin turned up in a supporting role in the 2003 Mike Myers vehicle The Cat in the Hat, reviewer David Edelstein wrote that, "The movie's grim subtext is the wreck of Baldwin's career — how puffy he looks, and how he never manages to rise above his material." One week later, The Cooler opened, and Baldwin was on his way to Academy Award and Golden Globe nominations for his smooth, multilayered performance as a Las Vegas casino operator who, to his surprise and despair, discovers that he does actually have a heart. Baldwin had always been something of an odd man out among Hollywood A-listers, a classic example of a character actor in a leading man's body: he seemed a little dull trying to play the action hero (The Hunt for Red October, The Shadow) or lover boy (Prelude to a Kiss) but seemed happily liberated whenever he got a crack at playing psychos (Miami Blues, The Juror) or scumbags (State and Main). His role in The Cooler was a personal breakthrough because it gave him the chance to play a scumbag (with psycho tendencies) who had the depth to find himself conflicted, and also to show off both his comic and dramatic chops to a new degree, leading indirectly to his full-blown career renaissance on TV's 30 Rock.

MARTIN LANDAU in TUCKER: THE MAN AND HIS DREAM (1988)

Landau, whose attention-getting performance as the assistant baddie in North by Northwest was followed by several seasons as the master of disguise on TV's Mission: Impossible, never flew as high in his early movie career as some of the names on this list, but he managed to fall farther than just about any of the others anyway. After leaving Mission: Impossible in a contract dispute and taking his wife and co-star Barbara Bain with him, Landau spent fifteen or so years adrift in horror and sci-fi pictures barely worthy of the name, as well as such august TV productions as The Harlem Globetrotters on Gilligan's Island and The Return of the Six Million Dollar Man and the Bionic Woman. Somehow, Coppola decided to throw him a lifeline when he was casting his long-deferred dream project about the car designer Preston Tucker, and Landau's performance -- a shaft of cranky warmth cutting like a light saber through a hollow movie, coming from an actor with a semi-familiar name but with a face so changed since the last time most viewers had seen him that he was all but unrecognizable -- is the only thing fondly remembered from that picture. Landau got an Oscar nomination and a leading role in Woody Allen's 1989 Crimes and Misdemeanors. He eventually did win an Oscar, for playing the washed-up, half-crazed Bela Lugosi in Ed Wood (1994). Speaking about that performance later, he was quick to give credit to his own years in the show business wilderness; they'd given him a pretty good idea of what Lugosi had gone through.

Click Here For Part One, Three, Four & Five

Contributors: Andrew Osborne, Paul Clark, Phil Nugent

Trailer Review: Body of Lies

Paul Clark — Mon, 28 Jul 2008 16:00:00 GMT

Does anyone out there actually buy Leonardo DiCaprio in tough-guy roles? Don’t get me wrong- I think he’s a talented actor, and given the right part he can knock it out of the park. But I didn’t find him convincing in Gangs of New York and Blood Diamond, and I’m certainly not convinced here. If you look at Leo’s best recent roles- Frank Abagnale, Howard Hughes, even Billy Costigan in The Departed- they all make use of his innate boyishness and knack for playing psychologically damaged characters. But there’s just something about him (the reedy voice, the scraggly facial hair) that doesn’t work when he’s supposed to be tough and street-smart. Just like he was in Gangs, he looks hopelessly overmatched here by his more experienced costar- Russell Crowe this time around- and it’s going to require a lot of work from director Ridley Scott and screenwriter William Monahan to convince me that Leo’s character can hold his own opposite Crowe’s. Also, it seems sort of sinful that the gorgeous Carice Van Houten (playing Leo’s wife) is nowhere to be found in the trailer, but maybe that’s just me.

DVD Digest for July 1, 2008

Paul Clark — Tue, 01 Jul 2008 14:00:00 GMT

This week, one of the great writers of the twentieth century gets some Criterion love, plus plenty of Blu-Ray releases to last for the rest of the summer.

DVD of the Week: Continuing Criterion’s summer of awesomeness this week is the release of two films that function as a primer for anyone curious about the life and work of Japanese author Yukio Mishima. To begin with, there’s the new special edition of Mishima: A Life in Four Chapters, Paul Schrader’s greatest directorial achievement to date. Rather than attempting to take on Mishima’s life in a conventional manner, Schrader begins on the final day of the writer’s life, as he and his private army take control of a military compound so that Mishima can commit ritualized suicide. This framing device is intercut with stark re-creations of Mishima’s early life, as well as lush Technicolor dramatizations of several of his stories. Mishima is a gorgeous film, but it’s also more insightful about its protagonist’s one-of-a-kind life than any straightforward telling could hope to be. For more insight into Mishima, Criterion is releasing separately the author’s rarely-seen directorial effort, Patriotism, which not only starred Mishima in the lead role but also anticipated his own suicide. Anyone looking to learn more about Yukio Mishima could do a lot worse than to start with these two must-see DVDs.

This week’s recent releases coming to DVD: Owen Wilson in Drillbit Taylor (Paramount, also Blu-Ray); The 24-meets-Rashomon thriller Vantage Point (Sony, also Blu-Ray); Tyler Perry’s Meet the Browns (Lionsgate, also Blu-Ray); Wong Kar-wai’s English-language debut My Blueberry Nights (Genius); the City of God quasi-sequel City of Men (Disney); and the direct-to-DVD spinoff Get Smart’s Bruce and Lloyd Out of Control (Warner, also Blu-Ray). This week’s TV-on-DVD releases include Mad Men Season 1 (Lionsgate, also Blu-Ray) and The Closer: The Complete Third Season (Warner).

Finally, in Blu-Ray-only news, this week brings Batman: The Movie Special Edition (Fox), Gangs of New York (Disney), In the Line of Fire (Sony), and Point Break: Special Edition (Fox).

Don’t Tug on Superman's Cape – Buy It Instead!

Scott Von Doviak — Tue, 04 Mar 2008 16:30:00 GMT

Here's your chance to show up at your next fancy social engagement wearing Odd Job's bowler hat from Goldfinger, a genuine Liberace mink coat and John Candy's pants from Canadian Bacon. (You may need a belt with those.) Or if you really want to make a lasting impression, how about attending your sister's wedding clad in the jacket Brandon Lee was wearing when he was killed on the set of The Crow, topped off with a genuine Mr. Freeze helmet from the '60s Batman series? You'll be the talk of the reception for sure, although you may have trouble getting someone to dance with you.

All of these items will be available when the Pugliese Pop Culture Collection goes up for auction on March 15th. It's billed as "the finest collection focusing on 20th Century pop culture ever privately assembled," featuring some "850 of the most extraordinary objects imaginable from the worlds of motion pictures, popular music, magic, television and politics."

Even if you have no use for Wilma Flintstone's dress or a genuine Gangs of New York battle axe, the auction may have some items of interest. According to Toronto's CityNews, the gun Jack Ruby used to kill Lee Harvey Oswald will also be up for bids. "The biggest prize is what the hypesters are calling 'the most famous gun in the world.' The Colt Cobra Ruby used to work his way into history by killing the suspected U.S. presidential assassin has the initials of all the detectives who handled it carved into the weapon."

"The whole world saw that unfold live and here's the very gun and the hat that Jack Ruby was wearing," notes Arlan Ettinger of auction house Guernsey's, adding that Oswald's toe tag is also available. That's nice, but here at the Screengrab we're pooling our money for Dom DeLuise's Captain Chaos costume from The Cannonball Run. Outbid us if you dare!