Biopic Request: Boy George For His 50th

On this, the day of Boy George's 50th birthday, we propose a biopic. After all, Hollywood is quite fond of musician biopics what with their formulaic three act story beats: rise from talent-individuality-chutzpah, fall from drugs and debauchery, miniature or major comebacks as the performer finds themselves again.

So why is it that someone as fab and movie-character ready as Boy George doesn't have his own biopic? He's already written all of the wittiest lines for some future screenwriter, being one of the quippiest of '80s icons. He's already conjured the movie's most memorable costumes. He's already even provided a rough draft blueprint with his own autobiographical musical, Taboo (2004).

Now, Taboo was historically not a success on Broadway but we chalk this up to its difficult developmental period, clashing egos and press animosity (sometimes the media just turns on something and there's only a war zone from there). It's not that the show wasn't entertaining enough to be a success. It was actually a fierce show, just an intermittently clumsy overstuffed one. But my oh my the music was good. In addition to Boy George's own discography (formidable, duh) he wrote new songs for the bifurcated musical, which managed to be two biopics in one by juxtaposing Boy's rise with the life of performance artist Leigh Bowery .

The pop star did star in his own biopic but he cheekily played Leigh Bowery instead, so here's a press clip below of the show and his title track performance. [Note: I meant to write about the documentary about this very lively Broadway season Showbusiness: The Road to Broadway (2007) which also charts behemoths Wicked and Avenue Q and the wondrous Caroline or Change but the DVD didn't arrive in time, damnit.]

I remember sitting in the audience in a very cramped Broadway house. The tourist to my left turned towards me at intermission.: "IT'S OVER?!?!?" she said, panicking, clearly new to seeing live theater and there for Boy George himself (she was wearing an old Culture Club t-shirt). I pulled her back from the edge "there's more Boy to come."

For all of Boy George's personal problems, he's a smart enough star to understand his own rise and fall. There's a heartbreaking number in the show called "Out of Fashion" and, yes, Boy George still is. But in this Age of Gaga, maybe pop culture out to rediscover the gonzo theatrical originals that paved the way? There's a long line of "what will they look like next?" superstars before her: Bowie, Boy, Madonna, etcetera...

For extro-music here's Boy's video from pop culture / Oscar milestone The Crying Game (1992).

(That would've have so won the Oscar for Best Original Song had it not been a cover of an oldie.) I haven't seen The Crying Game in far too long, how about you?

Hit Me With Your Best Shot: "MOULIN ROUGE!"

In the Hit Me With Your Best Shot series we look at pre-selected movies and name what we think of as the best (or at least our favorite) shot. Anyone can play along and we link up. Next wednesday's topic is Fritz Lang's noir "The Woman in the Window".

But tonight, we celebrate Baz Luhrmann's "Spectacular! Spectacular!" which went wide on US screens ten years ago on this very day.

MOULIN ROUGE!

SHE'S CONFESSSSSSSIIIIINNNNGGGG!
She suddenly had a terrible desire to go to a priest."

We begin with a confession.

Though I was an early veritably possessed cheerleader for Moulin Rouge! since I beheld its genius on opening night at the Ziegfeld theater in NYC, though I saw it five times in the movie theater (a post '80s personal record), and though I named it Best of the Aughts when the decade wrapped, I hadn't actually sat down and watched Moulin Rouge! in full for at least five years. This wasn't intentional. I wrote about the movie so often from 2001 to 2005 that at some point I just put it on the shelf, afraid of breaking its spell. I worried, sitting down in the dark, the remote far from me as if I were back in the temple of the movie theater, 'would it still thrill?'

A silly question it was. From the first frames I was swept up. By the time Zidler and his diamond dogs came rushing at the camera (best shot!?!), a chaotic swishing mess of vibrant color, sexual promise and mashed-up music, I forgot to take any notes at all. By the time Satine, the sparkling diamond, descended from the ceiling onto the dance floor, I had completely blanked on the the "best shot" assignment. So, returning to skim again today, a decision: I would only choose a shot from the film's second half, which I haven't written as much about.

Moulin Rouge! famously borrows, sometimes with song and other times visually, from dozens of famous musicals but it's comic/tragic masks are not unlike the work of the great Stephen Sondheim. In many of Sondheim's most famous musicals, he starts out light and comic and you leave the theater at intermission for fresh air that you don't even need since you're already walking on it. Within seconds of returning to your seat, he's out to crush your heart. Into the Woods provides a famous and literal example: the first act, which is a play on famous fairy tales, ends with the "ever after" part. When you return for the second act you're left to wonder what comes next and that "happily ever after" part sure turns out to be a false bill of goods.

