Venice, Day 3: Keira's Confession, Kate's Challenge, Madonna's Stumble

Manolis, from the Greek site Cinema News, reporting from Venice for The Film Experience.

Madonna and her W.E. cast © the wonderful photographer Fabrizio Spinetta who is sending us great shots for TFE. 

Before today's report some thoughts about Madonna's W.E. which I had the privilege of seeing; there were so many people outside the cinema trying to find a ticket. It was difficult to turn your back to Madonna and her W.E. cast who were sitting on the Balcony behind the audience, but once the lights in the Sala Grande were off, you could focus on the openings shots of her film. 

ManolisW.E.

The movie reminded me a lot of Julie and Julia. It has a similar structure but the bonding between the two Wallis’ (Cornish and Riseborough) is more vague and unfocused than that of Adams and Streep. And let’s face it, a Streep this film doesn't have. Andrea Riseborough has the showiest role, but the film doen’t help us connect her character or her motives, or help ups sympathize with her or even understand what she sacrificed for her relationship with Edward (which was Madonna’s aim as stated in the press conference). The love story of the modern day couple (Abbie Cornish and Oscar Isaac) proves more interesting than one of the most notorious love stories of all time. 

I think that the biggest mistake that Harvey Weinstein made with W.E. was leaking that it was an Oscar contender. Sure, the film has some chances in Costume Design, Music (a great score by Yann Tiersen and Abel Korzeniowski) and even Make Up (hello, Old Age!) but apart from that not much more. But the script which was co-written by Madonna is unfocused and full of cliches and predictable ‘twists’ . Madonna’s directing style fares slightly better but her visual choices are all over the place. The rich production values help make the viewing pleasant but this is not a serious oscar contender.

A Dangerous Method

This is already the third film of the competition (after The Ides of March and Carnage) that was based on a play. David Cronenberg's new film is drawn from true life events and the relationship of Sigmund Freud (Viggo Mortensen), Carl Jung (Michael Fassbender) and Sabina Spielrein (Keira Knightley). Fassbender and Mortensen are excellent giving restraint utterly believable performances of these famous figures. Vincent Cassell is also good in a very small role (six minutes?). The Art Direction of the movie may have also been impressive but I couldn't see the scenery; Keira Knightley was chewing on it. Knightley's performance has caused disputes between the critics here. Some are impressed other's believe it's the film’s fatal flaw. Sorry Keira fans, but I am with the ones who did not enjoy her overracting. She cycles through every facial expression known to human kind. Needless to say that a Best Actress Oscar nomination is not out of the question. Sabina is obvious Oscar Bait and people often confuse best acting with most acting. Other strong Oscar prospects include Supporting Actor (Viggo), Adapted Screenplay and Costumes. 

Cronenberg, Knightley, Mortensen, Fassy, Sarah Gadon, Cassel are all in Venice!

I am an actress so of course I'm crazy."

Keira Knightley confessed at the press conference for the film. Other highlights from the press conference included Michael Fassbender's research for the role of Jung which he said was reading "Jung for Children: The Idiot’s handbook" and Mortensen thanking a fan for giving him a mascot doll of his favorite team San Lorenzo. When asked what he learned about psychoanalysis while making the film, David Cronenberg replied "I found out that of all my actors that are here need psychoanalysis."

Mildred Pierce

At the Mildred Pierce press conference Winslet suprised most of the audience when she confessed how difficult the role was.

...without question, my most challenging job since Titanic. Working in a TV series is much more difficult than in a film." 

Tomorrow in Venice: the premieres of ALPS (Giorgos Lanthimos Dogtooth follow up), James Franco’s Sal Mineo biopic, Steven Soderbergh’s Contagion and Al Pacino’s Wild Salome.

Venice: "Ides" and Oscar, Winslet in "Carnage", Madonna for "W.E."

[Editor's Note: I told you we'd have two correspondents in Venice this year. Doubleplusgood. You've already heard from Ferdi from Italy. Now we have Manolis from Greece. We're very happy to have them both covering the fest this year. Show them comment love. -Nathaniel R.]

Hello Film Experience fans. I’ve been a reader myself for many years and i am happy that this year i have the chance to cover the festival for Nathaniel and for the Greek site Cinema News. English is not my native language but I hope you'll enjoy my coverage. 

DAY 1: Venice at this time of the year is at its finest and busiest. The festival is of course the main attraction but there are many unaware tourists that are wondering what all these people with the badges around their necks are here for.  The event of the day was the opening ceremony of the Festival with the premiere of George Clooney’s The Ides of March. Even though The Ides of March is a political film the atmosphere at the press conference was not heavy at all. Most of the questions were aimed at George Clooney who once more ‘played’ the room as he answered questions with wit and humor. What else could he do when the questions varied from "Is this movie a comment about Dominique Strauss Kahn?" to "Have you ever thought of running for president?". He also joked about the amount of research he did for his character in Ocean’s 11 -- "I spent years researching for this role in Las Vegas" -- and he joked that the right side of the movie's poster was better looking than the left.  

Which side do you prefer?

He also said that Gosling was his first choice for the role and that the production of the film was postponed because after Barack Obama’s win everybody was very hopeful about the future of polictics in the U.S. and the timing wasn’t right for it. 

Of Day One's three other press conferences, the most compelling was the Jury of the Competition Section. This year's president Darren Aronofsky and his jury members were here to discuss how they will pick their winners. Todd Haynes got the most interesting question when asked how partial he could be in judging Kate Winslet’s performance in Carnage so soon after working with her in Mildred Pierce (which is also showing at the festival).

