Reader of the Day: Murtada

Since yesterday's Reader o' the Day was someone I'd met, let's make it a double feature. But afterwards we go back to people I haven't met which is 99.99% of you. Today we're talking to Murtada who lives here in NYC. I've only been recognized in public (at least to my knowledge) like 6 times so I've never gotten used to it. It is... strange. Murtada was one of those (unlucky) sharp eyed people. We were at a gay bingo event of all things.

Nathaniel: I'm still so embarrassed about our meeting. My friends were so mad at me... they were all "Why were you so rude to that nice guy?" I was just shocked/disoriented. I have no idea what I even said. Can you ever forgive me?
MURTADA: Of course I forgive you……as long as you promise to come back to gay bingo. I haven’t been back since that day, have you?

Haven't been back, no. LOL. Do you remember your first moviegoing experience?
I grew up in Sudan and there were not a lot of movie theatres there. I consumed movies on VHS. But there was an outdoor summer theatre that played mostly Bollywood movies. I remember seeing a Jaws revival on a very hot summer night sometime in the 80s and hiding under the seat for most of the movie because I was so scared.

Your 3 favorite actresses. Go!
The two C/Kates, Blanchett and Winslet. I can’t get enough of either. Blanchett was love at first sight when I saw her in Elizabeth but I love her most in The Talented Mr. Ripley, so casually snobbish.. delicious. And her big grand gestures in The Good German are even better than her Hepburn. Winslet was more of a love built over time and accumulated because  she just kept getting better and making better movies. My fave of hers is probably Revolutionary Road, she was combusting with emotion in that. And recently Michelle Williams took my breath away in Blue Valentine.

I know you're an Oscar obsessive. Take away one person's Oscar and give it to someone else.
I could play this game all day: Angelina Jolie’s (Girl, Interrupted) to Toni Colette (The Sixth Sense); Phillip Seymour Hoffman’s (Capote) to Heath Ledger (Brokeback Mountain); Rachel Weiz (Constant Gardener) to Maria Bello (A History of Violence); And don't even get me started on Hooper/Fincher, the wound is still raw.

But if I was given one chance I will have to take Kevin Costner best director Oscar (Dances With Wolves) and give it to Martin Scorsese. I know, obvious. But that doesn't make it wrong. In fact it will right maybe one of the biggest wrongs in Oscar history. GoodFellas is a fantastic movie that has endured and is now a big part of movie and pop culture history. In my opinion it's Scorcese's peak as a storyteller.

Who are you really rooting for over the next few years of cinema?
I am so glad that Darren Aronofsky is not doing Wolverine and whatever his next movie becomes I hope it's an original story of his. He is the most exciting American filmmaker out there.

Akira Redux

You've heard that they're making a live action American version of Katsuhiro Otomo's Akira (1988), right? That's the sci-fi cartoon that really opened the Anime floodgates here in the States. I have a faint memory of seeing the movie in the theater when it arrived in the States -- I think 1990? -- and that memory involves two things: my jaw was mostly open throughout from the epic violent craziness, and my best friend at the time who I went to every movie with (hi Kevan!) turned to me during the climactic battle when Tetsuo transforms hideously into this blob like creature and said something silly like "quivering mounds of blubbery goo" in a dramatic but silly voice. We started giggling and a rather, um, large patron in front of us turned around to give us hateful looks. Embarrassing! But we were just reacting to the visuals on screen, I promise.

For those of you who are unfamiliar, the film is about a gang member biker Kaneda and his efforts to stop his powerful psychic friend Tetsuo from destroying Neo-Tokyo, an artificial city of sorts built after the destruction of the real Tokyo by another psychic boy named Akira who is still alive but imprisoned. (It takes place in 2019.) The new version will be directed by Albert Hughes (The Book of Eli) and the adaptation was done by Steve Kloves (The Fabulous Baker Boys, the Harry Potter franchise).

