by Tony Dayoub
I don't discuss it enough here, but there are three film critics who have held the most sway over me since I was young: Danny Peary, best known for his Cult Movies books, whose long out-of-print Guide for the Film Fanatic (1986) is still an essential tome to keep on the nightstand; Glenn Kenny (now a friend), who I grew up reading in the now defunct Premiere magazine, writes for his own blog Some Came Running, and has just recently become chief film critic for MSN Movies; the last is a gentleman who edited Film Comment during what I consider to be its most fascinating period, 1990 through 2000, Richard T. Jameson.
Showing posts with label Glenn Kenny. Show all posts
Showing posts with label Glenn Kenny. Show all posts
Saturday, November 6, 2010
Wednesday, September 9, 2009
De Palma Blog-A-Thon: The Pleasure Of Being Cuckolded (Or Is That Castrated?)
Notes inspired by some links between Brian De Palma’s Hi, Mom! (1970) and Body Double (1984)
by Glenn Kenny
[It is an honor to have one of my personal heroes, film writer Glenn Kenny of the wonderful Some Came Running, contribute a piece with a unique perspective on De Palma's sexual predilections.]
In Brian De Palma's giddy, absurdist, radical early feature Hi, Mom, Robert De Niro plays a disturbingly disaffected young man named Jon Rubin. The character was introduced in DePalma's prior film, 1969's Greetings. He's an ardent voyeur and would-be filmmaker, and he's got an inspiration. He intends to invent gonzo porn some two decades avant le lettre by surreptitiously filming himself getting it on with woman from the building across from his own (a fantasy object he's discovered in his obsessive peeping, played by Jennifer Salt).
Of course, in order to make the scheme work, he's got to meet, attract, and seduce her first, which he does by putting on the mask of a sensitive square and inventing some malarkey about a computer date. Once he's gotten her out—they attend a double feature of David and Lisa and Porgy and Bess before going to dinner—he elicits her sympathy by relating this tale of woe: 
...to see his beloved Carol straddling Some Dude.
Oops! (Carol is, we note here, played by future Re-Animator scream queen Barbara Crampton, the ineffable love object of het perv cinephiles the world over.) DePalma here chooses to omit Some Dude's laugh and evil grin (although we did hear the laugh prior to discovery), but it's not really necessary. We get the idea like nobody's business.
And it is here that we turn to our good friend Robin Wood and his invaluable 1986 text Hollywood From Vietnam To Reagan. One of our favorite Woodsian devices is the bold-pronouncement-right-off-the-bat, as in "Scarface belongs with the comedies," and the opening of his Vietnam/Reagan chapter on DePalma does not disappoint in this respect: "Brian DePalma's interesting, problematic, frequently frustrating movies are quite obsessive about castration, either literal (Sisters, Dressed to Kill), or metaphorical (all the rest)." (An asterisk after this sentence leads us to this note: 'Since this chapter was written, Body Double [though it is far from being among DePalma's best films] has amply confirmed its [sic] argument.")
Now people talk about castration as if it's a bad thing. But if we look at the storyline of Body Double, and the character arc of Jake Scully, as a complete whole, we can discern that his cuckolding/castrating constituted something of a liberating event. The betrayal deprives him of a "normal" monogamous relationship, and motivates him to jump off the wagon he's apparently been on (with no real ill effects over time, as it happens). But it frees him to self-actualize in a new way. He gets to wave his freak flag, wild and high, indulging in a voyeurism that, yes, will embroil him in a dangerous and horrific web of murder but will also turn him into a porn stud and mystery solver par excellence. And it is only after he accepts the notion that all human interactions of the putatively normal sort resolve in betrayals both ordinary and awful that he can conquer his phobia, regain the vampire part he was in fact fired from, and "get" the "girl," the girl here in the once-unlikely form of porn star Holly Body (Melanie Griffith). One assumes that Jake and Holly have a somewhat more "open" relationship than Jake and Carol did.
Let's also assume, for the moment, that aside from its value in gaining the confidence of would-be porn object Judy Bishop, Jon Rubin's story is also true, as it were. If so, the cuckolding/castration is also a defining moment in the making of a radical—in Mom, Rubin subsequently becomes politicized and emerges as a full-blown domestic terrorist. The undermining (as Wood has it) of the traditional male position forces the male to confront ideas, forces, and lures that he has never before contemplated. It gives birth, in a sense, to a new man, no longer an oppressor but a potential partner in the reimagining of societal norms.
APPENDIX: On learning that I was contemplating writing about Body Double, my old friend Joseph Failla e-mailed me these thoughts:
[It is an honor to have one of my personal heroes, film writer Glenn Kenny of the wonderful Some Came Running, contribute a piece with a unique perspective on De Palma's sexual predilections.]
In Brian De Palma's giddy, absurdist, radical early feature Hi, Mom, Robert De Niro plays a disturbingly disaffected young man named Jon Rubin. The character was introduced in DePalma's prior film, 1969's Greetings. He's an ardent voyeur and would-be filmmaker, and he's got an inspiration. He intends to invent gonzo porn some two decades avant le lettre by surreptitiously filming himself getting it on with woman from the building across from his own (a fantasy object he's discovered in his obsessive peeping, played by Jennifer Salt).
