HELLION (2014)

April 14, 2014

DALLAS INTERNATIONAL FILM FESTIVAL

hellion Greetings again from the darkness. This is the perfect Film Festival movie: low budget, recognizable star trying something new, up and coming director, and potential star in the making newcomer. While it has an air of familiarity, there was enough here to make it one of my favorites from the 2014 Dallas International Film Festival.

Writer/director Kat Candler has a real feel for creating real moments for characters, as she expands her 2012 short to feature length. She was also wise enough to nab cinematographer Brett Pawlak, who did such a great job with Short Term 12 (one of my top six films of 2013). The blue collar life gets a twist here as Aaron Paul (on top of the world after “Breaking Bad“) plays an alcoholic, emotionally-distant, grieving widower having to deal with his two sons when he can barely make it through a day. This is certainly a different kind of role for Mr. Paul, and he shows real depth with minimal dialogue.

As impressive as Paul is, the real find here is young Josh Wiggins as Jacob. It’s his first screen role and he absolutely owns the role of the big brother lashing out at his dad, corrupting his little brother (due to jealousy) and dealing with things that kids his age shouldn’t have to. Not to give away much, but one too many incidents leads to a visit from Child Protective Services, and just like that … the family is torn apart again.

The real guts of the story is the parallel paths of father and son as they react to the displacement of little Wes (Deke Garner). Neither seems to fully accept the role they played in this mess, but both carry sorrow and anger the way males often do. Both pursue their own idea of proving something to Wes and to themselves – in very different ways. Juliette Lewis seems a bit out of place as Paul’s sister, and is the only minor misstep in the script. We needed either more on her, or less.

Rural Texas and the challenges of youth are captured through so many details, and the realistic feel of dialogue and setting certainly stands out here … as does the spot on camera work. This is one of the little movies I am really rooting for, because if it gets a chance, many will share my appreciation.

** watch the Sundance Film Festival interview with Kat Candler:

 

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Posted by David Ferguson

NOBLE (2014)

April 13, 2014

DALLAS INTERNATIONAL FILM FESTIVAL (2014)

noble Greetings again from the darkness. Here’s what happens when you don’t read carefully. I picked this from the Dallas International Film Festival schedule because I assumed it was a documentary. I was a bit shocked to discover that it’s a biopic from director Stephen Bradley, starring his wife Deirdre O’Kane as Christina Noble (the real Ms. Noble is pictured, left). Fortunately, Ms. O’Kane and Ms. Noble are friends and the passion and respect shown in the performance allows the film to deliver the message and pay tribute to such an amazing woman.

If you are unaware of the Christina Noble Children’s Foundation, it’s worth researching her inspirational story. The film picks up her childhood in Ireland (with fabulous Gloria Cramer Curtis as young Christina). We see the gradual destruction of her family due to her mother’s death and her father’s (Liam Cunningham) alcoholism. The six children are split up and Christina is raised by nuns in similar fashion to what you might have seen in Philomena or The Magdalene Sisters.

This (and some visionary nightmares) turns out to be her motivation to head to Saigon/Ho Chi Minh City in 1989 as a middle-aged single woman to try and make a difference for the ignored and abused street kids. Her tenacity and bulldogedness not only help raise funds, but also turn the tide for the local police and citizenry.

Christina Noble’s network of homes have helped thousands of children in Vietnam and Mongolia. She is still working tirelessly today and everyday to make a difference for the kids. If you are looking for inspiration or proof that one person can make a difference … look to Christina Noble.

** Here is the direct link to the site for the movie.  You will find a trailer and plenty of information on Christina Noble:

http://noble-movie.com/

 

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Posted by David Ferguson

NOAH (2014)

March 30, 2014

noah Greetings again from the darkness. Since I am no biblical scholar, my comments are those of a movie lover. Tackling any part of a story from the bible is a journey filled with land mines and aggressive criticism – and that’s before your movie is released! Surely director Darren Aronofsky was prepared for backlash from those who forbid any interpretation of the Good Book. The story of Noah lasts but a few pages in the bible, meaning Aronofsky had to creatively fill some space to produce a 2-plus hour film.

Russell Crowe makes a fine Noah. He is relentless in his quest to fulfill The Creator’s request … and he flashes his “Gladiator” glare on a few occasions. Rather than an uplifting childhood bedtime story, this Noah carries the burden of God, his own family and the survival of all beings … his days are filled with moral dilemmas much larger than what you and I go through.

