The Screengrab : sweeney todd

Screengrab Presents: The Best Stage-To-Screen Adaptations Of All Time (Part Five)

Andrew Osborne — Thu, 11 Dec 2008 23:00:00 GMT

DEATHTRAP (1982)

One set, five characters, a couple of twists and a few good, juicy murders: that’s the formula for success in Ira Levin’s puzzle box of a murder mystery about a struggling veteran playwright desperate for a hit. Add a nervous spouse with a weak heart, a gay lover, a weird psychic, a cagey agent and a wall full of handcuffs, pistols and crossbows and you’ve got one of the few stage plays with the power to make audiences scream and jump like a creature double-feature. The movie version wisely sticks to the basics, letting the cat-and-mouse triple-double-cross plotting speak for itself while sticking mostly to the confined but never claustrophobic Long Island home of the plotting protagonist (Michael Caine at his very Michael Caine-iest, having a helluva time). And though certain naysayers here at the Screengrab may say nay, I also give kudos to Christopher Reeve’s performance in the film, which tweaks his goody-two-shoes Superman image while letting him exercise the underutilized mischievous side of his (admittedly limited) range. Meanwhile, Dyan Cannon gives good scream as the wife, and if all that doesn’t win you over, the movie has at least one immortal line, delivered by a snarky critic (Joel Siegel) after Caine’s playwright Sidney Bruhl premieres a hackneyed whodunit nowhere near as clever as Deathtrap: “I'll tell you who done it. Sidney Bruhl done it. And he done it in public."

THE RULING CLASS (1972)

Adapted for the screen by Peter Barnes from his own deeply subversive play, The Ruling Class was sort of a last gasp for the British “Angry Young Man” movement. But its demise was also its salvation: the play – and the subsequent and very successful film – kept in place the elements of class warfare, generational conflict and family drama and turned them on their heads. It replaced rage with whimsy, a tone of rebellion with a sense of absurdity, and an overall tone of Pythonesque lunacy that proved the movement wasn’t entirely devoid of humor. The story of an upper-class family of British aristocrats forced by fortune into restoring as its head a deranged son who thinks he’s the second coming of Christ (played with delightfully silky craziness by Peter O’Toole, in one of his greatest roles), The Ruling Class is, even today, as vicious as it is hilarious. It expands on the play by adding a few memorable characters and trading up in the players (most especially Nigel Green as McKyle, “the Electric Christ”, and the unforgettable Alastair Sim as the bewildered Bishop Bertie Lampton) as well as taking the sets out-of-doors, but what made the stage version so great was its devastatingly funny and fiendish dialogue. Barnes and director Peter Medak are wise enough not to change a bit of that.

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (2007)

Tim Burton’s first full-blown attempt at a musical is so successful, it’s a wonder that he never tried it before. Without sacrificing the elements that have made him famous – the gloomy atmospherics, the high gothic sensibilities, the manic pace, the deft blend of dark humor and absurd violence – his big-screen adaptation of Stephen Sondheim’s notorious musical gives him the perfect format. Why? Because musicals are infinitely forgiving of the qualities that, in many of Burton’s other films, can rightly be considered weaknesses: his overblown dialogue, his clumsy grasp of the dynamics of storytelling, his slight characterization, and his love of style over emotional substance. Everything really comes together for him here, and the result is one of the most enjoyable musicals in decades. Dismissals of the lead actors (Johnny Depp as the vengeance-addled Victorian hairstylist and Burton’s wife, Helena Bonham Carter, as the vendor of unhygienic meat pies) as unable to sing at the level expected from a big-screen musical somewhat miss the point: Sweeney Todd is a fiendishly difficult production, its songs and structure much more akin to an opera than a musical comedy, and it contains precious few toe-tappers, so putting the words in the mouths of those not well-suited to the old school of musicals doesn’t sink it one bit.

INHERIT THE WIND (1960)

Almost fifty years down the road, there are a lot of problems with the Stanley Kramer adaptation of the then-controversial play (by Jerome Lawrence and Robert E. Lee, no relation) about the Scopes Monkey Trial. It’s excessively stagey; Kramer doesn’t bother to open up the set very much, and too many scenes are given no chance to work in the very different medium of film. The casting is problematic; Spencer Tracy and Frederic March are terrific in the lead roles (as stand-ins for Clarence Darrow and William Jennings Bryan, respectively), and there are some good supporting jobs, especially by Elliott Reed as the county prosecutor, but Dick York and Donna Anderson as the romantic leads are flat as pancakes, and Gene Kelly playing a thinly-veiled H.L. Mencken is one of the biggest botch-jobs in casting history. It’s unfair, imbalanced, and historically inaccurate. And in a certain sense, it’s simply not as relevant as it once was; Inherit the Wind isn’t about what it’s about, but rather a Cold War narrative about the long-faded dangers of McCarthyism. But there are still some gorgeous speeches in this moldy oldie, and since America is, astonishingly, still debating the rightness of teaching Darwin’s theory of evolution in schools some eighty-odd years after the Scopes Trial, it maintains a relevance its authors couldn’t possibly have anticipated.

WHO’S AFRAID OF VIRGINIA WOOLF? (1966)

While many directors attempt to open up adaptations of stage plays for the big screen by taking the action up and out, Mike Nichols helps make Who’s Afraid of Virginia Woolf? a masterpiece by doing the opposite. Although he does take us outside once or twice, what makes the film so visually arresting is his camera’s perfect pace with the legendary dialogue: instead of going out, it circles endlessly in and around, like a shark. It darts in and out of scenes, whirls around like the heads of the characters after a stinging rejoinder, and creeps in for powerful closeups that reveal faces as ugly as the words they’re speaking. Who exactly gets credit for the screenplay has been the subject of endless disputes, arguments and lawsuits, but really, it’s as simple as going to the source; almost all of the hypnotic dialogue that takes place between timid, repressed college professor Richard Burton and his domineering, disapproving wife Elizabeth Taylor is present in Edward Albee’s original stage play. Not for nothing is Who’s Afraid of Virginia Woolf? a sort of literary shorthand for viciously feuding married couples: as Burton and Taylor go for each other’s throats, the camera matches them slash for slash, portraying a couple so sick of each other – but so used to each other – that the object of their hatred fills their eyes and becomes all that they can see.