Of course, in order to make the scheme work, he's got to meet, attract, and seduce her first, which he does by putting on the mask of a sensitive square and inventing some malarkey about a computer date. Once he's gotten her out—they attend a double feature of David and Lisa and Porgy and Bess before going to dinner—he elicits her sympathy by relating this tale of woe: ...reminds me of something that happened to me. I was coming home... I was living with a girl, Barbara, a few years ago and, uh, it was her birthday and I came home and I had presents and, uh, cake and candles and all kinds of confetti and crepe paper, and I was rushing up the stairs, ecstatic. I opened the door very quietly, crept in, and I heard the shower running. Well I open the door to the bathroom...and I hear some voices...and all of a sudden I open the shower curtain and there...there she is with another person...they were naked...and the funny thing about it is he had this kind of laugh, this kind of evil grin...and it really threw me and I naturally ran out of the place in a state of shock, I didn't know what to do...As tales of cuckolding and in flagrante discovery go, it's pretty banal, and wouldn't be worth noting had not De Palma put nearly exactly the same scenario on film almost 15 years later in his controversial Hitchcock/porn-schlock pastiche Body Double. There's no birthday in this version. Craig Wasson (perpetually hapless and anticipating the New Male stylings of, um, Bill Maher, yeesh) plays struggling actor Jake Scully, whose vertigo, I mean claustrophobia, I mean claustrophobia as Brian De Palma and co-screenwriter Robert J. Avrech have decided to imagine it, compels him to blow a springing-from-the-coffin take in Vampire's Kiss, the B-horror picture he's starring in. Feigning sympathy, director Rubin (no, the name of this De Palma stand in, portrayed with near-unseemly relish by Dennis Franz, is not a coincidence) gives Jake the rest of the day off. Goofy smile on his face Jake zips away in his sharp blue vintage Mustang (note the late-Hitchcock homage in the not-very-accomplished rear projection) to Tail O' The Pup where he gets a few dogs. Once at his apartment we see he's preparing a meal for two. There's a neon sign reading "Jake [heart] Carol" on a table. Jake goes off to find Carol, and there are a number of tracking POV shots attesting to coupledom; we see the "family" dog, and two dressing mannequins with the couples' head shots tacked to the heads, and so on. Jake continues to smile as he hears some laughing voices, but loses the grin as he cracks open a door...
...to see his beloved Carol straddling Some Dude.
Oops! (Carol is, we note here, played by future Re-Animator scream queen Barbara Crampton, the ineffable love object of het perv cinephiles the world over.) DePalma here chooses to omit Some Dude's laugh and evil grin (although we did hear the laugh prior to discovery), but it's not really necessary. We get the idea like nobody's business.
And it is here that we turn to our good friend Robin Wood and his invaluable 1986 text Hollywood From Vietnam To Reagan. One of our favorite Woodsian devices is the bold-pronouncement-right-off-the-bat, as in "Scarface belongs with the comedies," and the opening of his Vietnam/Reagan chapter on DePalma does not disappoint in this respect: "Brian DePalma's interesting, problematic, frequently frustrating movies are quite obsessive about castration, either literal (Sisters, Dressed to Kill), or metaphorical (all the rest)." (An asterisk after this sentence leads us to this note: 'Since this chapter was written, Body Double [though it is far from being among DePalma's best films] has amply confirmed its [sic] argument.")
Now people talk about castration as if it's a bad thing. But if we look at the storyline of Body Double, and the character arc of Jake Scully, as a complete whole, we can discern that his cuckolding/castrating constituted something of a liberating event. The betrayal deprives him of a "normal" monogamous relationship, and motivates him to jump off the wagon he's apparently been on (with no real ill effects over time, as it happens). But it frees him to self-actualize in a new way. He gets to wave his freak flag, wild and high, indulging in a voyeurism that, yes, will embroil him in a dangerous and horrific web of murder but will also turn him into a porn stud and mystery solver par excellence. And it is only after he accepts the notion that all human interactions of the putatively normal sort resolve in betrayals both ordinary and awful that he can conquer his phobia, regain the vampire part he was in fact fired from, and "get" the "girl," the girl here in the once-unlikely form of porn star Holly Body (Melanie Griffith). One assumes that Jake and Holly have a somewhat more "open" relationship than Jake and Carol did.
Let's also assume, for the moment, that aside from its value in gaining the confidence of would-be porn object Judy Bishop, Jon Rubin's story is also true, as it were. If so, the cuckolding/castration is also a defining moment in the making of a radical—in Mom, Rubin subsequently becomes politicized and emerges as a full-blown domestic terrorist. The undermining (as Wood has it) of the traditional male position forces the male to confront ideas, forces, and lures that he has never before contemplated. It gives birth, in a sense, to a new man, no longer an oppressor but a potential partner in the reimagining of societal norms.
APPENDIX: On learning that I was contemplating writing about Body Double, my old friend Joseph Failla e-mailed me these thoughts: ...[W]hile DePalma's detractors are probably on their steadiest ground with this film, DOUBLE does in fact comes across as a culmination of all his themes (voyeurism, violence, Hitchcock), indulgences, and excesses up to that point. I'm sure you'll remember our jaw dropping expressions of disbelief when we first saw DOUBLE together. Starting with De Palma's idea of what a low budget vampire flick looks like, Dennis Franz's casting as that film's director with a vision (even then we noticed how much he resembled De Palma), Craig Wasson's wimpy lead performance, the villain basically identifying himself upon arrival, the ridiculously kinky sex scenes, the overly intricate tracking shots, the choice of electric power drill as murder weapon, and the hilarious moment when Frankie Goes to Hollywood shows up in the middle of the porn film within the film. Most unpardonable of all is De Palma's insistence at shoehorning his story into the well known frame work of Hitchcock classics (even going so far as to cast a supporting actor who's the spitting image of both Wendell Corey and Henry Jones,—"Nice save Scully!"), that whatever potential the narrative had to stand on its own was long gone before it got started. However, while acknowledging all of the above, I still find DOUBLE compulsively watchable and I've seen it at least as many times as his revered successes. When we first heard that De Palma was going to explore the limits of censorship by setting his thriller in the world of pornography, there was no way that the film that was eventually released could ever match the movie we imagined. Even though we may have been disappointed in that respect (his work in GREETINGS and HI MOM! better addressed those themes), we enjoyed his technical audacity just the same. Something I wouldn't necessarily champion again until FEMME FATALE, which also felt totally fabricated, but in a much more inventive and satisfying fashion. BTW, Melanie Griffith is quite good in the role intended for an actual adult film star; this, as you know, was years before Sasha Grey was given an opportunity to appear in a somewhat mainstream movie of her own.The adult film star Joe refers to was Annette Haven, who DePalma never refers to by name in the making-of shorts included on the most recent DVD of Double. I'll have to look into this "Sasha Grey" character.
