Yes, No, Maybe So: On "Lincoln" and Trailer Premieres

Four score and seven years ago One hour and some minutes ago our Spielberg brought forth, upon this internet, a new trailer, conceived in Marketing, and dedicated to the proposition that all biopics are created equal.

LINCOLN will arrive in theaters on November 16th, 2012, a mere ten days after the election when everyone will undoubtedly be exhausted by politics (if they aren't already). And for reasons unbeknownst to The Film Experience Lincoln became the first movie to have its trailer premiere in this Google Hangout fashion with immediate commentary from fans afterwards. A sober presidential biopic isn't a natural fit for "OMG!" Insta-Reactions that fanboys pics can bring in trailer form as you'll see if you watch. You can watch the event (non-live) right here.

There is some hedge-betting from Steven Spielberg with which I personally great sympathize. The much beloved filmmaker hasn't bought in 100% to this new frightening world where trailers and not movies are the things that get people talking en masse.

Strathairn worries, Nathaniel doubts, and the trailer after the jump

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Chaplin: The Musical

Hey everybody. Michael C here fresh from seeing one of the legends of the cinema sing and dance his way through his life story.

At one point during Chaplin, The Musical which opens tonight on Broadway, a troop of Little Tramps march on stage to perform a chorus line version of the classic dinner roll dance from Chaplin’s The Gold Rush. It was at this point that I began to suspect that the show had not quite licked the problem of how to adapt the life and times of the silent film genius to the Great White Way.

Trying to cram anybody’s life into a coherent story structure is always going to be a daunting task. Chaplin, The Musical attempts to compensate for the familiarity of their approach with heaping helpings of Broadway razzle-dazzle. And while there is an undeniable thrill to watching performers executing in real time the kind of stunt work that Chaplin would take dozens of takes to perfect, it isn’t nearly enough to distract from the fact that we are once again being pulled through the same old biopic paces.

Two Chaplins: Robert Downey Jr in 1992, Rob McClure now

Robert Downey Jr.’s uncanny screen performance in the title role was the main selling point of Richard Attenborough’s disappointing Chaplin (1992), and the same could be said of Rob McClure’s work as Sir Charles on stage. McClure is splendidly effective when performing Chaplin-esque pantomime during Charlie’s pre-fame days and manages to convincingly evoke the enormous appeal of the Little Tramp. His recreation of that most famous of movie characters holds up even when a giant screen is produced on stage to incorporate the actor into some of Chaplin’s most famous images. Yet McClure’s efforts are never able to gather momentum as Chaplin, The Musical proceeds haphazardly from event to event, in the familiar fashion of unfocused biopics. From Chaplin's series of young gold-digging brides to the controversy over his outspoken leftist politics. From his struggle to adjust to the advent of sound to the torment of dealing with his institutionalized mother, who acts as the story’s Rosebud, the motivation behind all his choices artistic and personal. Chaplin often veers dangerously close to Walk Hard territory in moments like the one where Mack Sennett commands Chaplin to go from onscreen novice to comedic genius literally overnight or be fired.

Chaplin could have compensated for its well-worn material with some dynamic musical numbers, but unfortunately the songs by Christopher Curtis- though enjoyable enough while being performed – evaporate from memory upon reentering brightness of Times Square. It’s difficult to recall any song specific to Charlie Chaplin. Rather, we get generic showbiz material and love ballads that could be from a dozen other Hollywood stories.

costume sketches for Charlie young and old by Amy Clark

That said, it's hard to imagine a Chaplin fan isn’t going to have some fun at this show, despite all its flaws. The choreography by Warren Carlyle, fresh off his smashing work on Follies, is consistently inventive and the set decoration and costumes do a nice job evoking the black and white world of Chaplin’s films. Most important of all, the creative team succeed in expressing their deep love of the subject, even as one wishes they had endeavored to find a fresher approach. As tiresome as all the movie to stage adaptations have become I can’t help but think they would’ve had more success simply making a musical version of Modern Times or City Lights. As it stands, Chaplin, The Musical fails to conquer that central question that faces all biographies, be they musicals, movies or otherwise: Why isn’t the viewer’s time better spent experiencing the work which made the subject famous in the first place? 