Click Here For Part One, Two, Three, Four, Six, Seven & Eight

Contributors: Andrew Osborne, Leonard Pierce

DVD Digest for October 21, 2008

Paul Clark — Tue, 21 Oct 2008 14:00:00 GMT

This week, a Japanese master gets the Eclipse treatment, and the first wave of 007 Blu-Rays hits the shelves.

DVD of the Week: To those who are getting acquainted with Japanese cinema, the three biggest names to know have long been Kurosawa, Ozu, and Mizoguchi. But while the first two directors have been getting the DVD treatment for years, only a handful of Mizoguchi’s best-known films (Ugetsu, Sansho the Bailiff) have been released on DVD. This week, Eclipse is taking steps to rectify this, by gathering four of the master’s greatest achievements in a lovely box set. Entitled Eclipse Series 13: Kenji Mizoguchi’s Fallen Women, the box set includes four of Mizoguchi’s finest and most poetic films about the plight of Japanese courtesans and geishas, a subject to which he’d return numerous times throughout his career. Two of the inclusions are pre-war titles- Osaka Elegy and Sisters of the Gion- while the others came after World War II, those being 1948’s Women of the Night and his final feature, Street of Shame. One of the most interesting aspects of the box set is seeing the differences between how he observes his subjects pre-WWII and post-WWII. As for the films’ other (considerable) pleasures, I’ll leave those for you to discover.

This week’s recent releases coming to DVD are headed up by two Universal releases which costar Liv Tyler, The Incredible Hulk (Universal, also Blu-Ray) and The Strangers (Universal, also Blu-Ray). But those more adventurous viewers out there shouldn’t require much persuading to watch Hou Hsiao-hsien’s first feature made outside of Asia, Flight of the Red Ballooni (Genius), starring the ever-enchanting Juliette Binoche. Also of note: Expelled: No Intelligence Allowed (Universal), and Anaconda 3: Offspring (Sony).

On the classics front, Warner will be releasing two new DVD sets of Looney Tunes favorites: Looney Tunes Golden Collection Volume 6 and Looney Tunes Spotlight Collection Volume 6. And Criterion will be represented this week with their new DVD pressing of Missing. Finally, James Bond is back with new “Collector’s Editions” of both versions of Casino Royale- both the late-sixties lark (MGM) and the lean, mean 2006 take on the story (Sony, also Blu-Ray).

In TV on DVD news, this week brings the latest box set for the seemingly deathless animated phenomenon, Family Guy Volume 6 (Fox). Or if you’re looking for something less oppressively “hip”, today also brings a handful of old-school series: The Incredible Hulk: The Complete Series (Universal), The Man From U.N.C.L.E.: The Complete Series (Warner), and The Outer Limits: The Complete Series (Fox).

Finally, the big Blu-Ray only news this week is the release of the first six MGM-made James Bond titles in the format. James Bond Blu-Ray Box Set Volume 1 (Fox/MGM) includes Dr. No, Live and Let Die, and Die Another Day, while Volume 2 (Fox/MGM) contains From Russia With Love, Thunderball, and For Your Eyes Only. I suppose we’ll have to wait for volume 3 to get more of Connery’s classics, but it should prove worth the wait. Also this week, the bloody trio of Diary of the Dead (Weinstein), Halloween (2007) (Weinstein), and Sweeney Todd: The Demon Barber of Fleet Street (Paramount).

DVD Digest for April 8, 2008

Paul Clark — Tue, 08 Apr 2008 14:00:00 GMT

This week, a cracked fantasy favorite finally gets the DVD it deserves, and DVD lovers can finally order their milkshakes to go.

For most moviegoers, the big news this week is the arrival of Paul Thomas Anderson's latest masterpiece There Will Be Blood in DVD. But while that's cause for celebration, be warned- as with Sweeney Todd last week, Paramount is releasing the film in two separate versions, a bare-bones single-disc release and a two-disc set featuring some deleted scenes and a number of featurettes about the making of, and history behind, the film. Normally, I'd be skeptical about the relatively slim pickings even on the two-disc set, but Anderson's recent DVD releases haven't contained too much in the way of commentaries and the like, so this was to be expected from him. Besides, it's not like you're NOT going to buy There Will Be Blood- it's awesome enough to stand on its own merits without all the snazzy bells and whistles.

But no less noteworthy is the release of a new version of Terry Gilliam's The Adventures of Baron Munchausen (Sony, also Blu-Ray). Munchausen, a notorious flop in its day, has since become something of a cult favorite, and it's good to see Sony finally giving it a good DVD treatment. Naturally, there's a Terry Gilliam commentary track, which should be reason enough to buy the DVD, considering that Gilliam's commentaries are never better than when he's talking about films that were mishandled by their distributors. The two-disc set also includes the three-part documentary "The Madness and Misadventures of Munchausen," as well as storyboard sequences that supposedly feature "all-new vocal performances by Terry Gilliam and Chris McKeown." Dare I hope Gilliam drew the storyboards in Pythonimation style?

In other classics coming to DVD news, Fox is continuing the celebration of Bette Davis with a six-disc Bette Davis Centenary Celebration Collection that includes a new two-disc version of All About Eve along with bare-bones discs of The Nanny, The Virgin Queen, Phone Call From a Stranger, and the gothic-horror classic Hush... Hush, Sweet Charlotte. Other than that, not much to write about in the classics department, unless of course the Blu-Ray release of Arnold Schwarzenegger in The 6th Day blows your hair back. In which case don't let me stop you.

More recent titles being released on DVD this week include John C. Reilly in the musical biopic spoof Walk Hard: The Dewey Cox Story (Sony, also Blu-Ray), the family fantasy The Water Horse: Legend of the Deep (Sony, also Blu-Ray), Robert Redford's star-studded Iraq War dud Lions For Lambs (MGM), and the Leonardo DiCaprio-produced and -narrated tree-hugger documentary The 11th Hour (Warner).