Monday, September 29, 2008
NYFF Days 2 thru 4 - Notes on Che and a Panel
by Tony DayoubJust a short post today since I'm on my way to the Film Forum downtown to catch the restored print of The Godfather Part II. I saw The Godfather there last night and it looked fantastic. Though the Forum does have an appropriately grungy vibe in most cases, I can't say it suits the Godfather films so well, as I was discussing with two fellow film aficionados today, Ron Henriques of Latino Review, and Glenn Kenny from Some Came Running. I'm sorry the venue isn't as vast and palatial as the Ziegfeld, in midtown Manhattan, is. There, we saw an exciting film today, that will no doubt prove to be controversial. It was the full 268-minute version of Steven Soderbergh's Che.
I went with my knife sharpened, I must admit, to the screening. As a first generation Cuban American, I am constantly disappointed to see Ernesto Guevara idolized by the entire world despite some of the atrocities he committed in the name of the Cuban Revolution. I also think the Cuban Right is too quick to ascribe villainous qualities to what I think was simply a misguided idealist. After reading Kenny's review when he first saw the film at Cannes, where despite liking it he stated:
[The film's] structure very conveniently elides the period wherein Che, as effective co-head of Castro's Cuban government, presided over mass executions, the persecution of homosexuals, the ruination of the island's economy, the ill-fated alliance with the Soviet Union, and so on.I was fearful that Soderbergh would present the same heroic perspective on Guevara that previous stories have. The director was to appear at a press conference after the film, and I was prepared to hit him with some questions. The movie even looked to be living up to my expectations at the intermission, when only the first half of the film had been screened.
But after seeing the second half, I find that my fears regarding this were unfounded. Soderbergh portrays a complex Che in line with what I feel the individual to honestly be, and Benicio Del Toro is terrific in the part. I want to give some honest thought to this significant movie before I write my review, so I'm going to post it on the day of its screening, October 7th.
Other than that, I attended an interesting panel discussion on the current state of film criticism, this past Saturday, which I'll talk about more fully in the upcoming days, once I can squeeze some time in my schedule. And I will be posting a three-part Godfather series under the Seventies Cinema Revival placard (which seems to be experiencing some success) in the next few weeks, after I get through the new Blu-ray set released last week.
Below is a schedule of tonight's festival events. More information can be found at the festival's web site.
EVENT TITLES
NYFF – Festival main slate film
OSH – NYFF Sidebar: In the Realm of Oshima
SCREENING LOCATIONS
ZT – Ziegfeld Theatre, 54th St. between 6th and 7th Avenues
WRT – Walter Reade Theater, 65th St. between Amsterdam and Broadway, upper level
Monday, Sept. 29
4:30 A Town of Love and Hope, with Diary of a Yunbogi Boy (OSH/WRT)
6:00 I’m Gonna Explode, with This is Her (NYFF/ZT)
6:15 Cruel Story of Youth (OSH/WRT)
8:15 A Town of Love and Hope, with Diary of a Yunbogi Boy (OSH/WRT)
9:15 Tony Manero, with Love You More (NYFF/ZT)
Photo Credit: Wild Bunch / Film Society of Lincoln Center
Thursday, August 14, 2008
Movie Review: Tropic Thunder - Repetitive Jokes Fail to Keep This Spoof Aloft
by Tony Dayoub
Read today's post (and its subsequent comment thread) on Glenn Kenny's movie blog, and you'll get a sense of how the rapidly waning days of the summer movie season can play tricks with a man's mind. It seems like with kids heading back to school, one of the most exciting Olympiads in recent memory, and the intimidating behemoth of The Dark Knight still looming large in multiplexes, studios have designated August as the dumping ground for their weakest films. In the last few weeks we've seen the release of the third Mummy movie (who cares), Pineapple Express (virtually unintelligible and not funny), and now Tropic Thunder, which I was really hoping would lift me out of the funk. But with flicks like this one, it's easy to see why Kenny is so downbeat on the state of cinema today.
The movie follows a film crew shooting a Vietnam war movie. After going over budget, the film's director (Steve Coogan) decides to shoot the film guerrilla-style. Dropping his group of actors in the perilous jungles of Burma, most of them realize the true danger they are in. But Tugg Speedman (Ben Stiller) remains blissfully unaware for much longer, focused instead on reinvigorating his declining career. With Method actor Kirk Lazarus (Robert Downey, Jr.) and drug-addled comic star Jeff Portnoy (Jack Black) only slightly less confused than Speedman, hilarity should ensue. Co-written and directed by Stiller, Thunder spoofs action movies, war movies, Hollywood actors in particular, and the film industry in general.