Linker Come Back to Me

My New Plaid Pants pic of the day, first image from the set of Steven Soderbergh's Liberace bio Behind the Candelabra with Michael Douglas and Matt Damon as lovers
Movie City News 29 Weeks To Go until Oscar! Wooo
Cinema Blend apparently they're going to reboot The Brady Bunch. 
i09 pretends that 10 upcoming remakes / reboots aren't going to suck. Hey, someone has to stay positive.

Hollywood Elsewhere Dark Right(Wing) Rises... People can't stop talking about the politics of Chris Nolan's Batman trilogy.
Hollywood.com interviewed me and other pundits on The Dark Knight Rises Oscar hopes
Awards Daily breaks down the Tony nominees who made it to Oscar nominations 
Pajiba would like you to think about all the brunettes in Chris Nolan films. It's always brunettes.
/Film manages to dig up a tiny bit of info about the Coen Bros Inside Llewyn Davis 
Awards Daily breaks down the Tony nominees who made it to Oscar nominations

Obits
is it just me or are people dropping like flies... I'm a bit freaked out :( 
Studio Briefing Mr Cyd Charisse, singer/actor Tony Martin (1913-2012), has died 
The Guardian pays final respects to Chris Marker (1921-2012), the experimental filmmaker of La Jetée fame (which inspired 12 Monkeys)
New York Times the ever fascinating Gore Vidal (1925-2012) 
Fresh Air remembers Lupe Ontiveros (1942-2012) of As Good As it Gets and Selena fame. I loved it when NBR handed her Best Supporting Actress for Chuck and Buck (2000). Remember that? That's my favorite Lupe turn.

Finally, in much happier news...
Have you heard that Nina Arianda (Midnight in Paris, Win Win) is signing projects left and right. Looks like that Tony Award for "Venus in Fur" really did it. Nina, who has previously really had bit roles in movies, has surely arrived.

She recently signed on to play the great Guilieta Masina in Fellini Black and White the story of two missing days in the life of Oscar magnet Federico Fellini right before the Oscars in 58. Are they making this movie just for us? Seriously! She's also set to play Janis Joplin in another upcoming bio with Martha Marcy May Marlene's Sean Durkin helming after approximately a million years of rumors of this actress and that actress and sometimes more than one at once, playing her in a biopic. Hollywood apparently just can't let  The Rose (1979) be the last word. Tina Fey and Jane Krakowski even sent up the development hell of Janis Joplin biopics in an arc of 30 Rock. Nina also joins a huge cast of recognizable actors in the fascinating sounding The Disappearance of Eleanor Rigby which is reportedly a two-part film told from the husband (James McAvoy) and wife's (Jessica Chastain) perspectives.

This is all a long way of saying learn Nina's name and expect her on an Oscar shortlist in 5...4...3...2....1

Princess Naomi

It's the first official image of Naomi Watts as Princess Diana in Caught in Flight (2013)

I don't think I could survive another British Icon Impersonation Oscar Win just yet. Not after The Queen (06) and The King's Speech (10) and The Iron Lady (11). Imagine four winners in just seven years -- it's not even tough to imagine. Stop the madness! We just celebrated Independence Day but AMPAS wishes we hadn't destroyed all that good British tea in 1773. 

Are you looking forward to Naomi becoming Lady Diana? If this one doesn't work out for her she's also attached to another future biopic about Gertrude Bell called Queen of the Desert.That one will be directed by Werner Herzog and thus sounds instantly promising... even if it's still sort of no sure thing. 

Best Shot: Isabelle Adjani in "The Story of Adele H"

Previously on Season 3 of Hit Me With Your Best Shot...