Finally, David Huddleston's checking in again this week, this time to offer his condolences to Warner's HD-DVD release of I Am Legend. You know, Huddleston's condolences might make me feel bad for Will Smith's character in the film, except I'm guessing he'd be grateful for the company.

DVD Digest for April 1, 2008

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

In a slow week for new DVDs, there are no real world-beaters being released today. However, there are a number of solid picks for movie lovers of various stripes, and if nothing else there should be fewer flubs in this column than there were last week.

Easily the most interesting recent film to come out on DVD this week, Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street (Paramount) is being released by Paramount in both single- and double-disc editions. The big difference, as usual, is one of special features, as the extra disc includes a number of new featurettes, including spotlights on the history behind the Sweeney Todd legend and a doc on Stephen Sondheim's music. But the real keeper is the film itself, a legitimately dark creation, easily the most despairing Burton film to date. Burton's vision complements the already strong material so perfectly that it more than compensates for the not-quite-up-to-snuff singing by stars Johnny Depp and Helena Bonham Carter, who are pretty great otherwise. Sweeney Todd is the filet of this week's new films on DVD, although with such competition as Alvin and the Chipmunks (Fox, also Blu-Ray) and Resurrecting the Champ (Fox), that's pretty faint praise.

Also of note is Warner's The Bette Davis Collection Volume 3, the latest in their exhaustive assembling of box sets featuring the studio era's biggest stars. Normally the selection in these sets are pretty dire, comprised largely of films that weren't ready for a standalone release. However, this set looks unusually strong. Included in the set are the Davis fan favorite Deception, 1943's Watch on the Rhine (which won Davis' costar Paul Lukas a Best Actor Oscar), and In This Our Life, a pre-Hush, Hush... Sweet Charlotte collaboration between Davis and Olivia De Havilland. Other titles in the set are The Old Maid, All This, and Heaven Too, and The Great Lie. As usual, Warner has dug into their vaults and paired each film with their "Warner Night at the Movies" programs, including classic newsreels, cartoons, and trailers. Eventually the well will have to run dry on Davis films as it does with all stars, but this collection should be worth a look.

The only other intriguing DVD release this week- that is, unless you're clamoring for Martin: The Complete Fourth Season or Murder, She Wrote Season 8- is Koch Lorber's trio of new DVD editions of films by the Italian filmmakers Paolo and Vittorio Taviani. Among the films is the American DVD debut of 1993's Fiorile and 1984's Kaos, plus a new edition of their 1982 classic Night of the Shooting Stars. Koch Lorber's DVD releases can be dicey, both in terms of variable picture quality and the lack of special features. However, for those who've been waiting for more of the Tavianis' films to get released on DVD, the wait is over.

Finally, our old pal David Huddleston has returned from his vacation just in time to voice his condolences to the following HD-DVD releases:

Appleseed Ex Machina (Warner)
August Rush (Warner)

Because nothing says "watch this on a bigass HDTV" than a box-office flop about a musical prodigy. Who's with me?

Screengrab Bets the Oscars: Paul's Picks

Paul Clark — Thu, 14 Feb 2008 17:00:00 GMT

All right, Screengrab regulars. You've no doubt taken a gander at the Oscar predictions from Leonard Pierce and Scott Von Doviak, which if nothing else have demonstrated that Screengrab's sense of humor remains intact. Now have a gander at — well, I was going to say the REAL predictions, but since you've already seen my nomination predictions, I can't in good conscience make such a grandiose claim. But Leonard has sent out a call, and I have no choice but to answer it.

Here goes nothing. . .

BEST SUPPORTING ACTRESS: Amy Ryan has been racking up critics' awards, but I think Hollywood insiders could be turned off by her unpleasant character. Saoirse Ronan might have had a shot with a bigger Atonement groundswell, but I don't see it happening now. Ruby Dee, SAG Award or no, should be happy just to be nominated. This brings us to Cate Blanchett as not-quite-Dylan, and Tilda Swinton in Michael Clayton. This is Blanchett's to lose. . . or would be had she not won just three years ago. The performance — more than a stunt — is might impressive, but I think Swinton sneaks in for the upset here.

BEST SUPPORTING ACTOR: Bardem's still the one to beat here, friend-o. If anyone beats him, it'll be Grand Old Actor Hal Holbrook, although his chances would've been better had Into the Wild gotten a Best Picture nomination.

BEST ACTRESS: Leonard and Scott are all about Christie, but I think this is a closer race than they're predicting. Juno lives and dies by Ellen Page's performance, but the voters might find her too young to get behind. I'm going out on a limb and predicting Marion Cotillard as Edith Piaf in La Vie en Rose, though any of these three could take home the Oscar.

BEST ACTOR: You know, had Sweeney Todd made any money at the box office, this could have been Johnny Depp's year. But as it is, Daniel Day-Lewis is untouchable, and anyone who denies it is a bastard from a basket.

BEST ORIGINAL SCREENPLAY: Much as I'd love to see a Ratatouille upset, this race comes down the Hollywood veteran vs. the feisty newcomer. Good as the Michael Clayton screenplay is, this award almost always goes to the most show-offy screenplay, which this year is almost certainly Juno. Add in a Hollywood-friendly backstory and Diablo Cody's sudden ubiquity, and you've got an Oscar waiting to happen.

BEST ADAPTED SCREENPLAY: There Will Be Blood is a masterpiece, but it's more of a directorial and acting showcase than a triumph of screenwriting. Atonement has all the ingredients of an Oscar-bait literary adaptation, but will have to make do with a few technical awards. Which means No Country for Old Men will bring the Coen brothers their second Oscar to date — or third, should the film win Best Editing.