It's this lack of focus that contributes to the idea that this is essentially an extended one-joke sketch that goes on for far too long. The dialogue is consistently witty. When Speedman tries to convince his fellow actors to go after the "Vietcongs", rapper/actor Alpa Chino (Brandon T. Jackson) replies, "It's Vietcong. The word is already plural. You wouldn't say 'Let's go after the Chineses.'" There are lots of amusing visual jokes also, like the faux trailers that open the movie, where we see Black's Portnoy starring in a Nutty Professor-like comedy where he plays multiple roles, titled The Fatties: Fart 2. There's even surprise cameos by some well-known actors of all stripes, including a substantial supporting role by Tom Cruise, as fat, balding, profane Hollywood producer, Les Grossman, that by turns can be seen as wildly raunchy or distinctly anti-semitic. But it strikes of an attempt to throw everything at the wall to see what sticks. And halfway through the film, when you pat yourself on the back for catching the umpteenth reference to Apocalypse Now, you start realizing how repetitive the movie is becoming.
Concerned about references to the mentally challenged as "retards"? The real butt of the jokes are the dense action stars, like Speedman, whose insensitivity in using the term speaks to a certain lack of awareness. Downey's performance in blackface? Again, the target is not African Americans, but the well-known Method actors who like the character of Lazarus seem to increasingly be Australian. Is Cruise's depiction of Grossman an anti-semitic caricature? Maybe, or maybe it also speaks to a certain lack of awareness by the true-life action star. That would be funny.
But forget about whether you would support a movie that is generating so much controversy right now. Better to take a break, and enjoy the Olympics at home while awaiting the start of the fall season of art movies. The fact is that while Tropic Thunder would be okay for a rental on DVD, it can and should be skipped theatrically.
Read today's post (and its subsequent comment thread) on Glenn Kenny's movie blog, and you'll get a sense of how the rapidly waning days of the summer movie season can play tricks with a man's mind. It seems like with kids heading back to school, one of the most exciting Olympiads in recent memory, and the intimidating behemoth of The Dark Knight still looming large in multiplexes, studios have designated August as the dumping ground for their weakest films. In the last few weeks we've seen the release of the third Mummy movie (who cares), Pineapple Express (virtually unintelligible and not funny), and now Tropic Thunder, which I was really hoping would lift me out of the funk. But with flicks like this one, it's easy to see why Kenny is so downbeat on the state of cinema today.
The movie follows a film crew shooting a Vietnam war movie. After going over budget, the film's director (Steve Coogan) decides to shoot the film guerrilla-style. Dropping his group of actors in the perilous jungles of Burma, most of them realize the true danger they are in. But Tugg Speedman (Ben Stiller) remains blissfully unaware for much longer, focused instead on reinvigorating his declining career. With Method actor Kirk Lazarus (Robert Downey, Jr.) and drug-addled comic star Jeff Portnoy (Jack Black) only slightly less confused than Speedman, hilarity should ensue. Co-written and directed by Stiller, Thunder spoofs action movies, war movies, Hollywood actors in particular, and the film industry in general.
It's this lack of focus that contributes to the idea that this is essentially an extended one-joke sketch that goes on for far too long. The dialogue is consistently witty. When Speedman tries to convince his fellow actors to go after the "Vietcongs", rapper/actor Alpa Chino (Brandon T. Jackson) replies, "It's Vietcong. The word is already plural. You wouldn't say 'Let's go after the Chineses.'" There are lots of amusing visual jokes also, like the faux trailers that open the movie, where we see Black's Portnoy starring in a Nutty Professor-like comedy where he plays multiple roles, titled The Fatties: Fart 2. There's even surprise cameos by some well-known actors of all stripes, including a substantial supporting role by Tom Cruise, as fat, balding, profane Hollywood producer, Les Grossman, that by turns can be seen as wildly raunchy or distinctly anti-semitic. But it strikes of an attempt to throw everything at the wall to see what sticks. And halfway through the film, when you pat yourself on the back for catching the umpteenth reference to Apocalypse Now, you start realizing how repetitive the movie is becoming.
Concerned about references to the mentally challenged as "retards"? The real butt of the jokes are the dense action stars, like Speedman, whose insensitivity in using the term speaks to a certain lack of awareness. Downey's performance in blackface? Again, the target is not African Americans, but the well-known Method actors who like the character of Lazarus seem to increasingly be Australian. Is Cruise's depiction of Grossman an anti-semitic caricature? Maybe, or maybe it also speaks to a certain lack of awareness by the true-life action star. That would be funny.
But forget about whether you would support a movie that is generating so much controversy right now. Better to take a break, and enjoy the Olympics at home while awaiting the start of the fall season of art movies. The fact is that while Tropic Thunder would be okay for a rental on DVD, it can and should be skipped theatrically.
Tuesday, June 24, 2008
Movie Review: The Incredible Hulk - How Universal and Marvel Successfuly Course-Corrected the Struggling Franchise
by Tony Dayoub
Place me firmly in the camp of those that think that Ang Lee's Hulk (2003) is almost criminally underrated. Bringing his art house sensibilities to the project, Lee chose to focus on the complex, rage-filled father and son relationship that fueled Bruce Banner's anger management issues.
Giving it an icy counterpoint in the father-daughter relationship between his girlfriend and her dad, the movie dug beyond the superficial gamma radiation explanations of the comic book origin. Instead it showed the underpinnings of Banner's rage to be firmly rooted in real world psychology. And the film managed to tell its tragic story without ever forgetting its graphic heritage, with Lee choosing to frame the images in a dynamic, split-screen effect that replicated the artistic masterworks of a Steranko or an Eisner, masters of the comic book panel layout.