He answered politely and predictably and persuaded nobody. 

I am happy to say that The Ides of March is a very good film, directed with passion and care for detail. However it's the kind of film that everyone likes and respects but nobody is really passionate about. Ryan Gosling is excellent in the lead role and has the audience on his side even when he makes the wrong decisions; he could very well be nominated. One of the difficult things to judge is whether the supporting players will feature in the Oscar race. I would say that Clooney has the best chance in the Supporting Actor category, as he portrays a charismatic character (not an acting stretch, I know) that has faults and is vulnerable. Paul Giamatti and Phillip Seymour Hoffman are marvelous actors but they don’t do anything we haven’t seen them do before. (Giamatti and Marisa Tomei are in very little of the movie.) Evan Rachel Wood on the other hand has an important role and a lot of screen time and has a good shot at a nomination. If I had to pick the surest nomination that would be in the Adapted Screenplay category since the dialogue is excellent and the the scipt (Written by Clooney and his creative partner Grant Henslov) is the strongest element of the movie.

W.E. and Carnage after the jump

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Shanghai Surprise?

Last night while Lady Gaga was living through an entire MTV VMA evening as "Jo Calderone" her male alter ego, I began to wonder if she could ever transfer to the big screen? In the past I'd always dismissed the notion but I think she pulled off that bit of theater last night. At the very least she sure is committed. And doesn't it seem that every major pop star eventually tries the silver screen. Britney Spears, who was also honored last night, did. Remember Crossroads? She didn't. For every Cher or Justin Timberlake who make a real honest go of it, there are dozens and dozens of musicians that fail at it or do okay but move on any way and their efforts are, generally speaking, quickly forgotten.

Which got me to thinking about Shanghai Surprise, which opened 25 years ago on this very day. No joke!

Madonna and Sean Penn, the early years

...though many thought the movie was.

Shanghai Surprise was Sean Penn and Madonna's first and last film together and it premiered just a year after the media explosion that was their wedding and subsequent volatile marriage. I haven't seen Shanghai Surprise since the 80s and the only thing I remembered about it before I took a wee peek today was that Madonna played a missionary who at one point just stripped into a white slip and seduced Sean Penn.

As missionaries do.

The reason Madonna was never much of an actress is that she was always too aware of the camera. It's a bit of an irony, since great film acting is all about an actor's relationship with the camera, but they really can't show that they're aware of it unless they're wildly talented and doing so on purpose. Otherwise, the audience just gets uncomfortable. 

God Nathaniel, why are you reminding people of a rare failure?!

Still, for all of Shanghai Surprise's badness, whenever two colossal careers meet in some disastrous way that's recorded for posterity, it's kind of fun to witness / remember. Take the moment Madonna first sees Sean Penn above. She is prim and proper and he is a totally drunk, half naked man who's screaming at people in Chinese.

Madonna's only had a couple of lines before this, all of them entirely wooden. But when she stares at him in disgust and confusion, it's hard not to feel a bit sympathy as soon as you are also staring at him. Penn was already, by 1986, an acclaimed and wildly confident actor.  

And he's ACTING enough for both of them, trust.

Look at that. [Displaying tattoo] He didn't even finish the nipples on my little sweetheart!"

Have you ever seen Shanghai Surprise? Do you ever think about which pop stars could make it as actors?

Tuesday Top Ten: MADONNA Day!

Madonna then'ish and now'ish.

Has anyone hogged more mental, academic, celebrity, music, sexual and pop culture real estate combined than Madonna over the last 25+ years? I think not. We salute the Queen today on her birthday. August 16th ought to be an international holiday. Make it happen, citizens of earth.

So herewith two top ten lists and one of them is catered specifically to The Film Experience so as to make this post more at home! Madonna has had a problematic journey with film, aside from three indisputable highlights: time capsule 80s comedy Desperately Seeking Susan (1985), the wondrous super quotable documentary Truth or Dare (1991) and her Golden Globe win as Evita (1996). Will she be able to add a fourth success to that list when her Oscar-seeking directorial effort W.E. (2011) comes out? [All previous posts on W.E.]

Two+ Lists If You Continue...

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Curio: When Madonna Was Breathless

Alexa here. Madonna turns 53 today. Her profile seems relatively low-key lately; sometimes I feel like I'm reading more about Lourdes than her mom.  But this bit of kitsch I saw for sale on etsy the other day brought me back to the days of the Madonna media juggernaut.

That's right, a set of Dick Tracy and Breathless Mahoney dolls from 1990.  Yes, I am old enough to remember seeing this movie in the theater. A month prior to its release I had tickets to Madonna's Blonde Ambition tour and alas, she canceled because of throat issues (later memorably documented in Truth or Dare).  At the time, Madonna called Dick Tracy the "best movie I've ever been in." After lining up to see it opening night I strongly disagreed, and not just because I was still stung by her concert cancellation.  This was Warren Beatty telling a tale full of sound and fury, signifying nothing. 

Madonna Marble!There are quite a few Dick Tracy curios up for sale now, including an opening night t-shirt (that acted as your admission ticket for midnight screenings), marbles, and a scarf.  

It's hilarious to see this tie-in merchandise so long after a film has come and gone. You can see how strong the studio backing was, how high hopes were for a franchise.  And today, I'd probably rather watch Filth and Wisdom than sit through Dick Tracy again.