BEST DIRECTOR: Of the nominated directors, the Coens are the Oscar veterans, and are well-liked in the industry. How else to explain an out-of-nowhere screenplay nomination for O Brother, Where Art Thou? back in the day. If anyone has a shot, it's Paul Thomas Anderson, but don't bet on it. Even if there's an upset for Best Picture, when it comes to this category, you can't stop what's coming.

BEST PICTURE: No Country is the favorite here, partly because nobody can seem to agree on what might upset it. I'm still predicting No Country to take this prize, but allow me to float my theory for a possible spoiler: Michael Clayton. Think about it — it's both a thriller and a serious drama, starring an immensely popular movie star and a supporting cast full of familiar and talented character actors. The film contains a lot of appeal for the actor-heavy voting body, especially when you consider that it earned three acting nominations this year while no other film received more than one. If the voting members of the Academy choose to forego the darkness of No Country for something more Hollywood, count on this (more so than Juno, which skews too young and feels too lightweight to be Best Picture material) to be their alternative of choice. Could be worse — at least it's not Crash.

Singing the Praises of "Sweeney Todd"

Phil Nugent — Thu, 07 Feb 2008 17:00:00 GMT

Music critic Terry Teachout salutes Tim Burton and Stephen Sondheim's Sweeney Todd as "easily the most innovative movie of its kind to be made since Bob Fosse’s 1972 Cabaret" and "the best and most artistically serious film ever to be made from a Broadway musical." As Teachout points out, in the early days of al-singing, all-dancing Hollywood musicals, Hollywood routinely raided Broadway for songs and stars and even the titles of hit shows, but generally came up with their own stories for the movie versions; what worked on stage was understood to be different from what worked on screen. "In a Broadway musical, fictional characters sing and dance in everyday situations. On stage, this improbable convention is readily accepted by audiences, since the performers are physically present in the theater and can thus be seen to be 'real,' just as an actor who steps out of the onstage action of a play to address the audience directly does not thereby compromise our sense of his reality. For this reason, stage musicals need not be firmly based on a realistic plot and can make use of non-naturalistic 'presentational' techniques But the live-action sound film, consisting as it does of photographed movement, is essentially a realistic storytelling medium. . . These constraints necessarily caused golden-age film musicals to make use of conventionally naturalistic plots and, typically, to include fewer songs than did stage musicals of the same period. . . Moreover, the songs were far more likely to be performed in settings that 'explained' why the characters were performing them." The popularity of these kinds of movie musicals may have actually led to the development of stage musicals with more focus on dramtic narrative, such as Guys and Dolls, The King and I, and South Pacific, which Hollywood proceeded to transfer to film in rather faithful versions. "Although extremely popular with moviegoers, they were artistic failures: visually static, blandly cast, badly dubbed, far too long. . . and full of stage-specific devices that made little sense when transplanted to the screen."

By contrast, Burton's approach, which was arrived at working in close consultation with Sondheim, was to surgically remake the show in cinematic terms: "the dialogue is minimal, and most of it is accompanied by near-continuous orchestral underscoring so elaborate that the casual viewer might well come away recalling no spoken dialogue whatsoever. The paradoxical effect is to make the film, which contains less music than the stage version, seem even more operatic. No less flamboyantly operatic are the sets, which can best be described as a Gothic caricature of Victorian London, and the film’s grim palette, in which the only bright color is the spurting red blood of the victims whose throats the revenge-crazed Sweeney slashes with his razor." The necessary adjustment is embodied in Johnny Depp, whose performance, with its "cold, hard, shockingly intense reserve", is of a piece with his singing of the title role, which would be inadequate to the demands of a live concert hall but in the context of the movie helps set the intimate connection Burton sought to establish between the people on screen and the audience, to capture what the producer Richard Zanuck calls the effect of "people singing in a room." "The result," Teachout writes, "is a movie that to a considerable degree succeeds in fusing the seemingly incompatible virtues of the golden-age film musical and the postmodern stage musical."

Paul Clark Predicts the Oscar Nominees

Paul Clark — Mon, 21 Jan 2008 19:00:00 GMT

"Nobody knows anything." Screenwriter William Goldman immortalized that phrase a few decades ago, and it's as true this Oscar season as it's always been. Perhaps even more so — not only are many Oscar races still wide-open, but the status of the ceremony itself is up in the air. But for now the show is still happening, which means the nominations are set to be announced tomorrow morning. Here are my hasty, shot-in-the-dark predictions in the top six categories:

Best Picture:
The Diving Bell and the Butterfly
Into the Wild
Juno
Michael Clayton
No Country for Old Men

I think we can all agree that No Country is in, right? Beyond that, it's something of a crap shoot. Michael Clayton is the kind of classy star vehicle the Academy usually responds to, and audience favorite Juno has become too big a word of mouth phenomenon to ignore. At one point, Atonement was looking like a front-runner for the win, but its Oscar buzz has subsided. On the other side of the coin, There Will Be Blood may be too bleak for the voters to embrace — it would have a better chance were it the year's undisputed critical champ, but with No Country in the mix, PTA's masterpiece could be shut out here. Instead, I'm predicting The Diving Bell and the Butterfly, an acclaimed true-life story that's only gaining momentum, and Into the Wild, the year's most Oscar-baity film directed by a respected actor, which is something that tends to go over well with the actor-filled Academy membership.

Best Actor:
George Clooney, Michael Clayton
Daniel Day-Lewis, There Will Be Blood
Johnny Depp, Sweeney Todd
Emile Hirsch, Into the Wild
Viggo Mortensen, Eastern Promises

Even if the Academy decides to overlook There Will Be Blood, they won't be able to deny the awesomeness of Day-Lewis' blazing performance as Plainview. Likewise, Clooney and Depp have recently become Academy favorites, and I dare say that had Sweeney Todd done more business Depp would've been the one to beat here. Hirsch is a bit iffier here given his age, but he carries Into the Wild on his capable shoulders, and if the film gets nominated I'm guessing he will be too. With the recent groundswell for The Diving Bell and the Butterfly, I think Matthieu Amalric should be seen as a contender here, although not nearly as much as if he was an American star. Instead, I'm going with Mortensen — Eastern Promises didn't exactly set the world on fire, but his performance was the highlight, and I think voters will take the opportunity to honor him not only for this role but also for his overlooked turns in A History of Violence and the Lord of the Rings trilogy.