With all the miscommunication afforded by email and text these days, imagine if God conversed with you through images in your dreams. Maybe that process creates some areas of gray? Not if you are Noah. I guess he only dreams when God wants to show him something, so his decision making and mission is pretty focused. He is to build a giant floating warehouse to save two of every creature. Yes, that means a lot of death for those not invited. See, God is using Noah and his family to help cleanse the earth of mankind … God is ready for a re-boot. He is really not happy with how mean and nasty man has become ever since that whole apple debacle and the murder of Abel by Cain.

Some of the visual effects are spectacular. I especially enjoyed the high-speed montage showing the creation of life … you know, that first week. Also, the beginning of the flood is quite a spectacle, but the ark itself is actually quite stunning … constructed per the size noted in the Bible. The animals are all digitally created and we actually see little of them, though the on-boarding process goes remarkably smooth – considering this happens before the herbal sleep concoction is disbursed.

Most of the discussion will probably be on The Watchers … the fallen angels who once tried to help mankind, and for their efforts, God turned them into giant stone creatures. I will add that The Watchers need a new nickname since they did the bulk of the manual labor in constructing the ark and then protecting it … not much watching going on for these poor guys (voiced by Nick Nolte and Frank Langella, among others).

Noah’s wife is played by Jennifer Connelly and their sons are played by Logan Lerman, Douglas Booth and Leo McHugh Carroll. They welcome Emma Watson into their family in what turns into a very odd plot twist, and the villain, Tubal-Cain is payed by Ray Winstone. Methuselah, Noah’s grandfather, is played to the hilt by Anthony Hopkins. All of these characters are pretty one dimensional, but it matters little since this is Noah’s story. The burden he carries is quite heavy and his decisions aren’t always popular.

If you are looking for the well documented story of Noah, it’s no mystery what book you should be reading. If you are after a pretty impressive visual interpretation, you could certainly do worse than Aronofsky’s take. And the best news … no Morgan Freeman voice-over!

SEE THIS MOVIE IF: you want to see one of the most impressive set pieces ever built (the ark), plus some pretty cool fallen angels made of stones, a ferocious flood and a few trademark “Gladiator” glares courtesy of Russell Crowe.

SKIP THIS MOVIE IF: if you are extremely particular about bible movies … you know it will annoy you.

watch the trailer:

 

 

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Posted by David Ferguson

THE FOUNTAINHEAD (1949)

February 18, 2014

fountainhead Greetings again from the darkness. Russian-American writer/philosopher Ayn Rand is best known for her novels The Fountainhead and Atlas Shrugged. She is the founder of Objectivism (as opposed to collectivism) which has become the foundation for the Libertarian Party in the U.S. Both novels make for fascinating and thought-provoking reading, and numerous other writings and interviews featuring Ms. Rand will question your beliefs and today’s society. Unfortunately, her words and thoughts have just not translated well to the silver screen.

Ms. Rand was hired to adapt her own novel for this film version, and her stubbornness led to the two main weaknesses: the casting of Gary Cooper and the too long and too convoluted final courtroom speech. Cooper, a Hollywood legend and already a four time Oscar nominee by this time, was simply too old to play the idealistic architect Howard Roark. His stilted acting, such an advantage to High Noon a few years later, really bogged down many scenes in this one.

Newcomer Patricia Neal (22 years old) was cast and she brings much needed energy to the story, though her inexperience shows in a couple of crucial moments. Contrast her performance here with her Oscar winning performance in Hud (1963), where she was in complete command. Sadly, Ms. Neal had a series of strokes in the mid-1960’s and her recovery caused her to turn down the iconic role of Mrs. Robinson in The Graduate (1967).

Other support work in the movie is quite effective. Raymond Massey (so great in East of Eden) is terrific in the William Randolph Hearst-inspired role of powerful newspaper publisher, and Robert Douglas is expertly conniving as the self-centered villain and architecture critic. King Vidor, a 5 time Oscar nominee as director, does his best to overcome the challenges provided by Cooper and Ms. Rand’s script, and for the most part, the film is interesting and enjoyable enough to watch. It’s a bit frustrating to think what might have been.