Today we're officially back to weekly "Best Shot" posts with François Truffaut's biotragedy THE STORY OF ADELE H (1975). For nearly thirty years French beauty Isabelle Adjani held the record for the Youngest Best Actress Nominee of all time; she was 20 when Adele H made her an international star. To add to Adjani's Oscar Curio factor, she still holds another record: she's the only actor or actress ever nominated twice for French language performances. Nomination #2 came for another biotragedy Camille Claudel (1988). [Marion Cotillard surely hopes to tie that particular Best Actress record later this year in Rust and Bone (2012).]

Adjani all but vanished from screens round about the time she and Daniel Day-Lewis procreated and split. The sensational Queen Margot (1994) and the reviled Diabolique (1996) with Sharon Stone were her last big draws so I assume many readers are unfamiliar and that this Best Shot subject would be a fresh choice. I did not however make the connection that post-Possessed this meant two movies back-to-back featuring women who utterly debase themselves for the love of a playboy who does, in his defense, try to warn her crazy away. Even though both films belong to my favorite subgenre Women Who Lie To Themselves™ it was a disconcerting double feature. 

Adele H doesn't just lie to herself though. She lies to virtually everyone in her relentless pursuit of her former lover Lt. Albert Pinson (Bruce Robinson) who she intends to marry. She prides herself repeatedly on her willingness to cross the Ocean for him, a big deal in 1863.

Though I'd argue that François Truffaut's marriage of traditional costume drama and nouvelle vague experimentation is sometimes an awkward one, I do love the film's take on letters which Adele mostly reads aloud as she writes, sometimes directly to the camera as in this gorgeous passage when Adele recites an entire letter to daddy while the camera actually crosses the Ocean (and then some maps) to deliver it.

She's Written A Letter To Daddy... (my second choice for "best shot")

My dear parents,
I have just married Lieutenant Pinson. The ceremony took place Saturday in a church in Halifax. I need money for my trousseau. I must have 300 francs immediately... in addition to my allowance. If you'd taken care of my music as I've asked you 100 times that would bring me in some money and I wouldn't have to behave like a beggar. 

It's in the letter readings where Adjani earns the historic Oscar nomination. Her lies are so proud and delivered with such entitled petulance that she almost seems thrilled to be reciting them. What's false is true and Adele believes this with religious conviction. And nost just Sunday only conviction but a tent-revival sort of fanaticism. Similarly perverse beats occur when she seems turned on by Lt. Pinson's sexual interest in everyone but her. Adjani is also excellent at delineating Adele's complex relationship to her family name ("H" being the clue and part of the reason I chose the movie at this time) whether she's embracing it, hiding it, or using it as dangling carrot.

Great Moments in Costuming #317,201

But for the Best Shot prize, I choose a shot that falls within a far more typically Oscar-baity context. Toward the end of the film, the inevitable occurs and Adele's internal madness is acutely externalized. After a dog bites at her heels, tearing her dress, she wanders the streets.

In an 18 second unbroken shot she approaches oblivious to the camera she's often looking at. The camera  briefly focuses on the ragged hem of her once rich gown as she passes us by before it pans up again to a bookstore window where Adele's lonely never-suitor stares at his former friend, now utterly alien. She spins about in the street muttering (inaudible) nonsense to herself. She's always spoken nonsense but now that everyone can hear it for what it is, there's no point in listening.

best shot

Don't Believe Her Lies!!!
Antagony & Ecstacy ...thinks it a damn good movie.
Film Actually... on a soldier's indifference
Cinesnatch... 'for the man you claim to be her father'
Okinawa Assault [SPOILERS] talks downward spirals and dusty mirrors

Next Thursday Night: Kim Novak and William Holden get all hot and bothered in the Oscar favorite PICNIC (1955), which I've never seen! Bring your own blankets and sandwiches (and blog posts)