Articles | Movie Reviews from the Dark

OZ: The old and new

March 5, 2013

Director Sam Raimi has a quasi pre-quel to the classic 1939 The Wizard of Oz opening nationwide on Friday March 8. Because of production rights, Mr. Raimi was limited to the source material from L Frank Baum’s book and not allowed to borrow from the film. His cast includes James Franco, Michelle Williams, Mila Kunis and Rachel Weisz. I won’t spoil the surprise of who is the Wicked Witch this time around, but just for fun, let’s compare the witches from the original to witches in this version.

The great Margaret Hamilton played the dual roles of the Wicked Witch of the West and Miss Gulch:

Here are the photos of the three witches in Oz the Great and Powerful

I’ll leave it to you to decide what the difference might be.

Here is the trailer:

http://www.youtube.com/watch?v=_1NGnVLDPog

Leave a Comment » | Articles, TMI Dailies | Tagged: Margaret Hamilton, Michelle Williams, Mila Kunis, Rachel Weisz | Permalink
Posted by David Ferguson

OSCARS recap (2013)

February 25, 2013

“Seth MacFarlane was awesome!” “Seth MacFarlane sucks!” “Who is Seth MacFarlane?”

No matter which of the above reactionary groups you fall into, the members of the Academy are beside themselves with happiness today. You might ask why. The simple answer is RATINGS! TV Ratings in the coveted 18-49 demo jumped up 19% over last year. However, since you and I are not in the TV ratings business, it’s more fun to discuss The Oscars from our perspective as viewers and movie lovers.

As previously stated in my Oscar Predictions, outside of a couple of “no brainers”, this was a particularly difficult year to predict. No single movie was positioned to “run the table” and in fact, nine different films were named winners in 18 different categories featuring wide releases. Life of Pi led the way with 4 Oscars; Argo and Les Miserables had three each; Lincoln, Django Unchained, and Skyfall had two apiece; and Silver Linings Playbook, Zero Dark Thirty and Anna Karenina each had one. Bruce, a loyal and informed blog follower from San Antonio, pointed out the rare result of a different film winning for each of the “Big 6” categories: Best Picture (Argo), Best Director (Life of Pi), Best Actor (Lincoln), Best Actress (Silver Linings Playbook), Supporting Actor (Django Unchained), Supporting Actress (Les Miserables). Given all of this, I feel quite satisfied with correctly predicting 19 of the 24 categories.

In addition to host Seth MacFarlane, also new to the Oscar presentation were show producers Craig Zadan and Neil Meron. They were Executive Producers on Best Picture winner Chicago (2002). There was an awkward pre-show opening with Chicago star Queen Latifah, followed by a bizarre gag with William Shatner appearing from the future as Captain Kirk from Star Trek … evidently the purpose of which was to make advance apologies for a weak show that was just beginning. Later, an inordinate amount of stage time was allowed for a Chicago musical number by Catherine Zeta-Jones; and then Mark Wahlberg and the bear (voiced by MacFarlane) from MacFarlane’s summer hit Ted took to the stage. If all that wasn’t enough, the Chicago cast reunited to present two awards. While we are accustomed to excessive narcissism in Hollywood, but this was just too much “Hey, look at me!”

My favorite performance of the evening was when 76 year old Shirley Bassey brought the full house to their feet with her rendering of the great James Bond theme from Goldfinger. Her still powerful voice saved the 50^th Anniversary celebration of the Bond franchise (after a weak montage), and later Adele delivered a soulful version of the Skyfall theme, the first Best Original Song winner from a Bond film.

Other good and not so good (I’ll leave it to you to categorize as you wish):

* Daniel Day-Lewis (Lincoln) became the first 3 time Best Actor winner, and gave a very classy and gracious acceptance speech

* Barbra Streisand performed on the Oscar stage for the first time in 36 years

* Sally Field got her moment in the spotlight thanks to a strange segment paying tribute to her old TV show “The Flying Nun” (1967-70)

* Seth MacFarlane served up tasteless jokes on Chris Brown/Rhianna (neither a movie actor) and Abraham Lincoln (the President, not the movie).

* Quentin Tarantino paid tribute to actors and also proclaimed this the year of the writer

* Ang Lee showed again what a nice man he is, though he missed an opportunity to show support for Rhythm and Hues

* There was no shortage of Oscar winning men with hair longer than Alexander Gudunov in Die Hard (1988)

* Tommy Lee Jones smiled on camera less than 2 minutes into the ceremony

* The Sound Editing category produced just the 6^th TIE in Oscar history

* Anne Hathaway purred “It came true” … the most contrived prepared line of the evening

* The producer of the Oscar winning Animated Short Film Paperman was ejected from the ceremony … for throwing paper airplanes (a key component in the film)

* Ben Affleck stated no matter how many times you get knocked down, what matters is getting back up … proof that millionaire movie stars think starring in a bad movie (Gigli) or two (Jersey Girl) or three (Daredevil) actually qualifies as getting knocked down.

* The first Oscars featuring sock monkeys in an integrated cockpit

* Nine year old Quvenzhane Wallis (Beasts of the Southern Wild) spoke for women everywhere when she admitted selecting her dress because “it was sparkly and fluffy” (she accessorized with a puppy purse!)

* Ann Rutherford starred in 60+ movies, including Gone with the Wind but didn’t warrant inclusion during the In Memoriam section

* Andy Griffith starred in one of Elia Kazan’s finest movies (A Face in the Crowd) but didn’t warrant inclusion during the In Memoriam section

* Harvey Weinstein flexed his enormous Hollywood power-player muscles and arranged for First Lady Michelle Obama to present the Best Picture Oscar from the White House … A perfect ending to a show that, at times, seemed to treat movies as an afterthought.

After The Oscars, Jimmy Kimmel ran a tribute/spoof of Life of Pi that featured singer Psy:

http://www.youtube.com/watch?v=5ZddNn22kOU

2 Comments | Articles | Tagged: Academy Awards, Oscars, Seth MacFarlane | Permalink
Posted by David Ferguson

OSCAR PREDICTIONS (2013)

February 23, 2013

Every year I boldly offer up my Oscar predictions prior to the ceremony. This seems like a good year to rant a bit about my perception of the Academy Awards. As a guy who spends an inordinate amount of time in movie theatres, and then takes that obsession even further by spending hours writing about those movies, I’ll admit that I enjoy the Academy Awards ceremony as a celebration of movies. That said, what I find absurd is the “competition” and the ridiculous designation of “Best” in any category. I view movies as an art form and while I often select my FAVORITE movies, I find judging the “best” to be as ridiculous as selecting the best sculpture or painting. Admittedly, I feel the same about Olympic sports that are decided by a panel of judges. When judging is involved, then opinions are involved. When opinions are involved, then politics and personal vendettas become involved. Whatever your feelings toward Hollywood, you probably acknowledge no shortage of opinions, politics and vendettas in that world. To think that these emotional, artistic beings can be objective when voting is naïve at best. Enough of the rant, let’s discuss the movies!

