"August: Osage County" Starts Filming Today

Just thought you'd like to know...

Playwright Tracy Letts, told the Daily News he was "minimally involved" beyond adapting his own play for the screen, was at the first table read last week (they're only rehearsing for a week? Yikes) and said...

Upham. McGregor. Breslin. Roberts. Streep. Lewis. Martindale. Cooper. Cumberbatch

It is the only day in the entire process I'm able to be there. They asked lots of smart questions."

Was one of the smart questions: "Why did they hand something this complex / acclaimed to a filmmaker with only one so-so film (Company Man) under his belt?" because that's what I would have asked. We can only wait and pray and hope John Wells is one of those 0 to 60 filmmakers (they exist) who was just learning on the job the first time 'round and is now ready to really show surgical precision when it comes to dramatic sparks and dark comic beats, and (most especially given the source material's staginess) heretofore completely invisible skill with visual style so this isn't one of those flat movies that everybody thinks should've stayed on the stage where it crackled and slurred and shouted and whispered and lashed out with bony arms reaching for and sometimes grabbing hold handfuls of greatness.

Was one of the other smart questions "Why is anyone (no disrespect to Sam Shepard) playing Beverly? because wouldn't his part have been the easiest to adapt right out if you didn't want a 3 hour movie?"

I'm sorry to start Monday off on such an ornery note but a week without moviegoing is really NOT doing my spirits any good (today I am seeing a movie. I'm on the mend!) On the bright side, even if this is only a hopelessly mediocre film version of a great stage show (think Doubt & Proof) chances are strong that audiences / critics / Oscar voters will like the performances. If it's much better than mediocre I shall apologize retroactively for all my doubts. 'I have such doubts!'

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? 

A Comeback for The Zeéeeee?

Renée earlier this year. Still a fashionistaTravel back with me through time just nine years hence. Renée Zellweger was on top of the world: A list career, consecutive Oscar attention, hit movies, red carpet superstardom.  She was so ubiquitous that she became the arch-enemy of The Film Experience only ever referred to as She Who Must Not Be Named™. By the time Hilary Swank had robbed her of the Most Hated title round these parts, she seemed depleted of everything else as well. In the past few years I've begun to feel bad for her and the way the public can suddenly turn on actors they once rushed out to see (see also: Meg Ryan). I now affectionally call her The Zeéeeee in remembrance of the five happy years we spent together (1996-2001).

While there's no such thing as an Oscar curse, Oscar wins quite often, and maybe quite naturally, mark the peak of an actor's career. Whether snagging showbiz's ultimate prize depletes the ambition you need to survive Hollywood, whether Oscar winners feel crushing pressure to prove they deserved their win and stiffen up, whether personal problems derail a career just as it seems to be perfect, whether a well earned vacation turns into a "we didn't miss you" extended hiatus ... well, who can say, really, but many stars fumble immediately after being crowned king or queen of Tinseltown for a year.

Recent movement in Zeéeeee's camp suggests she's ready for her career's second (third?) act now. She'll make her directorial debut with a film called 4 ½ Minutes which will star Johnny Knoxville as a struggling comedian. He is hired to babysit the Zeéeeees son and hijinx ensue. She's also lining up her Broadway debut in an adaptation of The Hustler, presumably in the Piper Laurie role. (Poor Piper! Leave her signature alones, people) Both projects are being scripted by Anthony Tambakis who wrote the screenplay to the fighting brothers drama Warrior. Some reports say that Tambakis is also co-writing a television series with the actress called Cinammon Girl to air on Lifetime. They must have hit it off.

Do you think this career can be saved? If so what would it take.

Nathaniel On His Travels: Streep Branding & Les Miz Jitters

Hi kids. I thought I'd check in briefly from my mom-centric travels. I'm typing this from my hotel room in St. George, Utah where the air is hot, the rocks are red, and my nephews live. They were inundating me last night with all sorts of information I didn't understand (mostly about video games) but once we got to the movies I was on sound footing (their preferred topics: superheroes and Miyazaki).

But how are you doing -- Aren't the guest bloggers doing a bang up job keeping us entertained? I ate up all of Leslye's posts (by which I mean read them multiple times) and pricked my ears up to a new voice in our sound mix, Matt Zurcher. Thank you as ever to longtime regulars Jose and JA. And to Beau, too,  because Sharing is Caring -- TFE is like his new Confessional which I guess makes me (and you) the priest? Hee!