The movie failed to meet expectations at the box-office making only $132.2 million domestically after a rousing opening of $62.1 million in its first weekend. Much of the blame was laid on the feet of Lee, though I feel he was only the scapegoat for Marvel's ambitious plans for the Green Goliath. After all, if there was one franchise where they could afford to be a little riskier, it was this one. The Hulk was a property that was pre-sold even beyond such other Marvel heroes as Spider-Man or the X-Men. Those characters had been successful on the page, yes. But the Hulk had been successful on TV for five seasons in a popular series with a beloved actor, in Bill Bixby, as its lead. Marvel's directive, however, was to ignore the TV show, and be faithful to the comics. Poor Lee was blasted in the fan community for committing what amounted to an act of heresy (by the same fanboys who lash out at film producers for casting a blond instead of a dark-haired 007), for doing what fans generally prefer in these types of movies, sticking to the established comic book continuity.
When the idea to revisit the character was introduced, great pains were taken to assure its success. The fans were assured this would not be an art house retread of their beloved idol, but rather an action-packed take on the monster. The motivations behind the Jekyll and Hyde metamorphosis would be left unexamined, in favor of getting down to the nitty-gritty hulkouts that were being clamored for. I was holding my breath, unhappy that what was essentially being said was that the movie would be dumbed down for its target audience. Was it really necessary? Especially since comic fans long for the day when their favorite medium will earn the respect of others as a viable and thriving mode of delivering artistic masterpieces on the order of Alan Moore's Watchmen or Maus by Art Spiegelman?
The Incredible Hulk opened on June 13th, and guess what? The reviews weren't bad. But they were a bit in the backhanded compliment vein. Glenn Kenny, formerly of Premiere, but now blogging at Some Came Running wrote, "some CGI issues aside, it was a credible (ar ar ar) enough action thriller in the contemporary commercial comic-book-adaptation mode, and that its quality is such that it'll be better received by audiences than its initial and persistent "bad buzz" had indicated." Entertainment Weekly's Owen Gleiberman writes that the audience "may not mind that The Incredible Hulk is just a luridly reductive and violent B movie — one that clears a bar that hadn't been set very high." Not bad, but certainly not great reviews.
Here are some ways Universal and Marvel Studios circumvented the fickle fans, and successfully course-corrected their struggling franchise to the tune of $96 million-plus and counting in only its second week at the box-office.
Hire an action film director. I don't know Louis Leterrier. I have never seen a Louis Leterrier film. But I do know this... Louis Leterrier is an action director. All I have to do is see a trailer for The Transporter or Transporter 2 or Unleashed, and I can tell he knows how to direct action. Now, does he know how to direct a performance?
Recast the entire movie with actors who won't let you down. That's not to say that the first cast would have let anyone down. You had Eric Bana, Jennifer Connelly, Josh Lucas, Nick Nolte, and Sam Elliott as the villain, General Ross... wait a sec, Sam Elliott. I like Sam Elliott, but he's not exactly villainous. And Eric Bana is great but he won't open a movie the way Edward Norton does. Okay, Ed Norton it is. and for the villain? William Hurt. Throw in Tim Roth to support him. And Tim Blake Nelson to set up the inevitable sequel's next villain. Love interest? Liv Tyler's kinda hot, and she can act, too. Oh, and by the way, Norton loves the Hulk, so he can help you rewrite the script. He's a smart guy. He'll make it even better. Louis Leterrier (you must always say his entire name)? You worry about the action... these guys have got the performances covered.
Pay homage to the character that got the butts in the seats in the first place, stupid. That character was TV's Incredible Hulk, David Banner, not comic's Hulk, Bruce Banner. Little touches throughout the movie evoke the nostalgia of watching the well loved series. From an appearance by Bill Bixby on TV (in a rerun of another of his series, The Courtship of Eddie's Father) to original Hulk Lou Ferrigno as a security guard, to a cameo by intrepid reporter Jack McGee (here working for a college newspaper), to a blisteringly quick refresher on the Hulk's origin over the credit sequence (complete with blinking red Danger Light) that paraphrases the show more than the last movie, the film is targeted at the core fans of the show. Even the title pays respect to the series.
Hedge your bets by making this movie a reboot AND a sequel. Sure, it's a new movie... I know you didn't like the first one. Oh, you did? Well, it's a sequel. See how Banner ended up in South America at the end of the first one? He's still down there at the beginning of this one. And see how he became the Hulk while working on secret government projects for his girlfriend's dad at a University lab? He returns to the lab to find his girlfriend in this one... just ignore that this one is called Culver University while the original was Berkeley. That's just to throw off the folks who hated the first flick. Ala the 007 series, the films are loosely related and invoked on an as-needed basis only, in order not to load things down with too much continuity.
Remember, it's a comic book... play by comic book rules. Ah, but you like continuity. Well, this movie is for you. Starting with the opening credits, you see documents that belong to Stark Industries, and the Strategic Homeland Intervention, Enforcement, and Logistics Division or SHIELD, both organizations that appear in Marvel's other 2008 film Iron Man. You have Banner seeking help from an expert in gamma radiation, Dr. Samuel Sterns, fated to become one of Hulk's arch-enemies, the Leader, in the comics and presumably the next film. Ex-girlfriend, Betty Ross's new boyfriend? Well, I believe they cut out the explicit reference to his name, Dr. Leonard Samson. A noted psychologist, he later becomes the green-tressed hero, Doc Samson. And Tim Roth's Emil Blonsky is warned by Sterns that he may become an "abomination" if he chooses to test one of Stern's serums in combination with the Super Soldier serum given him by General Ross. The Abomination is Hulk's greatest comic book opponent.