Though it was to be expected that the American remake would Americanize the story (it'll now take place in a futuristic New York City. Will they call it "New New York"?), some of us were stupid enough to hope that they'd realize that America does not equal caucasian. When your movie is based on a famous Japanese movie, it's not like you couldn't win lots of street cred and fan favor by casting Japanese Americans in the lead roles. Hell, even just Asian Americans of any type would win you non-racist points, as you'd still be acknowledging that people of color should maybe lead properties that are non-white in origin. Oh sure, you can say "there are no bankable Asian American actors" but how will there ever be if they're never given opportunities? And here's a thing Hollywood often forgets in their risk averse decisions: remakes of famous movies as well as virtually all genre titles, are sold primarily on their brand awareness and on their genre. This may be an unpopular theory but even something like Inception. Consider: What sold more opening weekend tickets? The folding city in the trailer or Leonardo DiCaprio's name in the trailer. The latter cost them 8 figures. This is why I've never understood why Batman in his multiple incarnations always requires an expensive leading man; BATMAN IS THE STAR, not the actor. Movie producers used to understand this. Christopher Reeves was not famous when he signed on for Superman and it sure didn't hurt that film's box office. District 9's box office wasn't hurt by using an (excellent) unknown in the lead role. With certain genres (mostly the "geek" genres: superhero, sci-fi, horror) the genre and the concept is the star.

My points is this. New York City is not lacking for diversity. I am white and I am most definitely a minority in my neighborhood. So why do movies set in NYC always seem lily white? And surprise: Actors come in all nationalities and skin colors, not just American/British/Australian and white.

illustration by taka0801

The actors being discussed for the lead roles of Kaneda and Tetsuo, who'll obviously have to be renamed Ken and Todd, are the following: Robert Pattinson, Andrew Garfield, James McAvoy, Garrett Hedlund, Michael Fassbender, Chris Pine, Justin Timberlake and Joaquin Phoenix. That's a lot of different acting styles and accomplishments and types and even ages. So basically, once again, we see that casting has nothing to do with what's required for roles or what tone a film is aiming for, it's just "whoever is on the studio's lips" each time. Sad. Casting is an artform, too. I really wish we'd see some acknowledgement that it is.

If The Film Experience were a massive site with millions of readers I'd demand a casting call right here. I'd be asking for all unknown or 20to30something Asian actors with excellent English skills, physical action film aptitude, and movie star good looks to send in their headshots and reels and I'd be packaging it all up with the top 20 and sending it Warner Bros way. Freelance casting director for hire!

Daniel Henney, Won Bin, Chang Chen, Masahiro Motoki, Takeshi Kaneshiro, Dennis Oh, Matsuyami Kenichi and Hiroshi Tamaki

Seriously, I don't understand why I can spend (literally only) 15 minutes brainstorming and come up with a couple of handfuls of Asian actors that might be cool to think about / test / consider for these roles (even allowing for the studio's random age ranges and no discernable "type") if they spoke English well -- surely some of them do, especially the American ones! ;)  -- but Hollywood studios with all of their casting resources and their budgets and their months of pre-production work don't ever even consider meeting with any of them? Do they even look at headshots? Do they even know that male actors of Asian descent exist? I'm beginning to wonder.

I suppose the most we can hope for at this point is that they deign to let Ken's (née Kaneda) love-interest Kei keep her Asian-ness. Every once in awhile the studios will let an Asian actress play a girlfriend. But Asian men? Forget about it. Shame.

Need More Akira? We'll be celebrating again in April in our "Hit Me With Your Best Shot" series. It's collaborative so join in.

Are you a new reader? Welcome. Please consider subscribing or bookmarking - some more pieces on animated films and Asian cinema coming up. We've been in the mood.

Another article addressing this problem -- though not Akira related:
Asia Pacific Arts "Hot Asian Actors Hollywood Doesn't Yet Realize It Needs"

First and Last, Sky Shots

the first and last images from motion pictures. So many movies begin with a sky shot. But do you know which movie this is?

another clue: the first and last lines of dialogue

first: [screaming]
last: It's not too late.

Can you guess the movie?

check your answer after the jump.

Click to read more ...

Tennessee 100: "Cat on a Hot Tin Roof" (1958)

Robert G from Sketchy Details here to discuss the real star of Cat on a Hot Tin Roof for this Tennessee Williams Centennial Week. The beauty of the fifties screen adaptation of Cat on a Hot Tin Roof is not in the quality of the performances, set design, or cinematography. It comes from the tightly-wound dialog and plot structure adapted from Tennessee Williams' stage play.

Elizabeth Taylor and a No Neck Monster

For this one-day tale of adults acting as foolish as children, the true nature of the story is revealed when the characters pull away from the lines they learned by heart. The dialog is a mask used by the characters to hide their true feelings about everyone else. Even something as ridiculous as Maggie's (Oscar nominated Elizabeth Taylor) constant put-downs of the "no-neck monsters" is nothing but an act of misdirection.