Best Actress:
Amy Adams, Enchanted
Julie Christie, Away From Her
Marion Cotillard, La Vie en Rose
Angelina Jolie, A Mighty Heart
Ellen Page, Juno

Throughout this awards season, three names kept popping up in this rare — Christie, Cotillard, and Page. So it's pretty safe to assume they'll make it in. That leaves us two spots in a relatively weak year for buzzed-about performances (sadly, Black Book's Carice Van Houten has no traction whatsoever). With very little competition, Jolie should make the cut — the film didn't make much of a dent, but her stardom has kept her in the race. The final spot is anyone's guess. High-profile star turns (Jodie Foster in The Brave One, Cate Blanchett in Elizabeth: The Golden Age) have flopped at the box office, while respected performers in independent films (notably Laura Linney in The Savages) have been lost in the year-end shuffle. That leaves Amy Adams in Enchanted, a star-making performance by a previous nominee in a hit movie that's still fresh in people's minds.

Best Director:
Paul Thomas Anderson, There Will Be Blood
Joel and Ethan Coen, No Country for Old Men
Tony Gilroy, Michael Clayton
Sean Penn, Into the Wild
Julian Schnabel, The Diving Bell and the Butterfly

At this point, Best Director is the Coens' to lose. Even if someone else takes home Best Picture, I think it's still their year in this category. I also think the Directors Branch will be impressed by Sean Penn's metamorphosis into serious filmmaker, as well as Schnabel's unconventional, inspired filmmaking choices in Diving Bell. For this year's semi-obligatory non-Best Picture-nominated director, I'm predicting Anderson, a respected maverick whose filmmaking chops in There Will Be Blood are undeniable even if the film itself is too much for some audiences. Of the two remaining Best Picture nominees, I think Gilroy has the edge over Juno's Jason Reitman for two reasons: (1) crowd-pleasing comedies tend to get shut out of this category, and (2) Gilroy is a veteran screenwriter makes an impressive directorial debut. But don't be surprised if another "lone director" — say, Sidney Lumet for Before the Devil Knows You're Dead, or Tim Burton for Sweeney Todd — gets the nod instead.

Best Supporting Actor:
Javier Bardem, No Country for Old Men
Philip Seymour Hoffman, Charlie Wilson's War
Hal Holbrook, Into the Wild
Tommy Lee Jones, No Country for Old Men
Tom Wilkinson, Michael Clayton

In a year without Bardem, this race might have come down to Grand Old Actor Holbrook vs. veteran character actor Wilkinson. But Bardem casts a long shadow over this category, with Chigurh the creepiest villain in an Oscar-feted film since Hannibal Lecter. Charlie Wilson's War wasn't the Oscar juggernaut that it was predicted to be, but I still think Hoffman's scene-stealing turn will make it in. I think this year's biggest surprise will be the absence of Casey Affleck's performance in The Assassination of Jesse James by the Coward Robert Ford. Affleck's the only serious competition Bardem has had among the precursor awards, but Jesse James was a box-office flop and Affleck's performance could give voters the willies. Max Von Sydow's affecting turn in The Diving Bell and the Butterfly might have had a chance here — as a means of honoring one of the world's most esteemed actors and, by extension, his recently-departed longtime collaborator Ingmar Bergman — except that he might not have enough screentime to be a contender. Instead, I'm giving the edge to Jones, an Academy favorite who came roaring back this year to give two acclaimed performances after a decade's worth of commercial crap.

Best Supporting Actress:
Cate Blanchett, I'm Not There
Catherine Keener, Into the Wild
Kelly MacDonald, No Country for Old Men
Amy Ryan, Gone Baby Gone
Tilda Swinton, Michael Clayton

Once again, three names keep popping up in this category: Blanchett, Ryan, and Swinton. I think they'll all get nominated, though who will win remains to be seen (early shot-in-the-dark prediction: a Swinton upset). The other two spots are less certain. But consider that, more than any other category, the Best Supporting Actress nominees are largely composed of performers who starred opposite other Oscar nominees. In this respect, I think contenders such as Ruby Dee in American Gangster, Marisa Tomei in Before the Devil Knows You're Dead, and especially Saoirse Ronan in Atonement, are at a disadvantage here. Instead, I'm predicting the fourth spot to go to Catherine Keener, getting her third nomination in this category for her moving turn in Into the Wild. The final slot comes down to Jennifer Garner in Juno and Kelly MacDonald in No Country for Old Men. Despite Garner's greater name recognition, I'm giving the edge to MacDonald, both for No Country's frontrunner status and for playing one of Oscar's favorite characters, the supportive, long-suffering wife. But honestly, it could go either way.

Watch for the Oscar nominations tomorrow, January 22. And remember, nobody knows anything.

Globes Without Glitter

Phil Nugent — Mon, 14 Jan 2008 18:43:00 GMT

The 65th annual Golden Globes were announced last night, getting the awards season off to a wobbly start. After much speculation about whether No Country for Old Men or There Will Be Blood might be the front runner as the Oscar race heats up, the Golden Globe for Best Drama went to the Ian McEwan adaptation Atonement, a sturdy vote for respectable literary source material, period romance, and clipped accents in these confusing times. (Another perceived front-runner competition that's been heating up movie message boards, the one between Julie Christie in and Marion Cotillard in Ma Vie en Rose, was effectively defused in this round by the Globes' method of breaking up its movie categories into as many different sub-categories as possible: Christie won the award for Best Actress in a Drama, Cotillard won for Best Actress in a Musical or Comedy.) Daniel Day-Lewis did won for Best Actor in a Drama for his work in There Will Be Blood, while No Country took home prizes for Best Supporting Actor (Javier Bardem) and for its Coen brothers screenplay. The Best Director award went to Julian Schabel for The Diving Bell and the Butterfly, which also won for Best Foreign Language Film. Rounding out the big winners were Sweeney Todd (Best Musical or Comedy) and its star, Johnny Depp (Best Actor in a Musical or Comedy), Cate Blanchett (Best Supporting Actress for I'm Not There), and Ratatouille (Best Animated Feature Film).