And so it goes with Christian and Satine's romance, which comes on, like the whole of Moulin Rouge!, in a heady hallucinatory rush of color, comedy and eroticism and then dives straight into tragedy after the (literal) romantic fireworks. Consider the juxtaposition of the shots above, one when Christian sings "I-I-I-I-I-I will always love you" (best shot!?!) and Satine is fully on board" and the much later shot of Satine, realizing she has to give Satine up singing "today's the day when dreaming ends" (best shot?!?) which she sings with her eyes glassy, not really looking at the caged bird sharing the frame, who we already know she feels a kinship towards (Someday I'll Fly Away). Both shots are audaciously clichéd, but that's how Moulin Rouge! plays it, boldly throwing ALL tropes at you and daring you to not reembrace them in a fresh dizzying form.

Zidler himself precipitates this vacant "you're dying"/ 'I'm already dead' staring and the longer I live with the movie the richer the Zidler/Satine relationship becomes. So for the moment, and there are roughly 100,000 shots worthy of the name "best" in the film, this is the one that absolutely kills. A slow cold zoom out on Zidler performing Zidler as The Maharaja (aka also the Duke) claiming Satine all over again. It drains the last life from our heroine. Art is imitating life and then life will imitate the art again.

She is mine. She is mine."

The cinematography by Donald McAlpine which so deserved the Oscars that year (sorry LotR), loves to shoot Nicole Kidman with blue light whenever she is bereft of love. Even in the "Elephant Love Medley" when she's first resisting Ewan McGregor she's lit in blue while he is glowing with warmer light right behind him. By the end of "Spectacular! Spectacular!", beginning with the exact moment when she coughs on stage, all the hot pink light which had been battling it out with the blue, vanishes to leave her like this.

She is mine. She is mine."

She always was... Zidler's that is. Christian was never able to steal her away, only playing with her in her gilded cage for that Summer of Love, 1899.

Madonna's classic "Like a Virgin" number is only used comically in the film, to mock the prostitute/john Satine/Duke relationship. But it could just as well have been used dramatically, with Satine in Christian's arms; thawed out, shiny and new. This beloved movie, ten years familiar, can still touch you for the very first time. It hasn't lost a drop of heart or magic in a decade's time. 

 

18 Children of the Revolution
Visit these fine blogs for more on this "Spectacular! Spectacular!"

• Victim of the Time "vibrant infatuations"
• Film Misery Christian, trapped
• Amiresque the blue eyes of Moulin Rouge!
• Cheap Seat Reviews thank you for curing him of his ridiculous obsession with love!
• Intafada afternoon delights
• Movies Kick Ass the camera loves her
• Film Actually "You're daying, Satine"
• Being Norma Jeane Midnight in Paris?
• Stale Popcorn "brash. cold. bright"  You can can can.
• Mosaical Musings "Roxanne... you don't have to put on the red light."
• Ahora Satine and her beauty.
• Derrek's Tumblr "romance on a grandiose scale"
• Moved by a Screen Dream Christian in agony
• Antagony & Ecstasy when in doubt, go puerile.
• Serious Film love/hate relationship: best and worst shot.
• Awww, The Movies couldn't possibly choose one.
• missemmamm "smoldering temptress?"
• Sketchy Details a sunny moment via "Come What May"
• Sorta That Guy a love that will live forever!

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100 Years of Vincent

Andreas here. Today marks the centenary of horror icon Vincent Price, whose prolific seven-decade career also included forays into comedy, film noir, and historical drama. Price holds a special place in many a film fan's heart, whether for his spine-chilling voice— put to excellent legendary use by Quincy Jones for Michael Jackson's Thriller— or the aristocratic aura he brought to countless cheap William Castle and Roger Corman horror movies. Price could even elevate a project as inherently undignified as Dr. Goldfoot and the Bikini Machine with his camp greatness.

He could capably play science-minded everymen, as he did in The Tingler and The Last Man on Earth (taking on the mantle later carried by Will Smith in I Am Legend), but the really fun Price parts are his hammy madmen. He sought gruesome vengeance in the 3-D House of Wax, twice in the '70s as the scarred Dr. Phibes, and most delightfully as a pissed-off thespian in Theatre of Blood.

There, he systematically murders all the theater critics in London by reenacting Shakespeare, and occasionally altering the texts to suit his own whims. (In his version of Titus Andronicus, for example, Queen Tamora is Robert Morley, getting fed his own poodles.) While filming Theatre of Blood, Price also met his second wife, Coral Browne. In the film itself, he electrocutes her while pretending to be a hairstylist wearing a giant afro wig.

Price never really slowed down: he was in his seventies when he voiced one of the greatest Disney villains of all time, The Great Mouse Detective's Ratigan. In 1982, he was the subject of Tim Burton's Vincent, a stop-motion animated tribute to his cinematic legacy. "For a boy his age, he's considerate and nice," says the short film's voiceover, read by Price himself, "but he wants to be just like Vincent Price." Truth be told, who doesn't?

What's your favorite Vincent Price memory?

