Cinematical

79 year-old French New Wave master Jacques Rivette once directed a film called Out1 that clocked in at just under thirteen hours, but The Duchess of Langeais, his latest film which plays at a traditional feature length, comes across at times like one of those marathon efforts. Slow-moving to the point of stillness and comprised of an unremarkable succession of master shots that bespeak a director focused entirely on the performances and totally unbothered by cinematography, the film's only salvation is a remarkably graceful turn by Jeanne Balibar as the titular duchess -- a coy aristrocrat in Restoration France called Antoinette who alleviates her boredom with life by playing love games with Armand, a young Naval officer played here by Guillaume Depardieu, son of Gerard. Game is the operative word, because what they engage in over the course of the film is not a genuine passion but a kind of unhealthy mutual fascination that mostly revolves around her superior social position in French society and the ways in which it may frustrate his romantic intentions.

Based on Balzac's 1834 novel, the film begins with a late scene in which Armand encounters his other half in a Carmelite nunnery long after their affair has gone cold. Using his pull as an officer, he gains access to the convent and tries to broker some time alone with Antoinette, but there's very little useful information exchanged between the two of them before she interrupts the proceedings by screamingly confessing to her mother superior that the man in question is a former lover, which breaks everything up immediately. The film then jumps back to the very beginning, at the moment of the first encounter during a ball. This, it turns out, will be something of a running theme, with Armand almost pathologically unable to articulate his feelings -- if he has genuine feelings, something of a question -- and constrained by values of his own. It's those values that the film needs to shine a stark light on in order to understand Armand's later actions -- leaving the film, audiences may know little more about his motivations than when they entered the theater.

In a forthcoming interview with Premiere conducted by yours truly, Sigourney Weaver talks at length about all her various franchises, and even has a few words to say about the recently resurrected hoopla over a possible Ghostbusters III. When I pointed out that the film industry's renewed focus on next-gen 3D imagery and CG-rendered worlds means that perhaps a third Ghostbusters adventure is still feasible, Weaver looked at me a bit like I had just given her a toothache. She then took a big breath and said "Well, I just saw Ivan Reitman at this dinner, this lunch for his son, and, ummm, there's no way." Perhaps responding to the look of sadness on my face, she quickly added "You could 3D Ghostbusters. You could pay for that. I think they're fantastic movies for that time, and I think, if anything, Be Kind, Rewind is kind of a Ghostbusters for this time." Since I haven't seen Be Kind, Rewind, I have no clue what that last part is supposed to mean. Does Slimer make an appearance in Be Kind, Rewind or something?

It's not like any of this is a great surprise -- to my knowledge, Weaver has never expressed any enthusiasm for returning to the franchise and rumor has it she declined to participate in the upcoming video game that will feature voices from the main Ghostbusters and will cannibalize Dan Aykroyd's never-in-development Ghostbusters III: Ghostbusters Go to Hell script. Most of the recent GIII talk stems from Ernie Hudson, who was quoted as saying that he hoped the success of that particular game would renew interest in creating a third film, and that Ramis and Aykroyd still wanted a third film, too. That would be fine with me as long as it starts with a fresh concept, as opposed to the whole 'Manhellton' crap. I've heard Aykroyd describe his 'hell' script at length -- to a radio DJ on a country music station, no less -- and, frankly, it's the opposite of impressive. It sounds like a recipe for a studio-killing flop with a $300 million budget. But with Murray and Weaver and (apparently) Ivan Reitman not even down for a third go-round, don't hold your breath. To read the interview, which mostly centers on Avatar, check out Premiere.com on Thursday.