Of course, as the strike by the Writers' Guild of America drags on into its third month, the big question was whether there would be any awards ceremony or not. NBC, which had the rights to this year's presentation, grimly held to its plans to broadcast something, but it wasn't until last Friday that it was announced that union picketers would not show up to protest the event. By that time, most celebrities who might otherwise have attended had made other plans. The awards were given out, but in a press-conference-style format presided over by announcers from entertainment-news shows such as and Inside Edition. The winners will have news of their glad tidings duly Incorporated into the ads for those movies that are still playing, but the general feeling is that, compared to the impact of previous years' awards ceremonies, the whole thing was a wash. Daniel Battsek, president of Miramax Films, laments that "you can’t replace having the clips and the people who made the films on television. It’s impossible to predict the impact of the lack of a full-on ceremony. But we are all in the same boat. No one will get an advantage.”

Top Ten of 2007: Leonard Pierce

Leonard Pierce — Thu, 03 Jan 2008 17:00:00 GMT

Unlike many of my fellow bloggers here at the Screengrab, who live in urbane, sophisticated metropoli, I make my home in San Antonio, Texas. We have a ratio of approximately one movie theatre for every million people here, and "art house" is just what the locals call a museum. I hear if we play our cards right, we might be getting a one-week screening next year of that movie The Graduate all the cool kids are talking about, but until then, it's pretty much Transformers on nineteen of the twenty-four screens down at Huebner Oaks. So you'll forgive me if my list leans pretty heavily on stuff that's already available on Netflix; at least half the movies on my list were ones that I had to drive an hour up to Austin to even have a chance of seeing before their DVD release, and there's more than a few movies that likely would have a chance of appearing here (I think specifically of There Will Be Blood and Syndromes and a Century) that there was simply no way for me to see before the year was up. Still, I'll be happy to go along with the prevailing wisdom that 2007 was an especially rich year for film; there was plenty to see, even if you had to go out of your way to see it.

#10: THE LIVES OF OTHERS (Florian Henckel von Donnersmarck, dir.)

Although it was released in 2006, this masterful film from Germany didn't receive an American audience outside of the Telluride Film Festival until February. It was well worth the wait. Far too many movies that pick up Best Foreign Film Oscars are the international doppelgangers of Best Picture winners -- overblown, overpraised, middlebrow 'prestige' pictures lacking in resonance, depth and any particular qualities that will result in their being remembered far down the line. But The Lives of Others -- best thought of as a brilliant reworking of The Conversation against the dreadful backdrop of Soviet East Germany -- deserved every bit of praise heaped on it by critics both here and abroad. It's a stunning, terrifying film, brilliantly illustrating Hannah Arendt's 'banality of evil' in the person of the astonishing Ulrich Mühe.

#9: SWEENEY TODD, THE DEMON BARBER OF FLEET STREET (Tim Burton, dir.)

One of the few of a year-end spate of high-profile films that I actually got a chance to see, Sweeney Todd is Tim Burton's adaptation of the notoriously blood-soaked and difficult Stephen Sondheim musical. I've never been especially fond of Tim Burton as a director, but the qualities of his filmmaking that usually work against him -- the broad emotional strokes, the barely-held-together plots, the characters as caricatures, and the meticulous set design at the expense of believability -- are turned into such strengths that it's hard to believe no one ever had the idea of having him do a musical before this. The result is certainly the best film he's ever done and likely the best film he'll ever do, an absolutely gorgeous thing to look at, and with some surprisingly fine performances. One of the best musicals I've ever seen.

#8: EASTERN PROMISES (David Cronenberg, dir.)

Conversely, I've long been a staunch defender of David Cronenberg's, even with films like Crash and Spider, which met with widespread revulsion from a lot of my fellow critics. Unfortunately, I found his most celebrated film -- 2005's A History of Violence -- sadly lacking, a formulaic and uninspiring drama that bore so little of his unique imprint as a filmmaker that it could have been directed by almost anyone. If the Russian mob drama Eastern Promises isn't strong enough to stand alongside his greatest works, though, it's at least a return to form and a revisiting of some of the themes -- muddled self-identity, the grace and brutality of violence, and a simultaneous revulsion at and fascination with the human body -- that have made him one of the signature talents of the day. Plus, naked Viggo Mortensen, ladies!

#7: BEFORE THE DEVIL KNOWS YOU'RE DEAD (Sidney Lumet, dir.)

If you'd have told me last year -- hell, if you'd told me twenty years ago -- that one of the best film of 2007 would be by ancient journeyman Sidney Lumet, I'd likely have scoffed. But damned if the old trooper doesn't turn in a remarkably swift and sure-handed job behind the helm here, presenting a neo-noir thriller about a simple caper gone disastrously wrong that wouldn't be entirely out of place in the early 1960s and yet never loses a fresh sense of modernity. Before the Devil Knows You're Dead isn't a groundbreaking piece of cinema art; it's simply an assured, highly professional piece of moviemaking of the sort we rarely see anymore, and which Lumet is eminently qualified to give us. It's further bolstered by a dynamite performance from Philip Seymour Hoffman, who has simply owned 2007 on screen.

#6: LUST, CAUTION (Ang Lee, dir.)

Ang Lee continues to be the most versatile moviemaker in the business with his best work since Crouching Tiger, Hidden Dragon; if he is absolute master of no genre, he at least never ceases to amaze with his ability to dive confidently into all genres. Bouyed by astonishing performances so tightly controlled and confidently directed that they seem drawn from lost Wong Kar-Wei footage, Lust, Caution maintains a killing pace throughout and doesn't fail to deliver on its near-constant sense of tension and frustration. The much-discussed sex scenes are indeed intense and scarily erotic, but they also accomplish something that's so rarely done that it's become an industry joke: they're not arbitrary, but essential, not only to the plot, but also to the slow but inexorable revelation of the nature of the characters.