It was a huge year at the box office. Six of the nine “Best Picture” nominations have gone over $100 million at the domestic box office, and another, Zero Dark Thirty, is almost there. As a comparison, of last year’s nominations, only The Help reached $100 million domestically. Most surprising, the indie hit Beasts of the Southern Wild actually provided the best financial return of all the nominees, as its $12.5 million box office is 8 times its measly production cost of only $1.5 million (over 700% return!). Life of Pi is approaching $600 million worldwide, while Les Miserables and Django Unchained are nearing $400 million. What’s really impressive about these numbers is that none of the nominated films cracked the Top 10 Worldwide Box Office for 2012 releases. Three movies eclipsed the $1 Billion mark: The Avengers, Skyfall, The Dark Knight Rises (plus, The Hobbit: An Unexpected Journey will get there in the next couple of weeks). In all, 69 releases went over the $100 million mark in worldwide box office.

So let’s talk Oscars. There are a few “obvious” picks, but an unusually high number of categories that could go two or three different ways. There will be surprises and it’s a very challenging year for predictions; but that doesn’t frighten me … especially since I have nothing at stake. Some specifics of the Oscar politics this year include the scandals revolving around the three historical dramas: Lincoln, Argo, and Zero Dark Thirty. Somehow the dramatic license taken by Lincoln and Zero Dark Thirty has created a storm of controversy for those films, while the Hollywood-created climax to Argo has it being adopted like a wet puppy. Similarly, a “Saturday Night Live” gag by Jennifer Lawrence escalated into a “she hates Jessica Chastain” campaign by the media. And in a bizarre twist, a stoic face amidst Golden Globes laughter has caused Tommy Lee Jones to be labeled as the guy who just doesn’t care enough. And none of those match the outrage voiced by critics when Ben Affleck and Kathryn Bigelow did not receive Best Director nominations. Movie Critics are not known for their math skills. Nine Best Picture nominations and five Best Director nominations equates to four Directors who aren’t nominated despite their films being named. The “I guess the movie directed itself” argument is lame and misplaced. Still, there is a good chance that Argo wins Best Picture in a year when its director was not nominated. That’s only happened 3 previous times.

This year’s Oscar event is being hosted by the very talented and somewhat strange Seth MacFarlane. If you don’t know the name, he is the creative genius behind such money-makers as “Family Guy” and Ted. He has voiced an incredible number of characters including Peter, Brian and Stewie from “Family Guy” and Ted from Ted, and is even nominated for an Oscar for co-writing a song from Ted. MacFarlane’s humor can run to the crude and rude, but he is also a classically trained singer, so expect a song to go with his many voices. The program will also feature the first Academy Awards performance from Barbra Streisand in many years, but what’s much more exciting than all that is that the show will feature a 50^th Anniversary James Bond tribute. All of the actors who have portrayed 007 have been invited (expect some no-shows), and as a special bonus the great Shirley Bassey is set to perform. She belted out my favorite all-time Bond theme with Goldfinger, as well as Diamonds are Forever and Moonraker.

As is my tradition, you will find both my PREDICTION and my PREFERENCE for each of the 24 categories.

BEST PICTURE

Prediction: ARGO. Ben Affleck’s true life drama has swept the Guild’s: Producer, Director, Writer, and Screen Actor. Lincoln and Silver Linings Playbook would be the only possible surprise winners, but anything other than Argo would actually be a shock!

Preference: Lincoln. It leads all films with twelve nominations, but its best chances are in Best Actor and Best Supporting categories. On the bright side, the DVD is being shipped to every middle school and high school in the United States.

BEST DIRECTOR

Prediction: ANG LEE (Life of Pi). With Argo a likely winner and its director (Ben Affleck) not nominated, this category is wide open. Expect the beloved Ang Lee to edge out Steven Spielberg (Lincoln) and David O Russell (Silver Linings Playbook)

Preference: Ang Lee (Life of Pi) While Lincoln was my favorite movie of the year, Ang Lee directed the one movie that was based on an “unfilmable” book … and did so with breath-taking flair.

ACTOR IN A LEADING ROLE

Prediction: DANIEL DAY-LEWIS. The one absolute this evening. DDL will become the first ever three time Oscar winner for Best Actor. Katherine Hepburn was a four time winner for Best Actress, but no man has won three times. His performance was transcendent.

Preference: Daniel Day-Lewis. I will say that Joaquin Phoenix was terrific in The Master and it’s wonderful that Bradley Cooper became a “real” actor in Silver Linings Playbook.

ACTRESS IN A LEADING ROLE

Prediction: JENNIFER LAWRENCE. This is a three way race that includes Emmanuelle Riva (Amour) and Jessica Chastain (Zero Dark Thirty). If the SNL gig didn’t cost Ms. Lawrence too many votes or Ms. Riva doesn’t capture too many “last chance” votes, the most exciting young actress working today will win her first Oscar. If Ms. Riva wins, she will be the oldest ever Oscar winner, and if Quvenzhane Wallis (Beasts of the Southern Wild) wins, she will be the youngest ever Oscar winner … though she would never win if Oscar voters had to correctly spell her first name without looking.

Preference: Jennifer Lawrence. I thoroughly enjoyed all five performances in this category, and in many other years, Naomi Watts (The Impossible) would have been the frontrunner.

ACTOR IN A SUPPORTING ROLE

Prediction: ROBERT DENIRO. The frontrunner since the nominations were announced has been Tommy Lee Jones, so this is a risky prediction. All five nominees have previously won an Oscar, but incredibly, it’s been 32 years since DeNiro last won. What a talented group!

Preference: Robert DeNiro or Christoph Waltz. It was thrilling to see DeNiro engaged again, and those who claim Waltz simply reprised his Inglourious Basterds character really missed out, though the argument could be made that Samuel L Jackson was the key support role for Django Unchained.

ACTRESS IN A SUPPORTING ROLE

Prediction: ANNE HATHAWAY. Aside from Best Actor, this is probably the next sure thing. It’s remarkable to think she may win based on one scene and one song and one haircut. Some have Sally Field in an upset here (hope not!), and Amy Adams and Jacki Weaver are two of my favorite actresses. Unfortunately, neither of their nominated roles really pushed them.

