Review: "Albert Nobbs"

This review was previously published in my column at Towleroad.

Albert Nobbs is story of a woman living as a man in Ireland in the early 20th century. Albert (Oscar nominated Glenn Close) serves as a waiter at a little upscale hotel. His world is so small that he barely leaves the hotel and hardly ever utters full sentences to anyone but himself. Those private conversations generally involve the counting of shillings. Nobbs' inner life isn't quite as small. The waiter dreams of saving up enough to buy a small tobacco shop and run his own little business. When he meets a painter by the name of Mr. Hubert Page (Oscar nominated Janet McTeer) whose situation is not dissimilar but whose emotional life is obviously richer, his eyes are suddenly opened to new possibilities, including romance... or at least cohabitation.  But dreams aren't easy when a flea in your undergarments can give you away, when your career could be finished with one misstep around a wealthy patron, when a stroke of bad luck could put your employer out of business, or when the woman you set your sights on for companionship (Mia Wasikowska) might not have the purest of motives in returning your affection.

You know what's just as a hard as opening a tobacco shop when you're a woman living as a man in early 20th century Ireland? Getting your dream movie made when you're an actress of a certain age in the early 21st century... [More]

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Cast This! Rob Marshall and "Into the Woods"

As frightening... as bewildering... as wrong as it is to say after a decade of breakthroughs (Moulin Rouge!), critical triumphs (Dancer in the Dark, Hedwig and the Angry Inch) and box office hits (Chicago, Dreamgirls, Hairspray) and problematic but Oscar nominated efforts (Nine, Sweeney Todd, Phantom of the Opera) ... the movie musical is still in trouble. It probably will be until another Vincente Minnelli or Bob Fosse arrives on the scene, someone who understands and breathes and trusts the very cinematic language of the musical. Until then we'll get bored directors detouring or novices who think it might be "fun" to try one... or Rob Marshall.

Will no young director challenge Rob Marshall as King of the Musicals?

Stage turned film director Rob Marshall was initially seen as something of a savior of the form when Chicago (2002) became a smash hit and Best Picture winner. It had been 34 years since a movie musical had had that honor. But his musical follow up Nine (2009) proved a massive flop and a target of critical derision. Though I thought it was better than it got credit for being (how could it not be given the vitriol?) in tandem with Chicago it revealed too little range and an inherent distrust of the form he had been handed, without competition, to rule; the music in both films emerged on sound stages as hallucinations or performative fantasy. His two subsequent non-musicals (Memoirs of a Geisha and Pirates of the Caribbean: On Stranger Tides) were much worse, with listless dramatics and overstuffed weightless business for plot. Nevertheless, Hollywood logic prevails. Disney, looking at the colossal gross of On Stranger Tides, has obviously forgiven Marshall for Nine's red ink and rewarded him with the reigns of the film version of a bonafide masterpiece, Stephen Sondheim's twisted fairy tale classic Into the Woods. Never mind that I could have directed On Stranger Tides (it would have been all about the mermaids and they would have drowned Captain Jack in the first half hour) and it would still have been a top grosser. In Hollywood you get credit for blockbuster grosses even if you are obviously replaceable since anyone helming a long running franchise will produce a similar size hit. Audiences are lemmings when it comes to those big franchises. 

So though I weep that Into the Woods isn't getting a world class auteur, and I shudder most of all to think of those glorious songs sung by people who can't handle the intricacies of the music -- Marshall casts for stardom first even if they can't sing and Sondheim obviously writes only for great singers who can act -- we should try and stay positive. Let's play...

Bernadette Peters leads the cast of the original INTO THE WOODS (1987)

CAST THIS!

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We Should Read "The Paperboy"

Herewith a few notes on the newly released poster for The Paperboy which looks good enough to... read. The movie is about a reporter (Matthew McConaughey) and his troubled brother (Zac Efron) investigating a death row inmate (John Cusack) who is involved in a steamy correspondence with a femme fatale (Nicole Kidman).

Is Zac Efron sending me a personal message by working with La Pfeiffer & Nic' back to back? 

        [plugs ears] lalalalalalalala ican'thearyou

I was once a paperboy. It's true. For years! Paperboys have gone the way of the milk man but when I was a kid this was a common job for suburban boys and girls to have. Then you'd do your collecting and spend all your hard-earned quarters at the arcade.

Nicole Kidman looks trashy delishusssss. Love the lusty smirk, like she's going to eat Zac right up --  not for his pleasure (!) but just to wield her own sexual power. Billing is always an interesting matter. If you can't be first, be last. Or rather "AND..." last. So Matthew & Nic' win.

Speaking of billing... I find it kind of interesting that the poster preferences the novelist and screenwriter above the Oscar nominated Lee Daniels (Precious) like it's a subliminal reminder of how great Precious was. Implied titles  The Paperboy: Based on the Novel "The Paperboy" by Pete Dexter.