Calm down, they aren't filming Back to the Future IV in Manhattan's meat-packing district. But what they are filming there, or were filming a week or so ago anyway, is a music video for an R&B artist named o'Neal McKnight that will feature both Christopher Lloyd as Doc Brown and the DeLorean, to boot. Apparently this McKnight guy is a "huge fan" of the BTTF series and was somehow able to talk Lloyd into reprising his character to create a BTTF-themed video for his hit song, "Check Your Coat." Donning the fright-hair and jacket and tool belt for the first time in a long time, Lloyd as Doc Brown encounters McKnight, who is playing a coat-check clerk, and "the duo leap into the past and future, giving McKnight a glimpse into his life and relationship with a beautiful lady whom he meets while at the dance club." BTTF.com has a bunch of photos from the shoot as well as video and a detailed account of the goings on, and it's actually quite interesting to look at.

I'm not all that surprised that Lloyd would don the outfit again, frankly -- he's never struck me as an actor who is a) all that choosy in terms of what he does or b) one who is likely to avoid his most famous creation. In fact, I'd wager that if there were any opportunity at all to continue the adventures of Doc Brown on the big screen, he'd be there in a heartbeat. Never gonna happen, of course. Robert Zemeckis and Co. have said until they're blue in the face that they are not interested in continuing the series -- they would never want to and Universal would never be interested in doing future installments that would have to be sans-Marty. Oh wait ... Zemeckis is Mr. Motion Capture now ... hmmm ... interesting.

[via Moviehole]

There's been a lot of talk about Ray Winstone's magical pants since the trailer for Indiana Jones and the Kingdom of The Crystal Skull first appeared on February 14. At around the one minute mark, we see Winstone and Indy surrounded by Russian soldiers and Indy utters his line "Not as easy as it used to be," and if you look closely you can see some CGI weirdness going on there, as if something has been cut out of the scene. Well, turns out it was -- in the international trailer for the film, now available online, the Russian heavies are pointing some giant machine guns at our heroes, not just standing there giving them dirty looks. Also, when the trailer transitions from the (too long) memory lane montage to the original footage, the American trailer shows an American flag fluttering in the breeze, with May 22 overlapped. The international trailer still has the May date titled on there, but there is no flag to be found. I find this offensive not for any patriotic reason, but only as someone who doesn't appreciate such crass, Spielbergian manipulation.

In other news, Winstone is out doing some talking about the film -- according to Showbiz Spy, he recently praised Cate Blanchett's performance in the film, saying "To me she's the greatest actor in the world. She really pushes the boat out in this one. She looks great." He also complains about pulling a hamstring during the making of the film when he had to run up and down the stairs of that giant temple, and he says that he's tiring of the action parts he's receiving as he gets older, and he'd rather take on more romantic parts. When other, more substantial news on the film comes along, you'll know where to find it.

The story of filmmaker and actress Adrienne Shelly's murder is coming to a close, as the murderer has copped a manslaughter plea and escaped justice with a paltry 25 year sentence. Diego Pillco told prosecutors that Shelly, who was known for her Hal Hartley movies around the early 90s and who most recently directed the Sundance hit, Waitress, walked in on him while he was rummaging through her purse for money. She threatened to call the cops and so he strangled her to death and then staged a suicide. When police broke him down, he told them that the reason he went to such an extreme and killed Shelly -- the mother of a two year-old -- was because "I was having a bad day." And for this, he gets 25 years? Considering he's barely out of his teens, expect to see him back on the streets before he's middle-aged, probably. No matter what position you take on the death penalty, you have to agree that it's some kind of world where this guy isn't slated to walk the green mile.

Some small measure of good comes out of this tragedy, with the establishment by Shelly's widower of the Adrienne Shelly Foundation, which is dedicated to helping young female filmmakers and actresses pursue their careers through scholarships and grants. From the site: "In carrying out our mission, we've partnered with the industry's finest academic and filmmaking institutions to assist women in this journey with film school scholarships, production grants, finishing funds, and other invaluable resources." Details on how to apply and the rules and regulations are available on the site.