Preference: Anne Hathaway. The song was outstanding, even though her couple of other scenes were very distracting for me. Still, her song is more impressive than Sally Field’s 25 pound weight gain.

ANIMATED FEATURE FILM

Prediction: BRAVE. It’s a two film race between Brave and Wreck-it Ralph, and the demographic breakdown of the Academy leads me to believe the “safe” pick will win over the more impressive one, but this could go either way.

Preference: Frankenweenie. While this has been Tim Burton’s pet project for two decades, I have an emotional attachment to it as well. It’s a shame more people didn’t give it a chance. It’s a beautiful film with terrific characters.

DOCUMENTARY FEATURE

Prediction: SEARCHING FOR SUGARMAN. A wonderful feel-good story of re-discovery and second chances that did very well at the box office and with its soundtrack. The movie has a surreal feel to it, and face it, we need upbeat stories coming out of Detroit these days. The Gatekeepers or How to Survive a Plague could sneak in, but it’s doubtful.

Preference: Searching for Sugarman.

MUSIC (ORIGINAL SCORE)

Prediction: Mychael Danna (Life of Pi). Alexandre Desplat (Argo) and John Williams (Lincoln) could easily win, but much of Life of Pi depended on the score, while the others were more complimentary and traditional.

Preference: Mychael Danna (Life of Pi). It was nice to see Thomas Newman nominated for Skyfall because the score was crucial for that film as well.

MUSIC (ORIGINAL SONG)

Prediction: SKYFALL by Adele Adkins and Paul Epworth. One of the best ever Bond themes and probably becomes the first to win. The original Les Miserables song was lame and I’d venture a guess that you don’t remember the other 3 nominations.

Preference: Skyfall by Adele Adkins and Paul Epworth. Mostly I want this to win so that my son will have it stuck in his head for a few more days. Plus the first Bond song win as the Academy celebrates 50 years of Bond is just perfect.

CINEMATOGRAPHY

Prediction: Claudio Miranda (Life of Pi). Contrary to popular belief, this is not just a special effects movie. Mr. Miranda helped created a beautiful and visually seductive film. His competition is probably the great Roger Deakins (Skyfall) who inexplicably is 0 for 9 in Oscar nominations. It’s doubtful that the Academy would vote two Oscars for a Bond movie, but Deakins deserves recognition.

Preference: Claudio Miranda (Life of Pi). Mr. Miranda earned it for the movie, but Deakins deserves it for his body of work.

PRODUCTION DESIGN (formerly Art Design)

Prediction: David Gropman and Anna Pinnock (Life of Pi). This movie is a technical marvel, and Lincoln also had some fantastic attention to detail.

Preference: David Gropman and Anna Pinnock (Life of Pi). They have earned it, but a Lincoln win would not be disappointing … which I can’t say about Les Miserables, Anna Karenina, or The Hobbit: An Unexpected Journey

COSTUME DESIGN

Prediction: Seamus McGarvey (Anna Karenina). Costume dramas are historically Academy favorites in this category, though Lincoln and Les Miserables could both be factors.

Preference: anything but Mirror Mirror. I have nightmares that Julia Roberts might make an appearance onstage if this one wins. (Yeah, I know … my dreams aren’t what they used to be)

FILM EDITING

Prediction: William Goldenberg (Argo) in a close one over Dylan Tichenor and William Goldenberg (yes, the same one) for Zero Dark Thirty. Mr. Goldenberg is a rock star editor.

Preference: Dylan Tichenor and William Goldenberg (Zero Dark Thirty). The bin Laden fortress sequence was one of the most compelling things I’ve ever seen on screen.

DOCUMENTARY SHORT SUBJECT

Prediction: Open Heart. Only like 9 people vote in this category, so three votes wins. Yes, I’m kidding, but predicting this category is a total guess.

Preference: a quick acceptance speech

SHORT FILM (ANIMATED)

Prediction: PAPERMAN by John Kahrs. This one has a nice behind the scenes production story but will have to take down Pixar and Disney and Maggie Simpson to win.

Preference: Head Over Heels by Timothy Reckart and Fodhia Cronin O’Reilly. Evidently I’m the only one who appreciated this one. Yep, I’m a rebel.

SHORT FILM (LIVE ACTION)

Prediction: CURFEW by Shawn Christensen in a race against Buzkashi Boys. Another tough category because so few voters watch them all.

Preference: Death of a Shadow by Tom Van Avermaet and Ellen De Waele. This one is even darker than Curfew. There was a real shortage of upbeat live action shorts this year.

MAKEUP AND HAIRSTYLING (formerly MAKEUP)

Prediction: Lisa Westcott and Julie Dartnell (Les Miserables). They deserve it for bravely working with Helena Bonham Carter’s hair and chopping off Anne Hathaway’s long locks. Hitchcock and The Hobbit: An Unexpected Journey leaned heavily (that’s not a fat joke) on appliances and prosthetics, while Les Mis created a distinct feel through traditional hair and make-up.

Preference: Lisa Westcott and Julie Dartnell (Les Miserables).

SOUND EDITING

Prediction: Eugene Gearty and Philip Stockton (Life of Pi) should eke out a win over five outstanding nominated films.

Preference: Eugene Gearty and Philip Stockton (Life of Pi).

SOUND MIXING

Prediction: Andy Nelson, Mark Peterson, Simon Hayes (Les Miserables). How many other films featured live singing on set for the entire movie? Half a movie? A single scene? That’s right … none. Whether you enjoyed Russell Crowe’s singing or not, “live” singing for a quality movie is very impressive.

Preference: Andy Nelson, Mark Peterson, Simon Hayes (Les Miserables).

VISUAL EFFECTS

Prediction: LIFE OF PI. Should be a slam dunk. This is the most visually impressive film in quite some time. Plus, I don’t even like 3D and yet the 3D effects left me in awe.

Preference: Life of Pi.

WRITING (ORIGINAL SCREENPLAY)

Prediction: Mark Boal (Zero Dark Thirty). This one qualified as original because of the independent research conducted by Mr. Boal. Much of the film has Jessica Chastain sitting at a desk and yet the tension is palpable. That’s quality writing. And the two key tension-filled action sequences will have you squirming in your seat.

Preference: Quentin Tarantino (Django Unchained). This is not my preference just because I love watching Tarantino speak in public, but this along with Wes Anderson’s Moonrise Kingdom were the most unique fiction seen on the silver screen this year.

WRITING (ADAPTED SCREENPLAY)

Prediction: Chris Terrio (Argo). If it wins this award, the Best Picture Oscar is in the bag. If David O Russell (Silver Linings Playbook) pulls an upset, then Best Picture is up for grabs.

