Showing posts with label Warren Beatty. Show all posts
Showing posts with label Warren Beatty. Show all posts

Thursday, March 26, 2015

Sean Young, star behavior/misbehavior and Hollywood sexism.

From a GUARDIAN profile (inspired by a British theatrical reissue of BLADE RUNNER) by Danny Leigh
(http://www.theguardian.com/film/2015/mar/26/blade-runner-sean-young-interview) :

It's strange, how the Blade Runner legend now leaves out both [Sean] Young and her co-star Daryl Hannah, presenting it as the collective triumph of Ford, Rutger Hauer with his “tears in rain” speech, and Ridley Scott orchestrating it all. Then again, that kind of thing often blights actors. Like a lot of what befell Young, it could only have happened to a woman.

The past is unknowable. But the idea that a young female actor new to Hollywood would be directed to the casting couch is hardly outlandish, or that the same actor would face the same demands even as a star. On-set, male actors can scream abuse at underlings and have it passed off as being “driven”; making Wall Street, an unwitting Young had a sign reading “cunt” stuck to her back by Sheen. And when the media reported her trials, they did so with the particular pursed delight that greets a woman’s fall from grace.
As for Hollywood, it often finds it easier to give second acts to men. Young could be excused a smile on noting that the highest paid actor in Hollywood for the past two years has been Robert Downey Jr, whose struggle with drug addiction in the 90s saw him spend time in state prison, as well as mistaking a neighbour’s house for his own and falling asleep in a child’s bedroom.
There are probably too many stories about Young’s “theatricality” for them all to be untrue. In the course of our email exchange, I am not always struck by the urge to get stuck in a lift with her. She admits to a “knack for pissing people off.” It is also rude to heckle someone while he’s collecting an award. But it’s unlikely any of this was helped by how the industry treated her. And she can be funny, and self-aware, and if even half those stories were embellished, and just some of that treatment was down to sheer misogyny – well, that’s quite a bum rap. You’d be angry too.

Sunday, August 3, 2014

1967 vs 2014: Two film critics fight against two different "radical" films.

In 1967, there was NEW YORK TIMES film critic Bosley Crowther on Arthur Penn and Warren Beatty's gangster-genre-reshaping BONNIE AND CLYDE:
http://www.nytimes.com/movie/review?res=EE05E7DF173CE361BC4C52DFB266838C679EDE

Cut to this summer.  Kenneth Turan disliked Richard Linklater's filmed-over-12-years coming-of-age-genre-reshaping BOYHOOD (which I haven't seen yet).  Unlike Crowther with BONNIE AND CLYDE, Turan recused himself from reviewing BOYHOOD upon its release--waiting a few weeks to write this think piece which is a sort of I-feel-so-alone-and-marginalized-but-I'm-Right-damnit primal scream about the film, other film critics' excellent reviews of the film. director Linklater's career and Turan's own recent career at THE LOS ANGELES TIMES:
 http://www.latimes.com/entertainment/movies/la-et-mn-ca-boyhood-on-film-turan-20140803-story.html

Wednesday, September 29, 2010

RIP film and stage director Arthur Penn.

http://hollywood-elsewhere.com/2010/09/penns_end.php

I remember seeing Arthur Penn once around 1989 at the Telluride Film Festival; Penn and Penn & Teller were there to promote the film PENN AND TELLER GET KILLED.  All three were, if memory is correct, on an outdoor panel where Arthur Penn was on the end of a brief tongue-lashing from a local Telluride woman (decidedly not a festival-goer) intent on using him as a punching bag for her disdain for Hollywood and its filmed product, which she apparently found values-deficient.

Certainly, THE MIRACLE WORKER, BONNIE AND CLYDE, THE LEFT HANDED GUN, THE CHASE, ALICE'S RESTAURANT (haven't seen it, but should ), LITTLE BIG MAN and NIGHT MOVES  form the cornerstone of Penn's reputation as a film director. MICKEY ONE (Penn's first collaboration with Warren Beatty) and THE MISSOURI BREAKS (Penn's second time working with Marlon Brando--who, from his performance, had a different film in mind) are watchable, idiosyncratic misfires.

And, as Mr. Wells mentions in his HOLLYWOOD ELSEWHERE post, Penn was out of cinematic fashion by 1981.  Two of his later films (TARGET and DEAD OF WINTER) were genre thriller stuff that could have been made by just about anyone.