Howard Roark’s final courtroom speech/closing was at the time the longest soliloquy yet seen on a movie screen. Supposedly, Mr. Cooper didn’t really understand it and his delivery makes that pretty easy to believe. Refusing to compromise on one’s beliefs and talent, and the theory that all we have are our convictions and integrity is simple enough to understand. The arguments ensue when the collectivists state that society depends on the creations of man, and these creations are owed to society, and the most talented of us should serve others. The film’s method of making this point probably won over very few people with it’s theme:  “To want nothing. To expect nothing. To depend on nothing.”

watch the trailer:

http://www.youtube.com/watch?v=swOxKu80JpU

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Posted by David Ferguson

THE MONUMENTS MEN (2014)

February 11, 2014

monuments Greetings again from the darkness. Movies based on real life are often some of my favorites, but that doesn’t let them off the hook in needing to be well made. The real life story of the Monuments Men provides both pride and heartbreak. The Allied group tracked down and rescued so much Nazi-stolen artwork, while at the same time being so short-staffed that they resorted to picking and choosing what parts of history and culture to save.

For much of 2013, this movie was mentioned as a possible Oscar contender. When the release date was delayed and director George Clooney admitted he was struggling with the film’s “tone” – a balance of comedic and dramatic and historic elements – all the warning flags shot up. This final version would certainly have benefited from script improvement, though the cast is so strong and the mission so true, that the film is still enjoyable enough. Director  Clooney and co-writer Grant Heslov have adapted the source material from Robert M Edsel, but Clooney can’t resist stamping the movie with his smirk appeal, despite capturing the look of the era.

The actual Monument Men spend very little time together, so it’s tough to call this an ensemble piece. Bill Murray and Bob Balaban have their own subtle comedy routine going, while John Goodman and Jean Dujardin enjoy a jeep ride. Matt Damon and Cate Blanchett add a dose of gratuitous love interest where it’s not needed, and Hugh Bonneville strikes the heroic pose of redemption. Director Clooney ensures that actor Clooney and his buddy Damon get the most screen time and close-ups, detracting from what the real story should be … the men who saved art and culture.

Michelangelo’s Madonna of Bruges and Hubert van Eyck’s Ghent Altarpiece are supposedly the centerpieces of this group’s mission, but the film really is just an amalgam of individual scenes that leave the viewer working frantically to tie all the pieces together. Shouldn’t that be the filmmaker’s job? The question gets asked a couple of times, “Is art worth a human life?”. That critical theme could have been the core of a far superior movie … one not in such desperate need of suspense rather than more punchlines.

Very few war projects have successfully blended comedy and drama. A few that come to mind are Kelly’s Heroes, The Dirty Dozen and TV’s “Hogan’s Heroes“. It’s a tricky line to walk, even with a great cast. So while this one has sufficient entertainment value for a February release, I would rather recommend two others that deal with this same subject matter: The Rape of Europa (2007, documentary) and The Train (1964, directed by John Frankenheimer, starring Burt Lancaster).

**NOTE: the phrase “women love a man in uniform” was well established prior to anyone seeing John Goodman don the Army green.

**NOTE: the actor playing an elderly Frank Stokes (Clooney’s character) viewing the Madonna near the end of the movie is actually George Clooney’s real life father.

SEE THIS MOVIE IF: it’s February and you just need a pleasant movie break

SKIP THIS MOVIE IF: you are seeking for an in-depth look at the fascinating folks behind this fascinating story

watch the trailer:

http://www.youtube.com/watch?v=CreneTs7sGs

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Posted by David Ferguson

GLORIA (2013, Chile)

February 9, 2014

gloria Greetings again from the darkness. One of my favorite comparison points with non-U.S. films is to imagine how Hollywood might take the same story and twist it for mass appeal. It’s pretty easy to imagine this one as a flat-out comedy with Diane Keaton or Goldie Hawn in the lead. Chilean writer/director Sebastian Lelio takes a much more interesting approach giving us a real world perspective on a divorced middle-aged woman seeking companionship and emotional fulfillment.  It’s easy to understand why this one has been a film festival favorite.

Paulina Garcia plays Gloria, a professional woman who embraces the free-spirited lifestyle that being long divorced allows. She has two adult children who are doing just fine in life, and a neighbor with noisy habits and a bothersome hairless cat. Gloria enjoys singing outloud to the car radio, and drinking and dancing at a local nightclub while maintaining hope that a worthy life companion is still in the cards. In other words, she is neither superwoman nor emotional train wreck. And thanks to the exceptional talents of Ms. Garcia, we are drawn to Gloria and care what happens.