Preference: David Magee (Life of Pi). This book was deemed unfilmable for years, yet Magee drafted a script that allowed Ang Lee to bring the story to life. That’s a monumental achievement.

FOREIGN LANGUAGE FILM

Prediction: AMOUR (Austria) in a narrow win over Kon-Tiki (Norway). Amour is also nominated for Best Picture, which is an unusual occurrence for a foreign film.

Preference: Amour (Austria). It’s a very tough movie to watch and even tougher to recommend, but director Michael Haneke delivers a stunning look at slow death. Doesn’t that make you want to rush out to see it?

*NOTE: I certainly don’t expect Life of Pi to win as many Oscars as I have predicted; however, I have based my predictions on the individual categories and not the total number of wins. In other words, I expect to be wrong, I’m just not sure in which categories.

If you would care to see my Best of 2012 list (yes, I realizeit’s hypocritical for me to use “Best”, but old habits are hard to break), here is the link: best of 2012

As always, I welcome your thoughts, comments and predictions!

2 Comments | Articles | Tagged: Academy Awards, Oscars, Seth MacFarlane | Permalink
Posted by David Ferguson

TOP GUN (1986) revisited

February 13, 2013

“I feel the need … the need for SPEED!” A recent one week run of the re-mastered 3D IMAX version of Top Gun provided the opportunity to re-evaluate the 1986 film that catapulted Tom Cruise to the highest level of movie stardom. It seems my initial reactions 27 years ago were spot on. The best parts are still exhilarating and pure joy to watch, while the worst parts are still cringe-inducing and torturous to sit through.

Testosterone overload, hyper-competitiveness, and Type-A personalities were perfectly displayed thanks to the cocky actors that made up the Navy pilot training class: Tom Cruise, Val Kilmer, Anthony Edwards, Rick Rossovich, Barry Tubb, Tim Robbins and Whip Hubley. Whether these guys are prepping for flight, ruling the skies, or peacocking afterwards, they are a blast to watch and perfectly capture that familiar pilot-persona. The Navy cooperated with the filmmakers … producers Don Simpson and Jerry Bruckheimer, and director Tony Scott … to ensure the training was realistic and the flight sequences were breath-taking. Additionally, some high-powered and experienced Navy pilots were brought in as consultants.

Tom Cruise was considered an up-and-coming actor when cast as “Maverick”. His 1983 film Risky Business brought him much notice … especially for dancing in his tighty-whities … but this is the role that vaulted him into leading man status. What’s interesting is that many critics pegged Val Kilmer (Iceman) as the future star. While Mr. Kilmer has had a very impressive career, it certainly doesn’t compare to that of Mr. Cruise. The female lead went to Kelly McGillis (Charlie), whose star was rising quickly after Reuben, Reuben (1983) and Witness (1985). Instead of this being her breakout, that label instead went to Meg Ryan (Goose’s wife) who turned a minor role into almost two decades of cute blonde roles in box office favorites.

The sequences featuring the fighter jets and pilots in action are some of the best ever captured on film. We never get the feeling that we are being tricked with slick editing or special effects. On the contrary, it feels like we are in the cockpit and involved in extended dogfights. Another superb element comes courtesy of the two Commanders featured. James Tolkan plays the cigar chomping Commander of the USS Enterprise, while Tom Skerritt plays Viper, the super pilot and Commander of NAS Miramar’s Fightertown, USA … better known as Top Gun. The real life Viper, Pete Pettigrew, is seen on screen as Charlie’s date Perry in the first bar scene (just after Maverick sings “You’ve Lost That Lovin’ Feeling”).

Over the years, there has been much analysis, speculation and even spoofs concerning the supposed homo-erotic undertones … especially the infamous volleyball game. At the time, no one would have guessed that the real sexual complexity and confusion would come courtesy of a Kelly McGillis confession twenty years later.

The “worst” parts referred to earlier include the post-production add-on scenes filmed to allow for a wider audience (interpretation: to appeal to more women). The love scene between Cruise and McGillis is filmed in the shadows and made even more painful by the blasting of Berlin’s “Take My Breath Away”. The shadows were necessary due to hair style and color changes of the leads since production had wrapped weeks before. That scene and the elevator scene were added because test audiences were disappointed the sparks between Cruise and McGillis had previously dead-ended. Those scenes combined with the “Miami Vice” feel of many of the non-pilot sequences, and the Kenny Loggins “Danger Zone” agony, provide the Jekyll and Hyde feel that wreaks havoc on the viewer.

The changes translated into major profits for the filmmakers as Top Gun became the highest-grossing film of the year. It was nominated for four Academy Awards and won for Best Song (“Take My Breath Away”). Although composer Harold Faltermeyer was not nominated for his Top Gun score, he was nominated the following year for his song “Shakedown” from Beverly Hills Cop II. Simpson and Bruckheimer were the Super Producers of the 1980’s with other hits like Flashdance and Beverly Hills Cop. Mr. Simpson died in 1996 at age 52, and Bruckheimer has gone on to produce Pearl Harbor, the Pirates of the Caribbean franchise, and TV series such as “The Amazing Race” and “CSI: Miami”. He is consistently rated as one of the most powerful people in Hollywood. Director Tony Scott mastered his domain in the Action-Thriller genre with Crimson Tide, Man on Fire, and Unstoppable. Mr. Scott, who is the brother of director Ridley Scott, died in 2012.

Should you feel “the need for speed”, Top Gun is a great call … except when it’s not.

**NOTE: It’s difficult to imagine anyone but Tom Cruise as Maverick, but the role was first offered to others, reportedly including Michael J Fox and Scott Baio. Oh my.

**NOTE: Rick Rossovich who plays Slider is the brother of Tim Rossovich. Tim was a Pro Bowl Linebacker for Philadelphia Eagles, Tom Selleck’s roommate at USC, and had a nice acting career as a movie and TV tough guy.

**NOTE: The Navy capitalized on the popularity of the film by setting up recruiting tables at the largest theatres where the movie was showing.

watch Tom Cruise (Maverick) put his best move on Kelly McGillis (Charlie):

http://www.youtube.com/watch?v=HVNWSEX-WqU

1 Comment | Action, Articles, Classics, Drama, Thriller | Tagged: Anthony Edwards, Barry Tubb, Don Simpson, Harold Faltermeyer, James Tolkan, Jerry Bruckheimer, Kelly McGillis, Kenny Loggins, Meg Ryan, Rick Rossovich, Tim Robbins, Tom Cruise, Tom Skerritt, Tony Scott, Val Kilmer, Whip Hubley | Permalink
Posted by David Ferguson

SATURDAY NIGHT FEVER (1977) revisited

February 11, 2013

Strutting, Smiling, Smirking, Sulking. This was a young John Travolta at his best. It was also director John Badham at his best, as he and screenwriter Norman Wexler adapted a New York Magazine article written by Nik Cohn entitled “Tribal Rites of the New Saturday Night”. Their work, along with Travolta’s dance moves, changed the way young adults spent their weekend nights.