What is it with Agent Spalko and pointing? We've already seen pictures of her brandishing her sword at Indy, at Mutt and now here comes a new picture of her pointing her finger directly in Indy's face, or else just past his line of sight towards something off in the distance -- to be fair, I think it's the latter. That's just one of three new pictures from the forthcoming Indiana Jones and the Kingdom of the Crystal Skull that have popped up in an Italian magazine, L'espresso. Another of the pics is intriguing because it seems to show us Indy with a giant sword tucked into his trousers -- has he vanquished Spalko and taken her pointy stick by this point in the film? Will Indy have a sword battle in this film? Boy, I hope not. Also, we get our first look at the much talked-about 'quicksand' scene, although it's too much of a close up to give any real detail. We see Indy coming face to face with a snake just as he's seemingly about to sink into the sand. I think I get the idea here -- he'll have to grab onto the snake in order to get out of the sand, so it's a bad choice either way.

I can't imagine I'll be up early enough tomorrow to catch the premiere of the trailer on Good Morning America, but on the subject of 'Indy and publicity',' producer Kathleen Kennedy recently made the rather eyebrow-raising statement that the film would hit theaters in May without the accompaniment of a press junket -- what's that all about? I know The Beard is prickly when it comes to interviews, but as Jeff Wells pointed out, how hard could it possibly be to get Karen Allen and Shia LaBeouf to free up some time to actually do some press for their movie? I'm thinking Kennedy was probably speaking without thinking, since Paramount probably wouldn't stand for such a thing.

Additionally, after the jump check out another, more revealing Indiana Jones and the Kingdom of the Crystal Skull cover for the upcoming Dark Horse comic due out this May. This will be part of a two-issue comic book adaptation, and the second issue reveals a bit more ... skull on its cover.

Most of you have probably already heard about this by now, but there's a movie-loving blogger who has decided to anonymously put up a new blog chronicling her last 90 days on Earth. Terminal disease? Nope -- she's committing suicide, she says. The lady is already down to Day 84 and every blog post she puts up elicits hundreds of comments from the fascinated, the concerned, the sarcastic, and the sadistic who are urging her on. No one knows if this lady is in the business of blogging or movies professionally, but movies appear to be a primary preoccupation of hers and she recently blogged about suicide attempts in movies such as The Royal Tenenbaums and Empire Records. She also gives a perfunctory reason for her suicide that, many have already noticed, is suspicious -- it's cribbed directly from Fight Club, and says that "our generation has no great depression, no great war." Her great depression is her life, I guess?

My sense is that the whole thing is a total put-on, even to the point that I don't feel bad about throwing attention to the site, since I don't feel like there's a real person at risk here. I could be totally wrong, but we're talking about a lady who just blogged about a guy who asked her out for Valentine's Day and quipped -- "I just hope he's not looking for anything long-term." Come on, give me a break. People on the verge of suicide are rarely so cogent or so full of humor. She also put up a nice pic of the Hollywood sign, near her anonymous location, and wrote "On my way back from Starbucks. I can say with absolute certainty that caffeine is probably the one thing that is keeping me going for the remaining 87 days." Uh-huh. That, and the book deal she's hoping to turn this into. And that's not an original thought on my part -- it's the conclusion at least one colleague has already reached.

Some enterprising journalist at today's Manhattan junket for The Other Boleyn Girl decided to pull Natalie Portman's chain on issues of women in film, and well ... she has a lot to say on that subject. I'll let her take over. "I've recently been getting frustrated. [turns to Scarlett Johansson] I don't know if you've had this experience, but we're probably seeing a lot of the same variety of what's out there, but I mean the number of roles for strippers or prostitutes -- or the opposite -- which, is like, 'She's the moral center of the film! She's the pure one. She's the one that makes the man realize who he should be', you know? That sort of dichotomy exists so strongly, it's like the virgin/whore thing evident to the greatest extent. So that's really been bothering me. Sort of finding a character who is complicated, like the women in this film, is very, very exciting. Also, I love comedies so much, but any kind of comedy the girl's like 'in fashion' or she's really into clothes, or like, she just wants to get married. Those are not values that I care to jump on the bandwagon of. I'd love to do a comedy. I'd love to do a romantic comedy, but you don't find something where the woman has, like, a real job.... so yeah, it is frustrating, but I also don't want to bitch about it."