I bought two books in the airport from sheer indecision about what to read (why don't I have a kindle or iPad yet?) and the one I've started is "The Meryl Streep Movie Club" which is probably a shameless attempt to borrow TFE's most discussed movie star's bankability to sell some books. But here's the catch to shamelessness: it often works. I bought the book didn't I? It's about an estranged family of sisters, who after a tragic orphaned childhood, reunite as adults and get some very bad news. Their aunt hosts a weekly movie night at the inn where they've gathered and it happens to be Meryl Streep Month. So far Silkwood has been name dropped the most -- a choice I fully support -- and they're about to watch Bridges of Madison County. I'm not very far in because my inflight movie was The Avengers (more on that in a couple of days when I'm back to NYC) which was more than enough to keep me occupied.

As you read this my soul is being stirred.

 Chances are at least. See, I'm off to see Les Misérables on stage for the first time in aeons. As a teenager I wore out my tape of the soundtrack and when I found out it was playing at Cedar City's annual widely acclaimed Shakespeare Festival (they've even won a regional Tony Award) I jumped at the chance to take my mom because a) she doesn't get out much and b) she's never seen it on stage but loves musicals and started me early on them for which I can only give her millions of hugs. It's a perfect opportunity to see the show before the movie hits and becomes the possibility definitive version for millions upon millions of people who don't get to stage shows often or ever. Which is unfortunately a lot of people -- even for shows as successful as Les Miz which has earned over $2 billion globally in its 27 year life.

I have no jitters about seeing the show on stage again because it's a magnificent epic in its original medium. But will it work on the movie screen? Bring it home, Tom Hooper! Bring it home.

Which brings me to my exit questions:

• Have you ever seen Les Miz on stage?
• Which is your favorite song? (If you must know mine is "Empty Chairs at Empty Tables")

Please Please Please Let Me Link What I Want

PopBytes gives Kristen Stewart advice re: her custody battle with Robert Pattinson (they share a beautiful dog)
Kirsten Dunst shares Garrett Hedlund tempting a squirrel with his nuts! (We used to do this as a little kid -- until my sister got bit!)
My New Plaid Pants remembers delicious latent homo Michael Biehn in The Fan. The internet is a wonderful time-free zone where people can obsess on Biehn like it's 1982 whenever they damn well want!
Gawker on Demi Moore's long cinematic rough patch 
The Playlist Nicole Kidman will play a small role in Lars von Trier's pornographic The Nymphomaniac (2013). Oh how I love them both. Please please please let this be as good as The Idiots.

Stale Popcorn Glenn reviews Cosmopolis and Step Up Revolution together because, duh, obvious double feature
i09 has the greatest unintentionally funny lines in genre films/tv. Love #8 and #1 so much. 
In Contention Spike Lee to be honored in Venice
NY Times profiles the rising Ukrainian boy band of sorts, Kazaky, featured in Madonna's "Girl Gone Wild" video 
Vanity Fair gives Olympian Ryan Lochte the Ryan Gosling 'Hey Girl' treatment 
Slate Dana Stevens embraces her inner punk rocker while staring at the Sight & Sound List 
Movie|Line I'm a bit confused by this article about Elizabeth Olson praising 50 Shades of Grey but then "no, no, no" about starring in it. I think we're missing a quote or a follow up question from the reporter!
Comic Book Movie Hugh Jackman on set as The Wolverine. Please please please let these be better than X-Men Origins: Wolv --oh never mind. It would be nigh impossible to be worse!

Finally... I think it's worth noting as a die hard fan of Bring It On (2000) -- which made my top ten list in its year and which I do not, in any way, consider a "guilty" pleasure, just a pleasure full stop --  that the stage musical version is upon us. My friend Tom liked it which gives me hope but I'm still leery. Screen to stage transfers are often very problematic and weirdly the number one thing they seem to get wrong seems very basic to me; super short scenes, of which movies are typically composed, are fussy and distracting on stage especially if they're constantly making adjustments to the sets or trying to keep up the manic visual pace of movies. Too many stage musicals pretend that you can just act the movie out on the stage but that's absolutely the worst way to go. I'm also worried because Bring It On's deserved reputation as one of the best high school comedies and best girly comedies has been utterly tarnished by a lengthy string of straight-up-terrible straight-to-video "sequels".

If any of you have seen it in previews, do share your reactions. Should I go?