Given his recent disturbing mentions in the news, it might be difficult to imagine, but in the mid-1970’s, Travolta as Vinnie Barbarino on “Welcome Back Kotter” was idolized (and lusted after) by just about every teenage girl on the planet. At the peak of that TV show’s popularity, Travolta exploded onto the big screen as Tony Manero, the king of the disco dance floor. It wasn’t long before every guy’s wardrobe included multi-colored polyester shirts and maybe even a white 3 piece suit. This movie now serves as a time capsule of the disco era. But it’s also much more.

Saturday Night Fever can be viewed from a couple of different perspectives. Many view it as a snapshot of the short-lived disco era, replete with the clothes, music, drugs and preening. I have always found it even more effective as a coming-of-age story for working class youngsters trying to make sense of the world as they head into adulthood. Tony realizes he won’t fit in much longer living with his family, but the tough love and advice provided by his paint store boss (Sam Coppola) falls on deaf ears. When Stephanie (Karen Lynn Gorney) starts spouting off her “whole other world” stories from Manhattan, Tony realizes brawling with his buddies is no answer to life’s mysteries.

Tony is a 19 year old living at home with his traditional Italian parents. His mother, played by Julie Bavasso, is a religious woman who takes great pride in her eldest son Frank Jr (Martin Shakar) being a Priest. His father, played by Val Bisoglio, is a recently unemployed emotional man who takes his anger out on the family by lashing out. Their family meals are loud and aggressive events filled with pride, physicality and hurtful words. Tony’s joy in receiving a raise at work is quickly shut down thanks to the belittling reaction from his father. Dancing at 2001 Odyssey is Tony’s escape from the realities of his world … and the only place where he is admired for being something special. It’s a feeling he relishes and one everyone should experience.

As viewers, we recognize that this little world of Tony’s threatens to lead him down an obvious path where he will wake up 20 years later as a bitter 39 year old, not so different from his father. Hanging out with his friends, each searching for their own path while trying not to appear desperate, provides momentary escape but no promise of a brighter tomorrow. When Stephanie enters the scene, Tony sees her as a guiding light to a new world. As viewers, we easily see her insecurities and faux-cultural maturity, but to Tony she offers a ray of hope. A way out.

Tony’s buddies are entertaining in their own ways. Joey (Joseph Cali) and Gus (Bruce Ornstein) are just good, solid guys. Double J (Paul Pape) is the quietly aggressive one. He’s the guy that views every day as a chance to seek revenge on anyone who might have done him wrong, even if accidently. Mr. Pape went on to become a prolific voice actor (more than 500 credits). That’s a bit ironic since he is the quiet one of the group. Bobby C (Barry Miller) and Annette (Donna Pescow) are the ones who break your heart. Bobby’s girlfriend is pregnant and he is desperate for a magical solution, while longing to be as cool as Tony … or at least not invisible. Annette is a sad creature who just wants to be loved. She misreads Tony’s signs and covers her grief with booze, drugs and regrettable sexual activity.

John Badham was mostly a TV director when he assumed the helm for Saturday Night Fever. He had some Hollywood success the year before with a Negro League baseball comedy featuring Richard Pryor and James Earl Jones called The Bingo Long Traveling All-Stars & Motor Kings. Mr. Badham, the brother of Mary Badham (Scout in To Kill a Mockingbird), went on to have some box office success with War Games and Stakeout, but in 1997, he returned to TV projects and has remained there since. The film is also known for launching the hugely successful soundtrack, which was the top selling album of all-time until passed by Michael Jackson’s “Thriller” in 1983. Many of the Bee Gees songs are still played on classic stations today, and “Stayin’ Alive” became the title for the film’s sequel. The 1983 movie followed Tony’s attempt to break through on Broadway and was directed by Sylvester Stallone. It received brutal reviews and has since faded into oblivion. In another example of how small the Hollywood community is, Stallone’s girlfriend in Rocky was played by Talia Shire. Ms. Shire’s first husband was David Shire, who composed the score for Saturday Night Fever. When they divorced, Mr. Shire married Didi Conn, who co-starred with Travolta in Grease.

Travolta is clearly the most interesting story here. Seemingly at his peak, his career took another leap forward when Saturday Night Fever producer Robert Stigwood hired him for the musical Grease the following year. In 1980, Travolta was again front and center in a cultural shift as his turn in Urban Cowboy shifted focus from disco dancing to the Texas Two-Step, and the subsequent trend towards mainstream “country” music. Travolta’s career then went quiet until his first comeback with Look Who’s Talking in 1989. His second comeback came thanks to Quentin Tarantino casting him in Pulp Fiction. What many don’t know is that while filming Saturday Night Fever, Travolta’s love interest, actress Diana Hyland died of cancer. Ms. Hyland had appeared as Dick Van Patten’s wife in season one of “Eight is Enough” and upon her death, his character was presented as a widower.

It’s interesting to note that a substantial number in the cast were making their feature film debuts. That includes Fran Drescher (“The Nanny”) who plays local girl Connie. Her dancing skills, or lack thereof, lead Tony to make assumptions about her other talents. Also making quick appearances are Travolta’s sister Ann (as the pizza girl) and his mother Helen, who scolds him in the paint store for making her wait so long. The posters in Tony’s room include Al Pacino in Serpico, Stallone in Rocky, and the iconic Farrah Fawcett swimsuit poster. Travolta had a key role in the horror classic Carrie, and just missed out on being cast as Meadows in one of my favorite movies The Last Detail. Randy Quaid was ultimately cast. The great film critic Gene Siskel always said Saturday Night Fever was his favorite all-time movie and he even purchased and displayed Tony’s white suit from the film’s climax.