#5: THE DIVING BELL AND THE BUTTERFLY (Julian Schnabel, dir.)

I was never fond of Julian Schnabel, the visual artist, and while I thought that his debut film, Basquiat, showed promise, I tended to agree with the New York art critic Robert Hughes, who called it a movie about the worst painter of the 1980s made by the second worst. I'm not sure what Hughes has to say about The Diving Bell and the Butterfly, but I think it's an amazing film by a director who's finally come into full posession of the tools of his craft. Schnabel has said that he still considers himself an artist first and a director second, but this visually rewarding, complex and beautiful movie is better than anything he ever put to canvas, and even without the tremendous lead performance by Mathieu Amalric, it would be a film worth watching for its mastery of internal landscapes far richer than Schabel's art ever suggested.

#4: MANUFACTURED LANDSCAPES (Jennifer Baichwal, dir.)

In what is widely regarded as a banner year for documentaries, the finest one I saw had nothing to do with the war in Iraq, the peccadilloes of the president, or the politics of personality. Instead, it was a little-seen film about a little-known photographer named Edward Burtynsky. His photographs -- and the like-minded film by Jennifer Baichwal -- document the vastness and power of man-made constructs, and convey the awe and the terror one feels at observing objects, from China's Three Gorges Dam to American junkyards, that are made by the hand of humans but can dwarf or even overwhelm the natural surroundings in which they appear. A slow-paced, deliberate, and provocative film made as a collaboration between two artists who understand each other in an perfectly asynchronous way.

#3: ZODIAC (David Fincher, dir.)

Much has been made of the fact that David Fincher, best known for his visual pyrotechnics, allegedly made his most successful film without them. That's not entirely true; among other scenes, the opening drive-by tracking shot, the first murders, and the construction montage of the San Francisco skyline can stand next to some of the most stylish set-pieces in his other films. But it's undeniable that his best film to date, and one of the best films of the year, is at its best when he simply stands back and lets the audience become spellbound with the absorbing interplay of his characters. A fascinating treatment of the nature of obsession and a subtle treatise on the way we become ensnared in the grotesque and the perverse, Zodiac is revelatory in the way it defies expectations of what a serial-killer drama should be.

#2: BRAND UPON THE BRAIN! (Guy Maddin, dir.)

Guy Maddin has been quietly establishing himself as one of the finest, most idiosyncratic directors in the world for several years now, and Brand Upon the Brain! is both his most autobiographical film to date (the lead character in the film is, well, Guy Maddin, ably and amusingly played by young Sullivan Brown) and his best. There was some fear amongst critics who had a chance to see it in its 'touring edition' -- a live extravaganza featuring on-site music, celebrity voice-overs and sound effects composed right there in the theater -- that the film wouldn't hold up without all the show-stopping theatrical gimmicks, but they needn't have worried: this is the purest distilliation of Maddin's unique sensibilities as a filmmaker: sexual obsession, throwback surrealism, fantastic dreamscapes, and madness as part of the everyday.

#1: NO COUNTRY FOR OLD MEN (Joel & Ethan Coen, dirs.)

There are plenty of filmmakers who would trade their favorite limb for a track record like Joel and Ethan Coen -- from 1984 to 2001, they didn't make a bad film, and the 9 features they put in the can over those 17 years add up to the most robust corpus by any living American filmmaker you can name. Things started to go awry with Intolerable Cruelty and The Ladykillers; many placed the blame on the fact that, for the first time, the Coens were filming material they didn't write. That's not a problem with No Country for Old Men, a triumphant masterpiece of genre filmmaking based on a minor Cormac McCarthy novel that once again places the brothers (credited, for the first time ever, as co-directors) where they belong: at the very pinnacle of American moviemaking. An astonishing comeback that will be discussed for decades.

Today in the Nerve Film Lounge: Sweeney Todd, Charlie Wilson's War, Flakes, Senator Obama Goes to Africa

Peter Smith — Fri, 21 Dec 2007 17:45:00 GMT

Sweeney Todd: "Stop me if you've heard this one before."

Charlie Wilson's War: "Pretty entertaining — and thus, in a way, that much more obscene."

Flakes: "We can only guess that Flakes is so named because the action centers around a cereal bar, and not because the premise itself is flaky."

Senator Obama Goes to Africa: "More political propaganda than international-awareness builder, but that doesn't mean it's not a good film."

Cutting Up "Sweeney Todd"

Phil Nugent — Thu, 20 Dec 2007 17:00:00 GMT

Although a handful of Stephen Sondheim's musicals have been staged for TV (including a Showtime transcription of Sweeney Todd that featured the original Broadway cast member Angela Lansbury, the new Tim Burton-directed Sweeney Todd will only mark the third time that a show for which Sondheim wrote both music and lyrics has been turned into a movie. The first, A Funny Thing Happened on the Way to the Forum, directed by Richard Lester in 1966, was made before Sondheim fully developed his personal style in the early 1970s with such musicals as Follies and Company, and the 1978 A Little Night Music, directed by Harold Prince, was a thorough waste of everyone's time. Even though the original show was based on a movie, Bergman's Smiles of a Summer Night, the film version was flat and stagebound, a problem unlikely to recur under Beetlejuice's creator. Sondheim himself, speaking to Jesse Green in the New York Times, makes it clear that he has no use for those earlier movies, nor even for the more highly regarded movies Gypsy and West Side Story, both based on stage musicals for which he wrote the lyrics. "The problem is," he says, "what do you shoot in something like 'Tonight'? You get a close-up of him, a close-up of her, a medium shot of the fire escape. It’s the same problem with so many of those other movies. The director has to fill out three or four minutes of what is essentially a static song, which holds your attention on the stage because that’s part of the theatrical convention. Whereas for me, as a movie buff, I want the action to move forward constantly, and it doesn’t. They may have little camera diversions and a trick here or there, but they’re just filming a stage musical, and that’s not for me.” It's a good thing that Sondheim himself understands the differences between movies and stage musicals, because his contract ensured that he had to sign off on the changes made to Sweeney Todd for the movie, and after each moment of initial shock wore off, he signed off on some doozies, such as agreeing to eliminate the thematic linking song "The Ballad of Sweeney Todd" because it would have slowed down the action, as well as pruning the "sunnier" songs in order to maintain the dark, Gothic atmosphere that Burton strove to achieve with this material--not that he wouldn't probably strive to achieve it if he were remaking My Friend Flicka. If legions of Broadway babies are fated to respond to every change in the original text by acting as if their throats have been sliced, Sondheim can deal with that; the adaptation process demands that "you've got to be ruthless," he says. Sing it, brother!

