It’s a shame that Michael Winterbottom thought to set his modernized Tess of the d’Urbervilles in India instead of in England, or another Western nation. This isn’t because he doesn’t know how to use South Asia as a setting (he does) or because today’s India doesn’t provide a highly relevant analogy for many of the class issues in Thomas Hardy’s novel (it does). But by shifting Hardy’s story from England 1891 to a developing nation, it lets viewers off the hook…
Trishna is playing now in limited release, and while it definitely has its faults is still an undeniably gorgeous and effective romantic melodrama of the kind that don’t seem to get made that much anymore. My review is PopMatters.
It’s something that would have been hard to conceive of just 5-10 years ago. But the filmmaking landscape is now so fractured that apparently even quixotic projects like this are able to line up millions of dollars in funding and movie stars galore.
The hard-to-categorize adaptation of David Mitchell’s mind- and time-twister of a novel Cloud Atlas – which stars Tom Hanks, Halle Berry, Keith David, Jim Broadbent, is directed by Tom Tykwer of Run Lola Run fame and written by the Wachowskis (The Matrix) – has been winding its way toward the big screen for a while. Now with an October release date set, the first trailer has been released. This could either be one of those epic disasters of overreach or the kind of thing that leaves people just shattered.
Great, terrible, or mediocre in its final execution, what can be seen in the trailer just takes your breath away:
Deadline reported yesterday that Peter Jackson is considering making The Hobbit into a trilogy. Jackson is considering taking the Appendices that were published at the back of The Return of the King (which he calls essentially notes for a planned rewrite of The Hobbit which would have incorporated a lot of material that Tolkien came up when writing his later trilogy) and using that as a basis for the third film.
For Lord of the Rings film junkies, this might be good news; more the better. And the studio would certainly be delighted. For those of us who are fans of the mythos as a whole and didn’t necessarily think that Return of the King was enriched by its fourth ending, it could be a potential sign of trouble: empowered auteur on the loose! Jackson’s artistry as a whole has been terrific, but it does begin to wear on one after a while in a way that Tolkien’s dense style never quite does. The films are never quite able to hit those light, cheery notes as well as the books can, focusing over-much on the battles and melodrama.
Maybe instead of a third Hobbit film, they should be talking about doing something with The Silmarillion? Yes, it’s more mythology than fiction, but plenty of story to go around. And let’s be honest, it would be incredible to see what Jackson could come with for the sacking of Gondolin and the tragedy of Beren and Luthien.
Joseph Cedar’s high-toned Israeli comedy about an embarrassing scandal in the world of Talmudic scholarship is overflowing with coolly-delivered mockery, but tempers it by delving deeper into the tense father-son relationship at the center of the scandal. Shot in sky-bright blues and backed with a richly emotive score, this is a rich banquet of a film, even if the final course leaves you wanting…
The Oscar-nominated Footnote is now available on DVD and Blu-ray. My full review is at AMC Movie Guide.
A writer of historical potboiler novels, Francis (André Dussollier), arrives in Venice determined to do research for his next book. As Unforgivable (Impardonnables) begins, we see that although he is well advanced in years, Francis is a fierce competitor for just about anything, and so has no nervousness about making overtures to his much younger real estate agent. Judith (Carole Bouquet), an ex-model who seems initially to be well past foolish fancies, turns out to be susceptible to his charms. In short order, Francis is set up in a characterful old villa on the picturesque island of Sant’Erasmo, just across the water from Venice, with Judith as his helpful and chic wife…
Andre Techine’s Unforgivable is an unlikely and curiously engaging thriller that’s in limited release now. My full review is at PopMatters.
The rage of a disillusioned America gets a cool and ironic probing in Martin Donovan’s Collaborator. A chamber piece about a playwright on the skids who is taken hostage by a troubled neighbor, the film alludes only indirectly to the reasons for both men’s anger and dissatisfaction. Donovan’s spare script provides an airy and open-ended structure, but the film, his first as a director, makes its own definite contribution to the national dialogue, the one where everybody is always shouting past each other, unable to hear what anyone else is saying…
Collaborator is playing in limited release, check it out. My full review is at PopMatters.
Even though he hits the Times bestseller list on a regular basis these days with novels like American Gods and The Graveyard Book, back in the 1990s Neil Gaiman was not on the mainstream reading public’s radar. He was still mostly known on the fanboy circuit as the guy who created the stunning, magical graphic novel series Sandman (which, reports now have it, he’ll be returning to in 2013).
Then in 1998, Gaiman published Stardust, a beautiful fable about love, other worlds, and — most importantly, and like all good fairy tales — the dangers of magic. It also came with these gorgeous, early 20th century-style illustrations by Charles Vess that aren’t available in every edition. Fortunately, this fall you will be able to buy a nifty gift edition with new artwork and a gorgeous new cover that was designed to Gaiman’s specifications:
I wanted it to look and feel like something from 90 years ago, like the books I treasured as a kid that I found in the school library (the ones I’d buy for a penny in the school library sales, and loved ever after).
Gaiman (aka “British Fonzie” when he had his cameo on The Simpsons) has done plenty of great and magical writing since then, but decades from now this novel (you can read an excerpt here) — and the collected volumes of Sandman – might well end up being the works that endure.
On a list of priorities for the nation, the future viability of its pro football ranks no higher than the success or failure of any comparably-sized business. Of course, the importance of the sport and the continuing placement of certain of its franchises in particular areas has an emotional hold on people that goes well beyond the strictly financial (jobs/tax revenue that could be lost if a team were to move away or just fold).
Given how high pro football rates in the American psyche as a barometer of national awesomeness (right up there with the military and our ability to keep producing great apps), then, it’s something of a surprise that the NFL has been facing a problem over the past few years: declining ticket sales. Chalk it up to the recession or just the ever-increasing verisimilitude available via digital broadcast, but fewer and fewer people are coughing up money to actually see a game live. But instead of saying it’s for the reasons listed above or maybe that there’s just too many teams, Gilded Age-style ticket prices, and too many other sports to follow, some people are drawing a different conclusion.
Take this quote from Scott Rosner, a sports-business professor at the Wharton Sports Business Initiative:
Across all sports, leagues and teams need to do a much better job of entertaining people who go to the game.
This may be naivete speaking, but isn’t the game supposed to be the entertainment? (That and the $12 Bud Lights, of course.) If people don’t want to see a game, no manner of clowning half-time shows or Jumbotron inanity will bring them to the field. At least, one would hope not.