Regardless of how you view it, this little film certainly has its place in Hollywood lore. It launched the film career of John Travolta, changed the cultural nightlife for a generation, taught us not to play on bridges, to take only your allotted time when sharing the backseat, to always chew your food, and whether you are feeling up or down … it helps to strut.

watch a clip of dinner with the Manero’s:

http://www.youtube.com/watch?v=GSruhwZsc9c

Leave a Comment » | Articles, Classics, Drama | Tagged: Barry Miller, Bruce Ornstein, David Shire, Donna Pescow, Fran Drescher, John Badham, John Travolta, Joseph Cali, Julie Bavasso, Karen Lynn Gorney, Martin Shakar, Norman Wexler, Paul Pope, Robert Stigwood, Sam Coppola, Val Bisoglio | Permalink
Posted by David Ferguson

GOODFELLAS (1990) revisited

February 7, 2013

“As far back as I can remember, I always wanted to be a gangster.” That’s how Henry Hill introduces himself. He is the narrator and key figure in director Martin Scorcese’s 1990 masterpiece. What follows Mr. Hill’s intro is the film version of Nicholas Pileggi’s non-fiction book, Wiseguy: Life in the Mafia Family (published 1986). Every so often the perfect match of writer, director and cast occurs, and Goodfellas is one of those rare treats.

Viewing a 35mm print at the historic Texas Theatre just seemed apropo. Knowing that this is the realized vision of Mr. Scorcese and his long time editor, Thelma Schoonmaker, caused the numerous VHS and DVD viewings over the years to simply fade away. The silver screen works wonders for a film with such “big” characters, such startling violence, and such a perfectly inter-woven soundtrack.

Ray Liotta plays Henry Hill, the real life gangster who ended up snitching on the mob and entering the Federal Witness Protection program. This should not be considered a spoiler because Hill’s story is known worldwide and, well, the movie is 23 years old! Liotta was a relative newcomer when he exploded onto the screen in Jonathan Demme’s Something Wild in 1986. His manic performance in that movie led Scorcese to cast him as Henry Hill. The real life Hill spoke at length with Pileggi for the novel, and the result is a very detailed and nuanced look into the life inside a New York crime family.

The fascinating aspects are too numerous to touch on them all, but there are some that really stood out in this latest viewing. First, Lorraine Bracco plays Hill’s wife Karen. Watching the development of her character is pure gold on screen. She starts out as a fresh-faced blind date, who pulls no punches in putting Hill in his place after he stands her up … and right in front of his fellow gangsters, no less. Watching her fall for “the life” is like watching someone get gradually intoxicated. She seems aware but numb to the rational side of her brain. As Karen develops, she battles through some really tough situations, continues to be Hill’s biggest supporter, and finally his cohort in crime near the end. She is one of the most interesting and best developed female characters from any gangster movie.

Another really fascinating character to follow is that of Tommy Devito played by Joe Pesci. Tommy is a tough guy born into the life, but the prime example of just never being satisfied. His short fuse temper is responsible for some of the most memorable scenes in the movie. The “funny like a clown” scene and the fallout from “go home and get your shinebox” are two of the more frightening sequences ever seen on screen, and are perfect examples of what a loose cannon Tommy is. This character is based on the real life Tommy “Two Gun” DeSimone, muscle for the Lucchese crime family.

In addition to Karen, Henry and Tommy, the other main character is Jimmy Conway, played by Robert DeNiro. Conway is based on the real life Jimmy “The Gent” Burke, who was supposedly the mastermind behind the infamous Lufthansa heist depicted in the movie. The Conway character perfectly represents paranoia and greed, while hiding behind the mob loyalty pledge. DeNiro never once overacts here, but his Conway dominates the screen despite the strong presence of Liotta and Pesci … and even Paul Sorvino, who plays mob boss Paulie. Paulie is based on Paul Vario, the head of the Lucchese crime family. Sorvino plays him as quietly powerful and a guy with a phone phobia (for good reason). Sorvino’s Paulie is the centerpiece of the mob and is totally believable as a guy you better not cross.

One of the more memorable scenes features Jimmy, Henry and Tommy stopping off at Tommy’s mother house to pick up a shovel … and a large, useful knife. While there, Tommy’s mother (played by Catherine Scorcese, Martin’s mother) not only makes them a huge 3 am Italian meal, but also shows off some of her artwork, and even tells a joke!

What’s really fun to watch as the film progresses is the change of pace and camera work. Watching young Henry earn his stripes is treated with a light, almost comical touch. As he becomes fully entrenched, we see a young man enjoying the power and respect of his position. This is crystallized by Scorcese’s infamous long-tracking shot through the back entrance and kitchen of the Copacabana as Henry and Karen end up front row by the stage. The downward spiral is much more frenetic with fast cuts and a desperate feel. Scorcese helps us feel the drug-induced paranoia that dominates Henry.

David Chase has stated that Goodfellas had quite an impact and inspired him to create “The Sopranos”, and the marks are quite clear. There is even a significant crossover in the cast as both feature Frank Vincent, Tony Sirico, Frank Pellegrino, Michael Imperioli and, of course, Lorraine Bracco (who was Tony Soprano’s psychiatrist).

Goodfellas was nominated for six Academy Awards, and Joe Pesci was the only winner (Best Supporting Actor). It lost out in the Best Picture category to Dances with Wolves. Scorcese has since directed two other critically acclaimed gangster films: Casino (1995, from another Nicholas Pileggi book), and The Departed (2006, which won Scorcese his first Oscar and also won Best Picture). You might also like to know that Pileggi is the creator of “Vegas”, the new TV show starring Dennis Quaid and Michael Chiklis. The show is about the mob’s influence in the early “wild west” days of Las Vegas.

For years, movie lovers have been debating whether The Godfather or Goodfellas is the best gangster film. As much as I love debate, I see no reason to choose … they are both exquisite filmmaking, though quite different in style. Both films have provided us direction in life. The Godfather informed us that “It’s not personal, Sonny. It’s strictly business”. Goodfellas counseled us “Never rat on your friends, and always keep your mouth shut.” Far be it from me to question the source of good advice!

***PROFANITY WARNING*** This is the unedited “funny like a clown scene” and it’s definitely NSFW!!!

http://www.youtube.com/watch?v=E84VqqCPI7w

Leave a Comment » | Articles, Classics, Drama | Tagged: Frank Vincent, Joe Pesci, Lorraine Bracco, Martin Scorcese, Michael Imperioli, Nicholas Pileggi, Paul Sorvino, Ray Liotta, Robert Deniro, Thelma Schoonmaker | Permalink
Posted by David Ferguson

BUTCH CASSIDY AND THE SUNDANCE KID (1969) revisited

February 5, 2013

Westerns tend to be one of most divisive film genres. “I hate westerns” is proudly proclaimed by otherwise intelligent and open-minded movie goers. Ask these anti-western types for specifics on what it is they don’t like and their answers often include: boring/slow pace, hard to relate to characters, simplistic dialogue, too few women characters and too much machismo. Western lovers wouldn’t attempt to argue any of those points. Instead, we prefer to believe that some of those are the BEST features of westerns!