Get an assist from your bona fide, genuinely more successful superhero younger brother. Want to get fanboys into your less than promising new superhero flick? Bring your star hitter to the party. Iron Man is the first film of 2008 to break the $300 million mark. So when Marvel started promoting that Robert Downey, Jr. would appear at the end of this movie as Iron Man Tony Stark, offering to help General Ross with a team he's putting together, the sound of millions of fans simultaneously reaching orgasm echoed throughout the land. Now that Marvel Studios has most of its characters under one roof, it's far easier to cross-pollinate franchises, like they do in comics. Word is, that Thor and War Machine will be spun off into their own films after appearing in Iron Man 2. They'll all be reunited in The Avengers, the story of that super-team Stark and SHIELD's Nick Fury (Samuel Jackson) are putting together to stop the rampage of... you guessed it, the Hulk. Luckily, since the Hulk is CGI you don't really need Edward Norton to return for that one.
Leak info to the press, no matter how untrue it actually is. Apparently, Edward Norton was going to be conspicuously absent from the promotional tour for the film since he was unhappy with a number of his script ideas being ultimately discarded from the film. Nothing like getting a lot of free promotional mileage out of actor vs. studio controversy. And the press was all over it. But wait, who's on Jimmy Kimmel promoting the Hulk on June 12th with a hilarious film making the YouTube rounds? And what about the widely promoted Captain America cameo rumors that circulated for days on the Internet (reported on Cinema Blend and Sci-Fi Wire) with Louis Leterrier only shooting it down after finding a way to flip it into a promo for the inevitable extended-cut DVD?
And given my appreciation for the Ang Lee version of the Hulk, what did I think of The Incredible Hulk? It wasn't bad, and it's an entertaining start to what appears to be a franchise with the potential to thrive for a long, long time.
This entry first appeared on Blogcritics on 6/23/2008.
Place me firmly in the camp of those that think that Ang Lee's Hulk (2003) is almost criminally underrated. Bringing his art house sensibilities to the project, Lee chose to focus on the complex, rage-filled father and son relationship that fueled Bruce Banner's anger management issues.
Giving it an icy counterpoint in the father-daughter relationship between his girlfriend and her dad, the movie dug beyond the superficial gamma radiation explanations of the comic book origin. Instead it showed the underpinnings of Banner's rage to be firmly rooted in real world psychology. And the film managed to tell its tragic story without ever forgetting its graphic heritage, with Lee choosing to frame the images in a dynamic, split-screen effect that replicated the artistic masterworks of a Steranko or an Eisner, masters of the comic book panel layout.
The movie failed to meet expectations at the box-office making only $132.2 million domestically after a rousing opening of $62.1 million in its first weekend. Much of the blame was laid on the feet of Lee, though I feel he was only the scapegoat for Marvel's ambitious plans for the Green Goliath. After all, if there was one franchise where they could afford to be a little riskier, it was this one. The Hulk was a property that was pre-sold even beyond such other Marvel heroes as Spider-Man or the X-Men. Those characters had been successful on the page, yes. But the Hulk had been successful on TV for five seasons in a popular series with a beloved actor, in Bill Bixby, as its lead. Marvel's directive, however, was to ignore the TV show, and be faithful to the comics. Poor Lee was blasted in the fan community for committing what amounted to an act of heresy (by the same fanboys who lash out at film producers for casting a blond instead of a dark-haired 007), for doing what fans generally prefer in these types of movies, sticking to the established comic book continuity.
When the idea to revisit the character was introduced, great pains were taken to assure its success. The fans were assured this would not be an art house retread of their beloved idol, but rather an action-packed take on the monster. The motivations behind the Jekyll and Hyde metamorphosis would be left unexamined, in favor of getting down to the nitty-gritty hulkouts that were being clamored for. I was holding my breath, unhappy that what was essentially being said was that the movie would be dumbed down for its target audience. Was it really necessary? Especially since comic fans long for the day when their favorite medium will earn the respect of others as a viable and thriving mode of delivering artistic masterpieces on the order of Alan Moore's Watchmen or Maus by Art Spiegelman?
The Incredible Hulk opened on June 13th, and guess what? The reviews weren't bad. But they were a bit in the backhanded compliment vein. Glenn Kenny, formerly of Premiere, but now blogging at Some Came Running wrote, "some CGI issues aside, it was a credible (ar ar ar) enough action thriller in the contemporary commercial comic-book-adaptation mode, and that its quality is such that it'll be better received by audiences than its initial and persistent "bad buzz" had indicated." Entertainment Weekly's Owen Gleiberman writes that the audience "may not mind that The Incredible Hulk is just a luridly reductive and violent B movie — one that clears a bar that hadn't been set very high." Not bad, but certainly not great reviews.
Here are some ways Universal and Marvel Studios circumvented the fickle fans, and successfully course-corrected their struggling franchise to the tune of $96 million-plus and counting in only its second week at the box-office.
Hire an action film director. I don't know Louis Leterrier. I have never seen a Louis Leterrier film. But I do know this... Louis Leterrier is an action director. All I have to do is see a trailer for The Transporter or Transporter 2 or Unleashed, and I can tell he knows how to direct action. Now, does he know how to direct a performance?
Recast the entire movie with actors who won't let you down. That's not to say that the first cast would have let anyone down. You had Eric Bana, Jennifer Connelly, Josh Lucas, Nick Nolte, and Sam Elliott as the villain, General Ross... wait a sec, Sam Elliott. I like Sam Elliott, but he's not exactly villainous. And Eric Bana is great but he won't open a movie the way Edward Norton does. Okay, Ed Norton it is. and for the villain? William Hurt. Throw in Tim Roth to support him. And Tim Blake Nelson to set up the inevitable sequel's next villain. Love interest? Liv Tyler's kinda hot, and she can act, too. Oh, and by the way, Norton loves the Hulk, so he can help you rewrite the script. He's a smart guy. He'll make it even better. Louis Leterrier (you must always say his entire name)? You worry about the action... these guys have got the performances covered.