Brick has major emotional hurdles to leap.Every major character in the film, regardless of age, is no more mature than the parade of children singing and dancing throughout the estate. The adults fire off sharp words at each other to draw attention away from their own insecurities. They all play into the roles defined for them by the family. If Brick (Oscar nominated Paul Newman) can't be the football star he once was, he will be the most dedicated alcoholic the family has ever gossiped about. The same goes for Big Daddy (Burl Ives) as the no-nonsense patriarch of an empire, Big Momma (Judith Anderson) as the unyielding caregiver, and even Mae and Maggie as the manipulative money-hungry wives. Talking about the roles they're playing only encourages each of them to act out the roles with more energy and commitment.

It is only when the constant talk of "Big Daddy," "cats," and "Skipper" gives way to the overbearing discussion of "mendacity" that the film comes into focus. Brick isn't the only person trying to escape the lies of the Pollitt Empire; they all are. Every single member of the family is sick of the roles, game play, and war of kind facades with bitter tongues. They don't want to play into it but they don't know how to escape it. Even the doctor plays into the game of lies when he tells everyone except for Big Momma and Big Daddy that Big Daddy's dying from cancer.

The constant repetition in Cat on a Hot Tin Roof is an effective device: Brick always plays with his glass in a certain way, Maggie wipes her hands and arms, Mae (Madeleine Sherwood) always conducts the children's songs in the same way, Big Daddy dismisses everyone with the same tone and arm wave. The repeated discussions of child rearing, marriage, Big Daddy's health, and the titular cat metaphor are just extra tools used to keep each member of the family in their respective role.

These words and actions are choreographed to create an artificial sense of normalcy that will eventually give way to more believable mannerisms, speaking patterns, and interactions when the lies stop.

The only thing that can break the pattern is to discuss the environment of lies itself: mendacity. Brick blames it for his drinking, but Big Daddy won't accept that as an answer because Brick is expected to play the role of a drunk. One by one, the lies that support the clan are torn apart until only the true nature of each character is left standing. There is no more glass spinning or arm waving; there is only a family transitioning into better fitting roles.


Tennessee Williams Cat on a Hot Tin Roof won the Pulitzer Prize for Drama. It lost the Tony Award to The Diary of Anne Frank in 1956. The film version was nominated for 6 Oscars losing Best Picture to Gigi. Burl Ives won the Supporting Actor that year but for The Big Country instead. "Big Daddy" surely had something to do with that.

The Lord of the Links: Two Jacksons

Cracked uses that late minute reworking of the Red Dawn remake as a jump off point for a very funny article on "6 Groups Who Don't Work as Movie Bad Guys Anymore". I'm not proud but I even ended up LOL'ing at a poop joke.
Boy Culture Jesus. I was on to something posting that "stars as other stars" post just a few days back. Now Madonna went and did Charlie Chaplin for Purim. Cute.
Little White Lies has a nice piece on double readings of Blade Runner depending on whether you view Deckard as a Replicant or regular human man.
My New Plaid Pants Tom Hardy on the other hand is no machine but man. He's got the peen to prove it in a new digital short [NSFW].
Ester Goldberg is that Barbra Streisand Gypsy movie really dead? Some people aren't letting the ghost go.
Cinema Blend has an alarmist headline "No More Nudity For Ewan McGregor". I'm not sure that the quotes support the headline but made me look. You win.

And finally Awards Daily shares the first photos from the set of Peter Jackson's The Hobbit. I know it is probably my duty as a huge fan of the Lord of the Rings trilogy as well as a denizen of planet Earth to be excited about this movie... er movie²... but I think it's a terrible idea.

The Lord of the Rings trilogy was so Aughts-defining in a way and why not go out on a high note like, I dunno, sweeping at the Oscars? Just a thought, Peter. I can't see how this won't feel like either

a) a rerun retread reboot
b) nostalgia exercize / faded glory
c) The Lord of the Rings Episode IV: The Phantom Menace.

Oh shush. I feel that "C" is a fair barb given the tonal "I completely forgot how to direct" chaotic atrocity that was The Lovely Bones. But I'll allow that maybe this is just cynical fretting. As a huge fan of LotR and Heavenly Creatures even moreso and even as an admirer of that Meet the Feebles gusto, I'll always hope that Jackson can work new magics.