But Penn had a good run from THE LEFT HANDED GUN through MISSOURI BREAKS and deserves posthumous attention from younger generations of film enthusiasts.

Friday, February 5, 2010

Peter Biskind's STAR bio of Warren Beatty--two perspectives.

Here's free-lance journalist Vanessa Grigoriadis' gossip-laden take on Peter Biskind's STAR--a gossip-laden biography of Warren Beatty: http://www.nytimes.com/2010/02/07/books/review/Grigoriadis-t.html

And, for contrast, here's the Janet Maslin review which appeared a month earlier in THE NEW YORK TIMES: http://www.nytimes.com/2010/01/07/books/07book.html

To my point of view, the Maslin review is the more thoughtful of the two. But Grigoriadis does take notice of the continuing virus of male sexism towards women (be they journalists or artistic colleagues) in the Industry. And she was a victim of that sexism more recently when an on-the-money ROLLING STONE profile of troubled comic/HOWARD STERN SHOW regular Artie Lange received a boorish on-STERN rebuttal from Lange friend Norm Macdonald.

As for Warren Beatty, he had a great run from BONNIE AND CLYDE through REDS (excepting DOLLARS. THE ONLY GAME IN TOWN and THE FORTUNE--which I'm assuming he accepted because they were directed by Richard Brooks, George Stevens and Mike Nichols, respectively). ISHTAR, even when released, wasn't as bad a film as the let's-review-the-budget shallow nonsense that defined its reputation for the last twenty-three years. And BULWORTH was an honorable valedictory for Beatty-as-filmmaker--leaving aside the disaster-laden-career-finale of TOWN AND COUNTRY.

Maybe Beatty enjoys being all-but-retired and a late-in-life husband/father. Maybe Beatty can't get over seeing himself as the eternal old-school leading man to have a strictly behind-the-camera career as producer/director--or even to be a mere actor in other people's films.

But, in the end, Beatty's body of work as a filmmaker deserves to outlast the who-he-slept-with curiosities--and the books which focus more on the latter than the former.

Tuesday, January 5, 2010

Random trivial thoughts on pop culture.

1. After the widely lambasted solo project with Timbaland producing, I'm curious how much interest there may be in Chris Cornell reuniting Soundgarden later this year. Also wondering if any new material will be generated--or if it's a Pixies-esque just-play-the-old-stuff tour.
2. If Warren Beatty's so annoyed by the likely-irreverent upcoming bio from Peter Biskind, maybe it would have been a good idea to have just said nothing at all (as Artie Lange is currently doing regarding his hospitalization; Beatty had superattorney Bert Fields issue a "I didn't authorize Biskind's book" denial after Biskind and publicist apparently leaked a five-figure estimate of the number of women Beatty has been intimate with).
3. It's safe to say that Colin Firth is this year's Richard Jenkins--a fine actor who will get no more than a "thanks for your body of work" Academy Awards nomination for the film he's in. The collolary to this axiom is that, as with Jenkins and THE VISITOR, Firth is head-and-shoulders superior to the film he's in (Tom Ford's A SINGLE MAN).

Wednesday, April 15, 2009

Mike Nichols' legendary flop THE FORTUNE--and the renewed interest in it.

On paper, THE FORTUNE looks like a must-see. It was a "smart grownups making slapstick" comedy starring Warren Beatty, Jack Nicholson and Stockard Channing. The screenplay was written by Adrien Joyce aka Carol Eastman--also the scribe of the classic FIVE EASY PIECES, which starred Nicholson. And the director was Mike Nichols.

THE FORTUNE, released by Columbia Pictures, was critically panned upon its release in 1975. And, aside from a recent showing on Turner Classic Movies (plus some upcoming screenings in NYC as part of a Mike Nichols retrospective), it's pretty much unavailable in the USA. And, like a lot of unavailable films with A-list talent, the want-to-see factor is multiplying faster than rabbit reproduction.

Here are two links to Jeffrey Wells' HOLLYWOOD ELSEWHERE posts discussing Nichols and THE FORTUNE: http://hollywood-elsewhere.com/2009/04/nichols_chat.php
http://hollywood-elsewhere.com/2009/04/forgotten_fortu_1.php