Pay homage to the character that got the butts in the seats in the first place, stupid. That character was TV's Incredible Hulk, David Banner, not comic's Hulk, Bruce Banner. Little touches throughout the movie evoke the nostalgia of watching the well loved series. From an appearance by Bill Bixby on TV (in a rerun of another of his series, The Courtship of Eddie's Father) to original Hulk Lou Ferrigno as a security guard, to a cameo by intrepid reporter Jack McGee (here working for a college newspaper), to a blisteringly quick refresher on the Hulk's origin over the credit sequence (complete with blinking red Danger Light) that paraphrases the show more than the last movie, the film is targeted at the core fans of the show. Even the title pays respect to the series.
Hedge your bets by making this movie a reboot AND a sequel. Sure, it's a new movie... I know you didn't like the first one. Oh, you did? Well, it's a sequel. See how Banner ended up in South America at the end of the first one? He's still down there at the beginning of this one. And see how he became the Hulk while working on secret government projects for his girlfriend's dad at a University lab? He returns to the lab to find his girlfriend in this one... just ignore that this one is called Culver University while the original was Berkeley. That's just to throw off the folks who hated the first flick. Ala the 007 series, the films are loosely related and invoked on an as-needed basis only, in order not to load things down with too much continuity.
Remember, it's a comic book... play by comic book rules. Ah, but you like continuity. Well, this movie is for you. Starting with the opening credits, you see documents that belong to Stark Industries, and the Strategic Homeland Intervention, Enforcement, and Logistics Division or SHIELD, both organizations that appear in Marvel's other 2008 film Iron Man. You have Banner seeking help from an expert in gamma radiation, Dr. Samuel Sterns, fated to become one of Hulk's arch-enemies, the Leader, in the comics and presumably the next film. Ex-girlfriend, Betty Ross's new boyfriend? Well, I believe they cut out the explicit reference to his name, Dr. Leonard Samson. A noted psychologist, he later becomes the green-tressed hero, Doc Samson. And Tim Roth's Emil Blonsky is warned by Sterns that he may become an "abomination" if he chooses to test one of Stern's serums in combination with the Super Soldier serum given him by General Ross. The Abomination is Hulk's greatest comic book opponent.
Get an assist from your bona fide, genuinely more successful superhero younger brother. Want to get fanboys into your less than promising new superhero flick? Bring your star hitter to the party. Iron Man is the first film of 2008 to break the $300 million mark. So when Marvel started promoting that Robert Downey, Jr. would appear at the end of this movie as Iron Man Tony Stark, offering to help General Ross with a team he's putting together, the sound of millions of fans simultaneously reaching orgasm echoed throughout the land. Now that Marvel Studios has most of its characters under one roof, it's far easier to cross-pollinate franchises, like they do in comics. Word is, that Thor and War Machine will be spun off into their own films after appearing in Iron Man 2. They'll all be reunited in The Avengers, the story of that super-team Stark and SHIELD's Nick Fury (Samuel Jackson) are putting together to stop the rampage of... you guessed it, the Hulk. Luckily, since the Hulk is CGI you don't really need Edward Norton to return for that one.
Leak info to the press, no matter how untrue it actually is. Apparently, Edward Norton was going to be conspicuously absent from the promotional tour for the film since he was unhappy with a number of his script ideas being ultimately discarded from the film. Nothing like getting a lot of free promotional mileage out of actor vs. studio controversy. And the press was all over it. But wait, who's on Jimmy Kimmel promoting the Hulk on June 12th with a hilarious film making the YouTube rounds? And what about the widely promoted Captain America cameo rumors that circulated for days on the Internet (reported on Cinema Blend and Sci-Fi Wire) with Louis Leterrier only shooting it down after finding a way to flip it into a promo for the inevitable extended-cut DVD?
And given my appreciation for the Ang Lee version of the Hulk, what did I think of The Incredible Hulk? It wasn't bad, and it's an entertaining start to what appears to be a franchise with the potential to thrive for a long, long time.
This entry first appeared on Blogcritics on 6/23/2008.
Monday, May 12, 2008
The Big Sleep: The Current State of Things and a Few Words on Glenn Kenny
by Tony Dayoub
So here is the current state of things around here. Got back from Tribeca a week ago when the following proceeded to occur:
The good news is that I've had plenty of time to watch a stack of screeners that was waiting for me when I got back from NYC. So you'll be getting plenty of reviews as soon as I'm back up, including:
Glenn Kenny, the mag's resident film critic, continued in that capacity as the magazine became one of many entertainment sites that abound online. His singularly distinctive voice and style was one of the few reasons to continue to visit the site, as he also supplemented his reviews with a fantastic blog, "In the Company of Glenn". Not only does this man have an opinion (which I frequently disagreed with), but he is a master of the English language. You'd be surprised how few of those exist online. Here's an example of his way with words from his post on 4/21/08 entitled Monday Evening Palate Cleanser:
It vexes me. I am terribly vexed.
Why, on this mild Monday evening, do the words of Joaquin Phoenix's Commodus echo through my head?
That's a rhetorical question. I know exactly why. That answer's multi-faceted. Part of my vexation stems from encountering, in this here blogosphere, a putative paean to a particularly distinguished work of cinema, which praises the particular work at the expense of practically every other movie the director of that work ever did, trotting out heavyweight quotes the better to swat at...David Denby, who recently had the temerity to cite said director's "refinement." What such score-settling has to do with the work at hand is, naturally, beyond me. But the score-settler seems to believe he's achieved the ambition of that character in Gass' "In The Heart of The Heart of The Country," which I guess is nice for him, not so nice for those turning to him for some wit or perception. And in thinking about all this, I further think, "Dude, you really want to get into it like this?" "It" being the week, after a weekend of examining some of the other discontents readily available in the film-appraisal corner of our world. And I answer, "No, I do not."