I think the color scheme is really helping. It's like the movie is summertime hot but someone left the paperback on the beach and it got all washed out. The retro craze for teaser posters is really on, isn't it? Just like the retro craze is really on onscreen (at least three of the Best Picture hopefuls). I suppose ANYTHING is better than dread contemporary poster aesthetics: big floating movie star heads or those imagination-prison horizontal stripes. This poster manages to include all the stars (if that's McConaughey out of focus but I can never recognize him with his shirt on) without resorting to the stripes at all. Well, except for that last insert of John Cusack's threatening eyeliner. But even that plays like a fun "to be continued" comic book panel.

If the movie is as good as this poster, I shall write it steamy letters from my apartment prison.

I think we should read the novel while we wait for this because you know Lee Daniels isn't a copy & paste kind of director but someone who likes to play with visuals.  Who is with me? If so, say so... we need lots of blog projects to do it up real big like for 2012 before the apocalypse.

'War Horse': Stage vs. Screen

Kurt here. I am not, by any stretch, an authority on theater, and it's only recently that I've been able to collect a good number of playbills. But I can say, without hesitation, that the Broadway production of War Horse is the best thing I've ever witnessed on stage. I saw the show last Sunday, three days before I caught Spielberg's big-screen translation. In technical terms, the play is flawless, so staggeringly well-executed that, at intermission, my partner and I just gave each other wide-eyed, open-mouthed looks. The story, as expected, is one of very typical structure, with a found-and-lost-and-found-again relationship between and adolescent boy (Albert) and an almost preternatural stallion (Joey). But the stagecraft, while clearly taking some inspiration from Julie Taymor's The Lion King (and, perhaps, the Daniel Radcliffe incarnation of Equus), feels wildly extraordinary, at once awesome and minimalistic in its design.

I've decided that what makes the play so potent, beyond its meticulously made yet intentionally haggard horse puppets, and its ripped-from-the-pages-of-history projection screen of a backdrop, is its fierce, unannounced insistence on getting in your space, nearly assaulting you when it's time for stagehands to hurriedly crisscross the performance space with barbed wire, line the aisles with pennant strings to prep for a recruitment scene, or pilot a massive, makeshift tank across an implied, strobe-lit battlefield (another highlight is an ultra-stylized, oversized bullet that's carried from the crowd and spun like a drillbit before striking a key character on stage).

And how does Spielberg's version measure up to all this? I did my best to not allow my first War Horse experience to make me biased against my second, and it's true that the two works are very different beasts. I was, however, keeping score as I basked in the orange glow of Spielberg's impossible skies, for this equine weeper's path to the screen yields a lot of pluses and minuses. Let's take a look (spoiler alert!) at how Spielberg bettered the material, and how he fell short of the merits of its past life.

Peter Mullan and David Thewlis

PLUS: Albert's Father

In the play, Albert's father, Ted Narracott is an irredeemable, profoundly hateable character (seriously, like please-shoot-him-right-now hateable). A drunk and alleged military deserter, he makes a pile of horrid choices—including impulsively selling Joey—and never considers for a moment how they will impact his son...

Fathers, Tradition, Human Animal Bonding after the jump

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Link Hunters

The Guardian Ken Russell was nearly finished with a new screenplay adaptation of Alice in Wonderland, to be made as a risque musical. Will it still be made with a new director?
Nullco Preorder The Girl With the Dragon Tattoo soundtrack and download a sampler
Rope of Silicon first look at Sam Worthington in Wrath of the Titans and a curious plot synopsis
Thompson on Hollywood talks to one or our favorite craftsmen, production designer Jack Fisk (of Terrence Malick and Mr Sissy Spacek fame.)
24 Frames Hugo steps up as a powerful Oscar contender.

Empire wonders if paranormal romance Smoke and Bone about an angel and a demon that fall in love will be the next big movie franchise? Have any of you read it?
Inside Movies Deliverance actor Bill McKinney has passed away. 
Wipe Your Feet "Watching Melancholia is like..." I love the movie but this is totally LOL. 
Pop Watch tries to imagine Buffy alum Michelle Trachtenberg as Bella Swan. Supposedly, it could have happened.
Hollywood News talks to Will Reiser about 50/50 and the power of Anjelica Huston. 
IndieWire Mike Leigh will head the jury at February's Berlinale. (This year's jury picked Oscar buzzing Iranian film A Separation as the best of the fest. Good luck topping that one!)

Finally, EW has released the first photo of Hansel & Gretel: Witch Hunters.

I don't want to be bitchy about it since we've seen so little -- the trailer hits next week -- but doesn't it seem like revisionist fairy tale revisions and dark leathery bad-ass costuming are getting a little, shall we say, generic these days? How will this distinguish itself?

And when will Jeremy Renner star in a drama again after all this time spent Bourne Avenging Impossible Missions With Witch Hunters ? Does he want to be Samuel L Jackson that badly? Seems like a waster after his dramatic brilliance in The Hurt Locker.