We witness Gloria’s flirtatious glances across the dance floor to Rodolfo (Sergio Hernandez). We next witness a middle-aged bedroom encounter that doesn’t take advantage of the body-double directory. Once the girdle is removed (his), the two adults enjoy the moment, while vividly reminding us that all actors (and certainly all people) don’t look like Brad Pitt and Angelina Jolie. Companionship has always been based on emotions, not aesthetics … despite Hollywood’s efforts to prove otherwise.

One of the more interesting aspects of following the relationship between Rodolfo and Gloria is that, in life, we all carry baggage. Sometimes our own baggage is easier to deal with than that of others. The birthday party for Gloria’s son and the ongoing crisis with Rodolfo’s ex-wife and daughters convey just how difficult it can be to recognize the effects of such scenarios.

The class of this sub-genre is the 1978 film An Unmarried Woman with Jill Clayburgh. Of course, in that one, Ms. Clayburgh was significantly younger than the Gloria character here. Still, some of the obstacles are similar and both feature terrific lead performances from actresses. The role of music in Gloria’s life is especially poignant. At one party, there is a wonderful duet of “Aquas de Marco” (Waters of March) originally written by Antonio Carlos (Tom) Jobim. The song and the movie are about the daily progressions of life. The ending is especially spot on thanks to Gloria’s response to the original version of “Gloria” by Umberto Tozzi (re-made in the U.S. by Laura Branigan).

It’s quite easy to view this story through Gloria’s eyes and fully understand her “grow some” comment. However, for a different perspective, try looking at things through Rodolfo’s eyes. Maybe Gloria is a bit more self-centered than what she appears at first glance. There are a couple of scenes … the mirror and the peacock … that hint at this same ideal. This appears to be Mr. Lelio’s way of telling us that life is just not that simple and that we all have defense mechanisms that impact how we are perceived by others. It’s just not as clear-cut as the initial reaction.

**NOTE: this was Chile’s submission for Foreign Language Oscar, but it did not make the final cut.

watch the trailer:

 

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Posted by David Ferguson

OSCAR NOMINATED SHORTS: Live Action and Animated (2013)

February 9, 2014

Greetings again from the darkness. Yes, it’s almost Oscar time again! This past weekend, I took my annual trek to the Magnolia Theatre to check out this year’s nominated Short Films – Animated and Live Action.  If you have never taken advantage of this opportunity, I would encourage you to do so. It is always an interesting 3-4 hours that keeps your mind (and eyes) spinning, while reminding us that short films are quite a different skill set than feature films.  Though I didn’t find this year’s films to be exceptionally memorable, it’s still insightful to view the variance in styles and substance from different countries and filmmakers.  I must say the nominations were a bit heavy on drama, with only a couple of exceptions.  Even the animation films were mostly adult in nature, which is unusual.

Below is my quick recap of each, with each category in order of my preference (not my Oscar predictions):

LIVE ACTION

voorman Helium (Denmark) – a young, terminally ill boy is bed-ridden and trying to come to terms with waiting to die. A kindly orderly befriends him and weaves a fantastical ongoing story to ease the boy’s acceptance of the afterlife.  It’s a combination of fine acting and special effects.

That Wasn’t Me (Aquel No Era Yo, Spain) – aid workers are taken hostage in Sierra Leone and we witness the brutal atrocities of war with an emphasis on child soldiers.  It is extremely well made, but torturous to watch.

Do I Have to Take Care of Everything? (Finland) – a light-hearted look at the chaotic morning of a family running late for a wedding, and the added stress brought on by a Supermom. This was a nice dose of levity amongst the darker films.

The Voorman Problem (UK) – Martin Freeman and Tom Hollander (pictured left) star in a an unusual prison-based vignette where, this time, it’s not the doctor who thinks he is God.

Just Before Losing Everything (Avant Que De Tout Perdre, France) – a frustrating situation where a mother tries to extricate herself and her kids from an abusive home place.  I say frustrating because no one will pick up the phone and call the freakin’ cops.  I understand the fear, but this sets a horrible example for those in this situation.