What’s fascinating is, despite the haters, westerns have achieved immense popularity through the years. Some have provided us the strong, quiet hero: High Noon, Tombstone, The Magnificent Seven. Many have shown us the joy of revenge: True Grit, Django Unchained, The Searchers. Some provided us with wonderful villains: The Wild Bunch, Once Upon a Time in the West (nice guy Henry Fonda as a badass). Still others offered up the conflicted gunslinger: Unforgiven; The Good, The Bad and The Ugly. Westerns can even be tearjerkers: Shane; comedies: Blazing Saddles, City Slickers; and animated: Rango.

The one western which seems to be the exception … it’s even beloved by western haters … is Butch Cassidy and the Sundance Kid. It’s a mainstream film with three movie stars, a strong director, a renowned writer, one of the best ever cinematographers, a love story, a #1 charting pop song, enough action (but not too much), and a level of comedy that is witty and quotable. Released 44 years ago in 1969, it was recently part of Cinemark’s Classic Film series.

Paul Newman (Butch) and Robert Redford (Sundance Kid) charmed audiences even as they made their way through the west robbing banks and trains. It’s interesting to note that Steve McQueen was originally cast as the Sundance Kid. Unfortunately, there was a disagreement over top billing and McQueen dropped out. Newman and McQueen wouldn’t work together until 1974 in Towering Inferno. On the bright side, Newman and Redford were terrific together and would team up again in 1973 for The Sting (Oscar winner for Best Picture). It’s no coincidence that George Roy Hill directed the Newman/Redford duo in both films. He was known as an “actor’s director” and recognized the mass appeal of these two.

“Much of what follows is true” is our introduction to the film, along with a polychromatic montage of film clips and photographs of Butch and Sundance with The Hole in Wall Gang (renamed from The Wild Bunch, to avoid confusion with Sam Peckinpah’s recent release). Butch (Robert LeRoy Parker) and Sundance (Harry Longabaugh) were real life outlaws in the early 20^th century. The Wild Bunch is pictured at left. The real Butch is seated on the right, and the real Sundance is seated on the left. Of course, many of the facts from the wild west have been displaced by colorful legend and lore. It’s apparently true that their holdups rarely involved violence and they were in fact pursued by a posse, which in the film is portrayed as the Dream Team of posse’s assembled by Mr. E.H. Harrison of the Union Pacific Railroad.

One of the first real scenes in the movie has Sundance playing poker and being accused of cheating. And we all know what that means in a saloon card game – it’s time for a gunfight. The young stud making the accusations is none other than Sam Elliott, making his big screen debut. Elliott went on to star in many movies and TV shows, and of course used his manly voice for “Beef. It’s what’s for dinner”. In 1984, Elliott married Katharine Ross (they are still married today). Ms. Ross became the dream woman of the 1960’s for many after appearing as Elaine in The Graduate and Etta Place in Butch Cassidy and the Sundance Kid.

There are many individual scenes or moments that have become classics over the years: the bicycle scene while BJ Thomas sings “Raindrops Keep Fallin’ on My Head”; watching the great Strother Martin call Butch and Sundance morons as he spits chewing tobacco while riding a mule; the looks on their faces as Butch, Sundance and Etta arrive in the garden spot of Bolivia. It also remains one of the most quoted movies with eternal lines such as: “Who are those guys?” “I’m better if I move” “I’m not crazy. I’m colorful” “Think you used enough dynamite there Butch” “Are you crazy? The fall will probably kill you” and my personal favorite “You just keep thinking Butch. That’s what you’re good at”.

Although it’s certainly a star vehicle for Newman and Redford, and to a lesser extent, Katharine Ross, the supporting cast is diverse and exceptional. In addition to Strother Martin and Sam Elliott, Butch has an infamous knife fight with Ted Cassidy (as Harvey Logan). Cassidy is the 6’9” actor who also played Lurch on TV’s “The Addams Family”. He is not 7’2” Richard Kiel who played Jaws in two James Bond films, though many people get them confused. 75 year old Percy Helton plays Sweetface. Mr. Helton had over 200 career screen credits dating back to 1915. Henry Jones plays the opportunistic bicycle salesman, George Furth plays the young and loyal Woodcock, and the still active today (at age 86) Cloris Leachman plays the working girl who is so giddy to see Butch again.

The movie received 7 Oscar nominations and won 4: Cinematography (Conrad Hall), Original Score (Burt Bacharach), Original Song (“Raindrops Keep Fallin’ on My Head”), and Original Screenplay (William Goldman). It was also nominated for Best Picture, but that award went to the controversial Midnight Cowboy and its director John Schlesinger. It should also be noted that there was a 1956 movie titled The Three Outlaws that featured Neville Brand as Butch, and Alan Hale, Jr as Sundance. Mr. Hale is best known as the Skipper on “Gilligan’s Island”. In 1979 a pre-quel was released, Butch and Sundance: The Early Days. It featured Tom Berenger as Butch and William Katt as Sundance. Mr. Katt is best known as the unfortunate prom date in Carrie. Most recently, in 2011 Sam Shepard starred in Blackthorn, a film about an aging Butch Cassidy quietly hiding out in Bolivia.

So whether you “like” westerns or not, if you have never taken in the exploits of Butch Cassidy and the Sundance Kid, I would encourage you to do so. If, after that, you still don’t like westerns, all I can say is “Boy, I got vision and the rest of the world wears bifocals.”

here is one of the short original trailers:

http://www.youtube.com/watch?v=X41Ylp02NRs

Leave a Comment » | Articles, Classics, Western | Tagged: BJ Thomas, Burt Bacharach, Cloris Leachman, Conrad Hall, George Furth, George Roy Hill, Henry Jones, Katharine Ross, Paul Newman, Percy Helton, Robert Redford, Sam Elliott, Strother Martin, Ted Cassidy, William Goldman | Permalink
Posted by David Ferguson

THE SHINING (1980) revisited

January 29, 2013

Greetings again from the darkness. One of the keys to my love of cinema is what I term the “three D’s” – Dispute, Discussion and Debate. Legendary director Stanley Kubrick directed only eleven feature films, each a perfect fit for the “three D’s”. Now combine Kubrick with renowned author Stephen King, and the result is 33 years (and counting) of ongoing dispute, discussion and debate. The Shining is considered one of the best horror films of all-time and limitless in its ability to entertain … even after the closing credits.

Kubrick and his co-writer, novelist Diane Johnson, took the already twisted source material and delivered a film focused more on the downward spiral towards madness than King’s supernatural story. Sure Kubrick gives us ghosts (Lloyd the bartender, Grady the butler, the two girls and the women of Room 237), but the bulk of time is spent watching the three members of the Torrance family each breakdown in their own special manner.