Maureen O'Sullivan. She Jane!

10|25|50|75|100 in celebration of major film anniversaries

One hundred years ago on this very day, Maureen O'Sullivan was born in Ireland. She went on to become Hollywood's first major female Irish movie star. Though she appeared in The Thin Man (1934) and an early version of Pride and Prejudice (1940) she is best remembered as Jane from six Tarzan adventures. Tomorrow on "Hit Me With Your Best Shot" we'll be looking at Tarzan the Ape Man (1932). The Weismuller and O'Sullivan pairing is basically what people think of when they think of Tarzan at the movies though the character had plentiful interpretations before and since.

Here she is talking about how the controversies that swirled around "Jane" for her skimpy wardrobe.

O'Sullivan retired for most of the 1940s (her thirtysomething years) and in that time she gave us what might have been her greatest gift to the cinema, the incomparable Mia Farrow.

Before her death in 1998 she was even graced with a wonderful elegiac exit from the movies 25 years ago playing both Kathleen Turner's dearly departed grandmother in Peggy Sue Got Married (1986) and Mia's screen mother (art imitating life) in Woody Allen's masterpiece Hannah and Her Sisters (1986).

Maureen & Mia

So here's to Maureen O'Sullivan on her 100th birthday!

Still Top Gun? 25 Years With "Maverick"

Michael C here to commemorate an auspicious occasion. This week marks the 25th anniversary of Tony Scott’s Top Gun (1986). Having managed to navigate this last quarter century having never seen Scott’s slick recruiting poster of a movie, I though it might be interesting to evaluate it with fresh eyes. Up until now my only experience with Top Gun was as an enormously frustrating Nintendo game from the late 80’s.

So I was eager to finally catch up with it. This is a film, after all, that Avatar only just bumped off the all time 100 highest grossers (adjusted for inflation). Surely there was some core entertainment value that held up underneath all the dated Berlin songs and catch phrases.

So I watched it.

Ummm….

Okay, let’s start with the stuff that holds up.  The aerial dog-fighting scenes remain beautifully executed. If anything, with their clarity of action and still-convincing effects they may actually play better in the current age of cartoony CGI and hyperactive film cutting.

And for the record Tom Cruise performance remains as slickly effective as ever. I noticed no evidence that his current cultural infamy intrudes on Maverick. He basically has two poses – smug smirk and jaw-clenched intensity, each in sunglasses on and off varieties – and Cruise executes both about as well as humanly possible.  

Two Poses: Smug Smirk and Jaw-Clenched Intensity

As for the rest of the film, let’s just say it was tough to get involved in. 

Here is an incomplete list of the subsequent pop culture landmarks that intruded on my viewing of Top Gun:

Lethal Weapon (1987) and Die Hard (1988)
Top Gun really suffers when compared with the legacy of its ultra-violent action contemporaries. All these films have been ripped off ad infinitum but Top Gun offers nothing like that the Gibson-Glover chemistry or Alan Rickman’s Hans Gruber that holds up despite the familiarity.

Rain Man (1988)
Cruise’s personal life doesn’t detract from the movie but that doesn’t mean Cruise’s other roles don’t haunt Maverick at every moment. I could name any of a dozen talented, yet arrogant wild cards with Daddy issues, but I singled out Rain Man because Levinson’s film has the wherewithal to peg Cruise's character as an insufferable prick in need of redemption from frame one, whereas Top Gun seems to think he’s a charmer.

Speaking of which…

Frank TJ Mackey approves of Maverick's mastery of the muffin

Magnolia (1999)
I couldn’t shake the impression that Cruise's Pete Mitchell had just completed a Frank Mackey seminar. Seriously, he is one of the most unlikable protagonists I’ve encountered outside a Neil LaBute film. Kelly McGillis's character seems to drop 50 IQ points in the process of falling for him. I kept siding with Kilmer’s Iceman and his entirely reasonable requests that Cruise stop showboating before he kills everybody.

Quentin Tarantino
So, yeah, I was never able to forget QT’s notorious monlogue on Top Gun’s gay subtext and it pretty well destroyed the volleyball scene which was ridiculous to start with. If anything it built it up too much for me. Homoerotic, sure, but I was expecting a cross between 300 and a number from Showgirls.

Team America World Police (2004)
You would think Hot Shots would be the one to distract but Parker and Stone were the ones who conclusively eviscerated the action clichés present in every moment of Top Gun. Try to get through Tom’s serious speech about his father’s past without thinking of Team America’s CATS monologue.

And as long as we’re on the subject…

Every Action Movie Ever
From the end of act two crisis of confidence to the evil black-helmeted pilots who flew in from the nearest Bond movie they really do leave no action trope unturned. If you had a drinking game where you took a shot every time someone yelled at Maverick for being too damned awesome you'd be blotto by the thirty minute mark.