ANIMATED

get a horse lg Room on the Broom (UK) – this is the simplest story of the group, and it’s designed to be a children’s story with a message.  An extremely friendly witch and her constantly annoyed cat team up with a dog, a bird and a frog to defeat a fire-breathing dragon. It’s from the people who brought us The Gruffalo, and has celebrity voice acting from Gillian Anderson, Simon Pegg and Sally Hawkins.

Mr Hublot (France) – the most intricate and stunning animation of the group features an obsessive-compulsive recluse whose life changes dramatically after he adopts a robodog.

Get a Horse! (U.S.) – the Disney entry is undoubtedly the most-seen of the group since it was shown prior to Frozen, one of the year’s biggest box office hits.  It’s a fabulous combination of old and new, as it starts out in classic Black & White and morphs into full color.  Mickey (Walt Disney’s voice) and Minnie Mouse are on a joyride with Horace Horsecollar and Clarabelle Cow until Peg-leg Pete starts causing trouble. The only problem with this one is the frenetic pace that makes it impossible to catch all the sight gags.

Feral (U.S.) – speaking of retro, this is Daniel Sousa’s hand-drawn, slightly dark story of the attempt to civilize a young boy raised in the woods.  While it looks beautiful, the story seems incomplete.

Possessions (Japan) – in the footsteps of Japan’s fantastic history of anime, a traveler takes refuge from a storm in a most unusual temple.  The colors are amazing, but the story lacks a real message … every item has a soul??

**NOTE: since it was presented as “Commended”, I would like to mention Pixar’s The Blue Umbrella, which somehow did not make the final cut.  It was shown prior to Monsters University and is a visual delight, and includes the usual Pixar emotions.

here is the teaser trailer for The Blue Umbrella:

2 Comments | Animation, Comedy, Drama, Fantasy, Sci-Fi, Short film, War, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

DON’T PASS ME BY (2013)

February 2, 2014
dont pass me by Greetings again from the darkness. A very low-budget indie done in the vignette style with multiple characters and story lines is a very ambitious undertaking for first time writers (Rachel Noll, Katy K Burton) teamed with a first time director (Eric Priestley). The inexperience shows, but there is also enough spark here to raise a little interest in the parties involved.

The cast includes the two co-writers, Sean Stone (director Oliver Stone’s son), Nancy Karr (former Laker girls), Elizabeth Izzo, and brief appearances from Keith David, Jake Busey, C Thomas Howell and Jeremy London. Hannah (Ms. Noll) is an artist who is told she is in the final stages of cancer. Danielle (Ms. Burton) is a rising movie star trying to balance her shot at fame with family demands and a personal life. Jill (Ms. Karr) is an aspiring ballet dancer stuck in lousy marriage with a workaholic jerk. Brooke (Ms. Izzo) is a young pregnant girl in desperate need of guidance.

It would be nice if the stories of the four ladies were better intertwined, though the climactic convergence in a diner provides a quick glimpse of what could have been. All of the stories involve the characters attempting to overcome obstacles and re-gain control of their own lives. They have each missed opportunities and are dealing with that crazy thing we all call life … the one thing we don’t want to pass us by.

The film often suffers from heavy-handed melodrama, especially the overly-sentimental songs directing us how to feel at any given moment. But given the low budget and lack of resume from the filmmakers, it’s actually a promising effort.

watch the trailer:

http://www.youtube.com/watch?v=PBWW4FnF5Ik

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Posted by David Ferguson

WINGS OF DESIRE (1987, Germany, Der Himmel uber Berlin)

January 26, 2014

wings of desire Greetings again from the darkness. Angels have been frequently cast as characters in movies such as Heaven Can Wait, It’s a Wonderful Life, Angels in the Outfield and the American remake of this one … City of Angels with Nic Cage. Director Wim Wenders (Paris, Texas 1984) has always taken a poetic approach with filmmaking, even with his documentaries such as Pina (2011). His slow, thought-provoking style is not to everyone’s liking, but he has real talent for inspiring us to question ourselves, question others, and question life.

Damiel (Bruno Ganz) and Cassiel (Otto Sander) are two long-term angels who drift through the streets and libraries of WWII Berlin observing and listening to the internal thoughts and mental meandering of citizens … the wishes, the hopes, the happiness, the tragic, the loneliness … all emotions experienced in a typical day. The angels try to ease pain by offering a soothing hand on the shoulder, but they can have no direct impact and aren’t always successful. Damiel finds himself drawn to a Marion (Solveig Dommartin), a circus trapeze artist whose line “Most of the time I’m too aware to be sad” could easily have been the words of the angels.