YouTube Cabinet of Curiosities: Sondheim on Film

Paul Clark — Tue, 18 Dec 2007 17:00:00 GMT

With the release of Tim Burton's version of Sweeney Todd this weekend, there’s sure to be a renewed interest among non-theatre buffs in the other works of Stephen Sondheim. To commemorate the occasion, I’m posting videos of two of Sondheim’s most iconic songs, as presented on film. First, here’s his old favorite “Send In the Clowns,” from A Little Night Music. It’s performed in the film version by Liz Taylor, whose voice isn’t exactly ideal for the song, but whose performance is a spectacle all the same. Check it out:

Another of Sondheim’s most enduring musicals is Company, which has yet to be adapted for the big screen. Company’s showstopping number “The Ladies Who Lunch” has been sung on various occasions by Carol Burnett (in the Sondheim revue Putting It Together), Barbara Walsh (in the 2006 Broadway revival), and then-17-year-old Anna Kendrick in the 2003 film Camp. But for sheer powerhouse charge, none can match Elaine Stritch’s take on the song on the original cast album. Here, in two segments, is Stritch performing take after take of the tune in D.A. Pennebaker’s 1970 documentary Original Cast Album: Company, a performance that’s even more impressive considering she’s singing it at 4:00 AM at the tail end of a nearly 18-hour cast recording session. Enjoy!

SWEENEY TODD opens nationwide this Friday. A LITTLE NIGHT MUSIC and ORIGINAL CAST ALBUM: COMPANY are available on DVD.

Morning Deal Report: Objectif Ecran

Peter Smith — Mon, 17 Dec 2007 16:00:00 GMT

Andy Serkis has joined the cast of the Spielberg/Jackson Tintin. Looks like this thing is really happening. As a Tintin diehard from days past, I have mixed feelings about that, but we'll just have to see.

The Golden Compass is performing a lot better in those godless "other countries" you've heard so much about; go figure.

Paramount is charging extra for theaters to run Sweeney Todd, and at least one chain is boycotting in protest. Folks, I've seen Sweeney Todd, and it has way too much arterial spray to capture that precious family-holiday mammon. Woe to the family that walks in there by accident.

Morgan Freeman draws nearer to his long-standing goal of adapting Arthur C. Clarke's Rendezvous with Rama. That's a very oblique, mysterious book, without a huge amount of action. The only director I can imagine honoring it is (well, duh) Stanley Kubrick. The rumored director — David Fincher — not so much.

— Peter Smith

Trailer Roundup: Sweeney Todd, There Will Be Blood, August Rush

Peter Smith — Mon, 15 Oct 2007 16:00:00 GMT

Sweeney Todd: The Demon Barber of Fleet Street

When it was announced that Hollywood was finally going to adapt Steven Sondheim’s hit musical, it seemed a no-brainer for Tim Burton to be tapped to direct. Yet judging by the trailer, I’m not sure he was the right choice. Sure, Burton has become the go-to guy for dark-yet-commercial, but Sweeney Todd is unpleasant stuff, and Burton’s tendency towards cartoonish style and scary-yet-sensitive man-children may lead him to soft-pedal the story’s less savory aspects. Too bad, because Sweeney Todd could be a hell of a movie if made right. Jury’s still out on the singing voices of the actors — Sweeney’s a demanding role vocally, and Depp mostly speak-sings his one song in the trailer. But let’s not forget that (a) a really strong voice isn’t altogether necessary when you’ve got multiple takes and post-production facilities at your disposal, and (b) for whatever reason Hollywood studios are still reluctant to give musicals an all-out singing-and-dancing push. Perhaps they’ve realized that the core audience for musicals is both older and more female than the demographic of teenage boys they court so aggressively?

There Will Be Blood

Oh man, I’m so pumped (sorry) for this. Every P.T. Anderson film is an event for a certain strain of filmgoer, but this could be even more than that. Blood appears to be as much of a departure as Punch-Drunk Love was. Unlike many filmmakers of his generation, he’s impossible to pigeonhole. And that he’s got Daniel Day-Lewis on board this time only makes this even more promising. Here’s a director who got startling performances from Burt Reynolds and Adam Sandler, neither a particularly acclaimed thespian, and so a collaboration with the most uncompromising talent among recognizable "name" actors is pretty irresistible. Based on ecstatic early word coming out of Austin’s Fantastic Film Fest, my high hopes seem to be justified. Also, just to clear something up: There Will Be Blood is the new Paul Thomas Anderson movie. It is not the new Saw movie. Get it? Got it. Good.

August Rush

Let’s see: cute kids, music, an orphan trying to find his parents. If this weren’t in English it’d be a shoo-in for the Best Foreign Language Film Oscar. But as it is it’s a big-studio release, so it’s got to stand on its own merits. I’ve got nothing against anything this movie is about, but August Rush looks like it’s been calculated for maximum tear-extracting shamelessness. And just when you don’t think it could look any more dire, Robin Williams shows up in full twinkling-eccentric mode as a inspirational street-corner guitarist in a cowboy hat. At least Terrence Howard is around to deliver the trailer’s one good moment, when he asks the long-lost mom played by Keri Russell the question on everyone’s mind — "Why’s it so important that you want him now?"

— Paul Clark