I bring up Mr. Kenny because Premiere just terminated his position. And as NPR reported on a story on the very day Kenny announced his departure, he is but the latest casualty in a long string of critics who've accepted buyouts or have been terminated from magazines and newspapers nationwide. So a site struggling to stand out from all the others just got rid of the one person who had the most potential to help them in doing so. And another veteran film critic loses his job because of ever increasing competition from bloggers who write more often, more incoherently, and often for free.
Though I am thankful for the immediacy, and facility, that the online world affords me in expressing my views on this subject I adore, cinema, I will always defer to journalists with formal training and experience when it comes to writing. Here's hoping that Mr. Kenny will land on his feet quickly, and get on with the business of provoking us to think on cinema from his perspective, no matter how often I may disagree with it.
An archive of Glenn Kenny's blog for Premiere, "In the Company of Glenn", is up, for the moment, under my Recommended Blogs to the left. His new writings may be found under a blog he set up, all by himself, called "Some Came Running", also under my Recommended Blogs.
So here is the current state of things around here. Got back from Tribeca a week ago when the following proceeded to occur:
- My laptop died. Thought it'd be a simple matter of replacing the hard drive and recovering some data from the old one. Turns out the whole motherboard is fried (or some such shit like that... I'm not the tech-savvy type) and the data is, to quote Roy Batty (Rutger Hauer) in Blade Runner, "lost... like tears in rain." Included in that data, pictures of my son's first Christmas. Lesson: Always back everything up.
- My cell phone is dying. Which has made it almost impossible to conduct business while I wait for my new laptop, since my cell was the only way I could answer email. Working on getting that replaced as well.
- My car could go any day now. Scary is hoping your car doesn't die out in Atlanta traffic with an unreliable cell phone to depend on.
The good news is that I've had plenty of time to watch a stack of screeners that was waiting for me when I got back from NYC. So you'll be getting plenty of reviews as soon as I'm back up, including:
- A survey of all the Indiana Jones material available out there as we approach the release of the new chapter: Kingdom of the Crystal Skull
- Todd Haynes' look at Bob Dylan, I'm Not There
- Hilary Swank in the romance, P.S. I Love You
- A look at some new Sinatra material, out on DVD tomorrow
- Several documentaries like Surfwise, At the Death House Door, and When the Moors Ruled in Europe
Glenn Kenny, the mag's resident film critic, continued in that capacity as the magazine became one of many entertainment sites that abound online. His singularly distinctive voice and style was one of the few reasons to continue to visit the site, as he also supplemented his reviews with a fantastic blog, "In the Company of Glenn". Not only does this man have an opinion (which I frequently disagreed with), but he is a master of the English language. You'd be surprised how few of those exist online. Here's an example of his way with words from his post on 4/21/08 entitled Monday Evening Palate Cleanser:
It vexes me. I am terribly vexed.
Why, on this mild Monday evening, do the words of Joaquin Phoenix's Commodus echo through my head?
That's a rhetorical question. I know exactly why. That answer's multi-faceted. Part of my vexation stems from encountering, in this here blogosphere, a putative paean to a particularly distinguished work of cinema, which praises the particular work at the expense of practically every other movie the director of that work ever did, trotting out heavyweight quotes the better to swat at...David Denby, who recently had the temerity to cite said director's "refinement." What such score-settling has to do with the work at hand is, naturally, beyond me. But the score-settler seems to believe he's achieved the ambition of that character in Gass' "In The Heart of The Heart of The Country," which I guess is nice for him, not so nice for those turning to him for some wit or perception. And in thinking about all this, I further think, "Dude, you really want to get into it like this?" "It" being the week, after a weekend of examining some of the other discontents readily available in the film-appraisal corner of our world. And I answer, "No, I do not."
I bring up Mr. Kenny because Premiere just terminated his position. And as NPR reported on a story on the very day Kenny announced his departure, he is but the latest casualty in a long string of critics who've accepted buyouts or have been terminated from magazines and newspapers nationwide. So a site struggling to stand out from all the others just got rid of the one person who had the most potential to help them in doing so. And another veteran film critic loses his job because of ever increasing competition from bloggers who write more often, more incoherently, and often for free.
Though I am thankful for the immediacy, and facility, that the online world affords me in expressing my views on this subject I adore, cinema, I will always defer to journalists with formal training and experience when it comes to writing. Here's hoping that Mr. Kenny will land on his feet quickly, and get on with the business of provoking us to think on cinema from his perspective, no matter how often I may disagree with it.
An archive of Glenn Kenny's blog for Premiere, "In the Company of Glenn", is up, for the moment, under my Recommended Blogs to the left. His new writings may be found under a blog he set up, all by himself, called "Some Came Running", also under my Recommended Blogs.
Saturday, March 29, 2008
Movie Review: Flawless - Contrivances sink British thriller
Calling a film Flawless
is certainly asking for it to live up to a lot. I think it was Glenn Kenny, of Premiere, that recently brought this up in regards to another film with a similar name. He was implying that critics sharpen their knives when confronted with a name like that. And a recent survey of some of the titles of the reviews for this bank heist movie confirms Mr. Kenny's theory. Of course, if you're Michael Radford (Il Postino
), the director, wouldn't you do your best to avoid any such attacks by excising any potential pitfalls from your film?
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