There is an over-lapping subplot with Peter Falk playing himself as an actor in a German film. His character provides an instant infusion of interest and mystique, which the story later resolves. As Damiel gets closer to making the no-going-back decision to become human and bond with Marion, we see more of the fleeting moments that make up our lives. The angels see all, but can do very little. It’s this existence that makes Damiel’s decision understandable.

Famed cinematographer Henri Alekam’s floating camera, mixed lighting and dramatic contrast of black & white (angels view) and color (human view), add to the meditative effects of the film. There is a healthy dose of philosophy, metaphysics and spiritual questioning that goes on, including the three specifics asked by the film: Why am I me and not you? Why and I here and not there? When did time begin and where does space end? If such thoughtfulness is inspiring to you, then this Wim Wenders (Cannes’ Best Director winner) and Peter Handke (German playwright) script should keep you drifting with your thoughts for quite some time.

***NOTE: if you are unfamiliar with Bruno Ganz, not only is this film recommended, but so is his chilling turn as Adolph Hitler in Downfall from 2004.

watch the trailer:

https://www.youtube.com/watch?v=Ic8iGIdv80o

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Posted by David Ferguson

TENDER MERCIES (1983) revisited

January 22, 2014

tender mercies Greetings again from the darkness. What a cinematic treat to revisit this movie on the big screen some 30 years after its release. Standing in stark contrast to the superhero and graphic novel special effects extravaganzas of today, this little film takes a slow, simmering approach as it deals with real emotions of life.

Robert Duvall won his only (so far) Oscar (he’s been nominated 6 times) for playing Mac Sledge, a divorced former C&W singer/songwriter who spends each day trying to kill the pain by draining bottles of booze. The similarities to Jeff Bridges’ 2009 film Crazy Heart are unmistakable, but this film is much quieter with emotions being relayed through the eyes and body language of the key characters.

Mac’s gradual path to redemption comes courtesy of war-widow Rosa Lee, played exceedingly well by Tess Harper (her first feature film). Rosa Lee runs a gas station/hotel while raising her young boy named Sonny (Allan Hubbard in his only screen appearance). As the story develops, we meet Mac’s ex-wife Dixie, played by a bombastic Betty Buckley (the mom from TV’s “Eight is Enough”, a Tony winner, the helpful teacher in the original Carrie) as she lives a life of luxury and insecurity courtesy of a career singing Mac’s songs. Their daughter is played by Ellen Barkin in only her second screen appearance (Diner, 1982). Dixie’s manager offers us a chance to see the always superb Wilford Brimley with his drawling charm.

The story was written by the remarkable Horton Foote (a native Texan), who also won the Oscar for Best Original Screenplay. Mr. Foote also won an Oscar for adapting Harper Lee’s To Kill a Mockingbird for the screen, was nominated for The Trip to Bountiful, won the Pulitzer Prize in 1955, and was nicknamed the “American Chekov”. His works always captured the essence of what makes people tick, and how they deal with adversity. He passed away in 2009 at age 92.

Australian director Bruce Beresford was coming off the masterful Breaker Morant (nominated for his screenplay) and was surprised to be chosen to direct his first American film. He would later go on to direct Driving Miss Daisy, winner of the Best Picture Oscar. Mr. Beresford is now in his 7th decade of film work spanning his 1959 short film and his TV mini-series “Bonnie & Clyde” from 2013.

This is such a no-frills, down-to-earth presentation that it’s easy to be tricked into thinking it’s a simple story about simple people. Instead, these are complicated folks leading complicated lives in a seemingly quiet manner. Mostly they are re-assembling the pieces as best they can … some are better at it than others. The core of these people is captured in Mac’s line: “I don’t trust happiness. I never did. I never will“.

***NOTE: Wilford Brimley, a former Marine in the Korean War, spent time as personal bodyguard to billionaire Howard Hughes.

***NOTE: Not to be outdone in reference to billionaires, Ellen Barkin spent 7 years married to Ron Perelman, billionaire Chairman of Revlon.  She has since resumed her career.

watch the original trailer:

https://www.youtube.com/watch?v=YkRvzcektB0

Leave a Comment » | Classics, Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

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