Portman was much more circumspect when asked what we could see from her next on the big screen. She did say that she's already completed her work on the heavy romance-triangle drama Brothers -- wow, that was fast -- but said nothing about any future projects, like the Francis Lawrence martial arts fantasy she had been linked with a while back, or anything else. And I was nice enough to spare her the question about when she'll do a sequel to The Professional -- she gets that one at every junket.

Aussie thespian Eric Bana was on hand at today's junket for The Other Boleyn Girl in Manhattan, and no surprise -- he was peppered with questions about his recent, confusing comments regarding his role in the upcoming J.J. Abrams film adaptation of Star Trek. Bana was recently quoted in an Australian newspaper as speaking of the part of Nero -- thought to be the film's main villain -- as only a "cameo," so after a few polite questions about TOBG were tossed around today, I broached the subject with Bana. Isn't Nero the main villain in this movie, I asked? To which he replied: "Well, I guess he kind of is, but I guess what I mean is that in the context of the roles I usually do, the weight is firmly on other areas, you know what I mean? It's not one of those roles where you're carrying the movie, is what I'm saying. I feel like I'm very much in a supporting role, not one of the main guys. So 'cameo' is a way of saying I don't feel like, as I am in this film or some other films, where you're clearly carrying a lot of the film. It's a luxury to not be in that position. It's nice to be offered a part like that."

Bana went on to say that he had not filmed his part yet. "They started shooting quite a while ago," he said. "I've got the plum gig on that film, I've gotta say. I haven't even started yet. I just go in at the very end and do my cameo." When asked if he was a 'Trekkie,' he responded thusly: "I like the show, I liked the original as a kid. I loved it. I haven't seen a lot of the movies since, but I was a fan of the original series. But that wouldn't have been enough, even if I was crazy about the original series it wouldn't have been enough to make me sign on to a film I didn't want to do. I just read the script and I went 'that is an awesome script' and it's J.J. and it'd be a good time, to play a character like that. It was a very easy decision."

You could go batty trying to figure out why Oscar voters like what they like -- these are the rocket scientists who thought Crash was Best Picture material, as opposed to say, a candidate for the worst movie of that year -- so it was only with mild bemusement that I greeted the Academy's decision this year to snub Atonement director Joe Wright, who deserved a Best Director nomination for every reason you can possibly summon. A few reasons: 1) He managed the extraordinary challenge of taking a piece of dense, modern literature and turning it into a compelling drama and a romance that works as a movie without dumbing down the material. 2) He's a talented, 'every shot counts' style of director, who labors over his shot selections and has the visual acumen of a Stanley Kubrick. 3) He deserved a nomination for his last film and got snubbed that time too.

The Guardian recently got its own elaborate set visit to Wright's upcoming movie The Soloist, starring Robert Downey Jr. and Jamie Foxx, and the topic of Wright's snub was on everyone's mind. Downey, in particular, was ready to open up about it, saying that "it's a f**king crime Joe wasn't nominated. He's the goods, man, he really is." When Wright was asked directly about it, he responded "Well, out here it's all they bloody talk about, so yes for twelve hours or so I was gutted because everyone seemed so angry about it on my behalf. Then I just looked around and thought: What am I even thinking? I'm making a movie in Hollywood with these amazing actors I'd only ever seen sitting there in my cinema seat like a mad fan -- and they seem excited to work with me for some reason." A pretty classy response.

The snub talk is only one part of a huge and interesting set visit report that includes new details about The Soloist and a lot of funny stuff with Robert Downey, Jr. Here's a sample, to leave you with -- Downey talking about his working relationship with Wright: "First day, I said 'Listen Joe, just don't f**k with me and we'll be okay.' But the whole point is that we're supposed to f**k with each other and he did f**k with me -- for some reason he got under my skin and f**k, it worked."