The Screengrab : new york magazine

Polanski Sexual Assault Victim Gives Thumb's Up to "Polanski: The Movie"

Phil Nugent — Fri, 09 May 2008 13:30:00 GMT

When Roman Polanski won the Academy Award for Best Director for The Pianist, he became the first filmmaker to win that Oscar while a fugitive from U. S. justice. In 1977, Polanski was arrested and charged with rape and drugging a minor after Samantha Geimer (or Samantha Gailey, as she was then known), a thirteen-year-old girl who he wanted to photograph for French Vogue, claimed that he had plied her with champagne and quaaludes and then assaulted her at the private shoot he had arranged at Jack Nicholson's house. Polanksi, who has always maintained that he was set up as part of a scheme by the girl's mother to blackmail him, arranged a deal to plea to a lesser charge, only to flee the country after being advised that the judge intended to set aside the plea bargain and throw the book at him. (He faced a possible prison term of fifty-years.) He hasn't been back to the States since, though Samantha Geimer, interviewed in the wake of The Pianist's release, said that as far as she was concerned, "Straight up, what he did to me was wrong. But I wish he would return to America so the whole ordeal can be put to rest for both of us."

All this and more is covered in the eagerly awaited HBO documentary Roman Polanski: Wanted and Desired, which had its premiere showing in New York this week. Jada Yuan of New York magazine's "Vulture" blog reports that one party of three that showed up for the event were: Samantha Geimer, accompanied by her mother and husband. Geimer, who lives in Hawaii, has three kids and works for a real estate developer, agreed to let the filmmakers interview about what happened thirty years ago because, ""Generally for me, it's just easier that if people want to talk to me, I talk to them. That way they don't sit out in front of my house and wait for me." Still, you might think that she wouldn't have been up to flying in from the big island to see it all gone over again onscreen. On the contrary, "We thought this would be really fun. We don't get many chances to come to New York, so I was really happy to come and see the city and do all this fabulous stuff. Got to be back to work on Friday or the boss will fire me." As for the movie, she endorses it heartily, and maybe, a bit, to her surprise: "I didn't think somebody could make it that interesting."

The Summer of Super-Duds

Leonard Pierce — Wed, 30 Apr 2008 14:45:00 GMT

With so many superhero movies set to come out this summer, one of them is bound to suck. Well, that's not true -- chances are pretty good that all of them are going to suck. But the folks over at New York magazine are ever the optimists, and they're handicapping the cape-and-cowl movies of the hot months to determine which one to avoid.

They peg Iron Man as most likely to succeed (despite the fact that ol' Shell-Head "has nowhere near the Q-meter rating of Spidey or Supes", but The Incredible Hulk is their even-money choice to bomb out: "The initial trailer made the movie seem exciting but shallow and somewhat humorless. And if a legitimately great director like Ang Lee can't make the Hulk story into a good movie, what chance does Louis Leterrier (previous credits: The Transporter, The Transporter 2) have?"

Us, we're just flattered that New York's "Vulture" bloggers are fans of our Thursday polls here at the Screengrab...

The Temple of Punk

Leonard Pierce — Tue, 18 Dec 2007 14:30:00 GMT

A pretty good argument can be made that Julien Temple is more or less the official moviemaker of punk. Among his many credits are films about the Sex Pistols, David Bowie, and Neil Young, and music videos for Gary Numan, the Stray Cats, and the Beat (among many others). There's a growing consensus, however, that Joe Strummer: The Future is Unwritten, his new documentary about the late lead singer of the Clash, is his finest film. Temple met Strummer when they were both young, and then didn't seem him again for a quarter-century, only to become one of his closest friends in the last decade of his life. In this interview with New York magazine, he discusses how they met, Strummer's musical and philosophical views, and the kind of movie he didn't want to make about his friend. He closes with a deadpan assessment of what Strummer, who died in 2002 of heart failure, would have thought of the film: "I'd like to think he'd strangle me."

Hair Today, Coen Tomorrow

Peter Smith — Mon, 12 Nov 2007 19:00:00 GMT

After largely triumphant tour of the festival circuit — it premiered at Cannes last spring and recently played at the New York Film Festival — the Coen brothers' No Country for Old Men has now started trickling into commercial theaters. With a cast headed by Tommy Lee Jones and Javier Bardem, adapted from a Cormac McCarthy novel, and widely hailed as a "return to form" for the Coens after a couple of poorly received comedies (the doomed remake of The Ladykillers and the sharp, cruelly underappreciated Intolerable Cruelty) the picture does not lack for talent, cultural cachet, and the news hook. Yet from the very first reports from Cannes, one detail has tended to dominate the coverage: the hair helmet that Bardem sports in his role as the borderlands Terminator, Anton Chigurh. The first notices the movie received simply described it as a "pageboy haircut", which is accurate enough but fails the convey the full, shocking impact of the sight of the thing.

But the people who've been waiting these past months for the movie to open so they could weigh in on it have no intention of being left out. Paste magazine calls the character "splendidly coiffed", but that's either sarcasm or the minority opinion weighing in. More typically, Dana Stevens of Slate calls him "a bob-haired golem," while Jan Stuart of Newsday refers to his "forklift mop of hair." Stephen Hunter of the Washington Post, Keith Phipps of the Onion AV Club, and David Edelstein of New York magazine have all invoked Prince Valiant, but Salon's Andrew O'Hehir thought Bardem looked more like Ringo Starr. In the Village Voice, Scott Foundas invoked Cousin Itt. (New York Times reviewer A. O. Scott, a man with a literary background who understands the value of understatement, simply described Chigurh as "a deadpan sociopath with a funny haircut.")

This is hardly the first time that a Coen brothers movie has attracted attention of a tonsorial nature. The corny-surreal tone of Raising Arizona was quickly established by Nicolas Cage's haircut, which suggested an attempted imitation of Kevin Bacon's tastefully spiky 'do as executed by an epileptic barber with the blind staggers. As the title character of Barton Fink, a leftist playwright who seemed to be a cartoon of Clifford Odets, John Turturro wore a pop-top hairdo that actually made him look more like George S. Kauffman by way of Eraserhead. We may never know for sure whether this was a deliberate attempt to make the Odets-like character seem more "universal" or if the hairdresser on the picture was working from a miscaptioned photograph. In The Big Lebowski, all the political and cultural battles of the 1960s seemed to have come down, decades later, to an uneasy truce between Jeff Bridges' hippie-burnout look and the squared-off cropping of Walter, the reactionary Vietnam vet played by John Goodman [and inspired by John Milius! — ed.], who looks like a cinder block wearing tinted shades. "I'm a hair actor and proud of it!" George Clooney once insisted, and maybe the Coens wish there were more performers out there willing to define their characters somewhere above their eyebrows. After all, it was the Coens who, in O Brother Where Art Thou?, established that George Clooney isn't just a fine actor, a major star, and the unashamed voice of show business liberalism: he's a Dapper Dan man! — Phil Nugent