The ambiguities of the story are intensified on the closing shot of the 1921 photograph featuring the likeness of Jack Torrance (Jack Nicholson). The various interpretations over the years have only added to the cult status and overall perplexity associated with this masterpiece. The historic Texas Theatre in Dallas presented a 35 mm print this past weekend and it was a thrill to once again watch the movie on the big screen with a full house.

There are so many elements that elevate this one above most horror films. The claustrophobic feel that comes with an isolated hotel snowed off from society is complimented by a cast of actors who fully commit to what must have appeared ludicrous on the script pages. Jack Nicholson was at the peak of the acting profession (just a few years after Chinatown and One Flew Over the Cuckoo’s Nest) and really creeps us out with his aggressive descent into insanity. Shelley Duvall survived an actor’s nightmare during filming as Kubrick was relentless in his efforts to make sure she was constantly hysterical and on the verge of tears. Yet, she never fails in convincing us that she is frantically grasping for sanity as she works to save herself and her son. Despite having no previous acting experience, six year old Danny Lloyd won the role of Danny, who is blessed/cursed with “the shining” – a psychic ability to see the past and the future.

Over the years, conclusions have been reached that Kubrick was making a statement on topics ranging from the slaughter of Native Americans, the Holocaust, the supernatural, alcoholism, and the hollow institution known as family. Regardless of your interpretation, it’s impressive that a horror film can generate such divisive thoughts. Even more impressive is how the movie sucks you in with a methodical pace and deliberate build-up to a wild ending … an ending missing a key hospital scene that was cut by Kubrick AFTER the film was initially released.

Known as The Overlook Hotel in the movie, it’s really a conglomeration of many different hotels. The exterior shots are of Timberlake Lodge in Oregon. Much of the interior, including the Colorado room where Jack writes, is patterned after Ahwahanee Lodge in Yosemite, though the red bathroom is courtesy of the Arizona Biltmore (and Frank Lloyd Wright). The giant set was built in England and included the shrubbery maze that is front and center come climax time. Stephen King was inspired to write the story after staying at The Stanley Hotel in Estes Park, Colorado. In 1997, he personally oversaw a TV mini-series that stayed true to his original story … and was filmed at The Stanley.

Scatman Crothers is best known as a musician and composer, but immediately became well respected for his role as Dick Hallorann, the hotel’s chef. The scene where he discusses the meaning of “the shining” with Danny became infamous for the 148 takes demanded by Kubrick. His penchant for multiple takes nearly broke the actors and the crew, but most since then have acknowledged the grueling approach provided the edge needed for the dramatic effects seen in the movie.

Some other interesting aspects of the movie include the numerous “classic lines” such as Nicholson’s ad-libbed “Here’s Johnny!” and “Little Pig, Little Pig”; the controversial line from Grady (Philip Stone) stating Torrance has “always been the caretaker”; Torrance’s exchange with Lloyd the bartender (Joe Turkel) when he calls alcohol the “white man’s burden”. It’s also interesting to note that the visual of the two girls was influenced by Diane Arbus’ famous photograph. Ask yourself; prior to seeing this movie, would you have recognized REDRUM? Since this was in the days before computers, a secretary spent months typing up (yes on a typewriter) the hundreds of pages that read “All work and no play make Jack a dull boy”. In the Gold Room party scene, that’s 17 year old Vivian Kubrick (daughter of Stanley) smoking a cigarette while sitting on the sofa. And a special note to my fellow baseball lovers, Shelley Duvall whacks Nicholson with a Carl Yastrzemski model Louisville slugger. Of course, Stephen King is a lifelong Red Sox fan, so this was a nice touch.

It’s understandable if you consider the movie more disturbing than horrifying. Kubrick would take that as a compliment. As for the complexities and contradictions, nothing is more frightening than the unexplained and the unreasonable. Without an obvious roadmap to a tidy conclusion, Kubrick keeps us guessing and leaves us uncomfortable by what we have seen. Maybe most remarkable is the incredible way this movie impacts you EVERY TIME you watch. This is quite an accomplishment for the horror genre, since most depend on visual tricks, cheap scares and over the top gore. If you are waiting for more, Stephen King is scheduled to release “Dr. Sleep”, which is the story of an adult Danny (no word on whether Tony is with him) who now works with those who share “the shining”. Just don’t expect Danny Lloyd to reprise his childhood role. He hasn’t acted in over 30 years and is enjoying his career as a science teacher.

check out Danny’s big wheel scene:

http://www.youtube.com/watch?v=bCeBeS_OGso

6 Comments | Articles, Classics, Horror, Thriller | Tagged: Barry Newman, Danny Lloyd, Jack Nicholson, Joe Turkel, Philip Stone, Scatman Crothers, Shelley Duvall, Stanley Kubrick, Stephen King | Permalink
Posted by David Ferguson

filming PARKLAND in Austin, TX

January 16, 2013

This was posted January 2013. In August 2013, the trailer was released and I posted an update:

https://moviereviewsfromthedark.wordpress.com/2013/08/21/update-parkland-trailer/

Filming has begun on Parkland, a movie that will capture the chaos of November 22, 1963, the day President Kennedy was shot. Based on Vincent Bugliosi’s book “Reclaiming History: The Assassination of President John F. Kennedy”, the adapted screenplay was written by journalist Peter Landesman, who also directs. The movie should be released later this year to commemorate the 50th anniversary of the assassination.

Parkland Hospital in Dallas is where President Kennedy was taken after the shooting, and for the movie, Austin State Hospital will “stand in” for the hospital. The film stars Paul Giamatti, Zac Efron, Marcia Gay Harden, Billy Bob Thornton and Jacki Weaver. It’s being produced by Tom Hanks’ production company.

My niece Hannah lives at Scottish Rite Dormitory and took some time to watch the filming at the nearby church. Below are a couple of photos: one of Hannah on the set with some of the classic cars from the era, and another of Paul Giamatti in action.

7 Comments | Articles, TMI Dailies | Tagged: Billy Bob Thornton, Jacki Weaver, Marcia Gay Harden, Paul Giamatti, Zac Efron | Permalink
Posted by David Ferguson

Best of 2012

January 10, 2013

My BEST OF 2012 has now been posted. Please check it out and let me know your favorites … also, I’d very much appreciate you sharing this with other movie lovers! You may access from the link below or under the “Annual Best” list on the Home Page.

https://moviereviewsfromthedark.wordpress.com/annual-bests-2/best-of-2012/

1 Comment | Articles | Permalink
Posted by David Ferguson

Movie Reviews from the Dark