list http://www.spout.com/ Recent community activity around East of Eden on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/East_of_Eden/10082/default.aspx Title: East of Eden
Year: 1955
Director: Elia Kazan
Plot: This truncated screen version of John Steinbeck's best-seller was the first starring vehicle for explosive 1950s screen personality James Dean, who plays Cal Trask, the "bad" son of taciturn Salinas valley lettuce farmer Adam Trask (Raymond Massey). Although he means well, Cal can't stay out of trouble, nor is he able to match the esteem in which his father holds his "good" brother Aron (Richard Davalos). Only Aron's girlfriend Abra (Julie Harris) and kindly old sheriff Sam Burl Ives) can see the essential goodness in the troublesome Cal. When Adam invests in a chancy and wholly unsuccessful method of shipping his crops east, his wealth plummets. In an effort to save the business, Cal obtains money from his estranged mother (the proprietor of a whorehouse) and invests it in a risky new bean crop. The gamble pays off (thanks in no small part to the war), but Adam refuses to take the money from Cal, and the resultant quarrel causes Adam to have a stroke. Released the same year as Rebel Without a Cause, East of Eden provided Dean with his first Oscar nomination, for Best Actor. ~ Hal Erickson, All Movie Guide
Times Tagged: 41
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]]>Fri, 31 Jul 2009 19:48:50 GMTEast of Eden1955Elia KazanThis truncated screen version of <a href="/players/P____67904/default.aspx" style='text-decoration:underline'>John Steinbeck</a>'s best-seller was the first starring vehicle for explosive 1950s screen personality <a href="/players/P____18134/default.aspx" style='text-decoration:underline'>James Dean</a>, who plays Cal Trask, the "bad" son of taciturn Salinas valley lettuce farmer Adam Trask (<a href="/players/P____46298/default.aspx" style='text-decoration:underline'>Raymond Massey</a>). Although he means well, Cal can't stay out of trouble, nor is he able to match the esteem in which his father holds his "good" brother Aron (Richard Davalos). Only Aron's girlfriend Abra (<a href="/players/P____93526/default.aspx" style='text-decoration:underline'>Julie Harris</a>) and kindly old sheriff Sam <a href="/players/P____34703/default.aspx" style='text-decoration:underline'>Burl Ives</a>) can see the essential goodness in the troublesome Cal. When Adam invests in a chancy and wholly unsuccessful method of shipping his crops east, his wealth plummets. In an effort to save the business, Cal obtains money from his estranged mother (the proprietor of a whorehouse) and invests it in a risky new bean crop. The gamble pays off (thanks in no small part to the war), but Adam refuses to take the money from Cal, and the resultant quarrel causes Adam to have a stroke. Released the same year as <a href=/films/28395/default.aspx style='text-decoration:underline'>Rebel Without a Cause</a>, East of Eden provided Dean with his first Oscar nomination, for Best Actor. ~ Hal Erickson, All Movie Guide41Tag Target (>10)2043http://www.spout.com/ProductImages/t56926bjps4.jpghttp://www.spout.com/films/East_of_Eden/10082/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/6/39158.aspx Post By: SpoutBlog
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Post Date: 1/6/2009 4:00:59 PM
Body: Criterion, who had already shown the Wes Anderson love with their Rushmore, The Royal Tenenbaums and The Life Aquatic discs, announced back in 2007 that they were going to be putting out an edition of Bottle Rocket. This was met with much joy, especially because the previously released version, which came out back in 1996, was about as bare bones as you could get. The only real special feature it could claim was widescreen on one side of the disc, and full screen on the other. Big whoop. The new version, which just came out in late 2008 has a ton of features, and is available in both standard and Blu-ray editions. But it also contains one of the single most sour notes ever hit in an Anderson DVD. It’s so extremely painful that it makes the package almost worth avoiding. Just to be fair, here’s a list of everything the new edition of Bottle Rocket includes: a new digital transfer, approved by Wes Anderson and director of photography Robert Yeoman DTS HD 5.1 soundtrack Commentary track from Owen Wilson and Wes Anderson The Making of Bottle Rocket documentary with interviews from the actors, director, and producer James L. Brooks, directed by Barry Braverman The original 13 minute Bottle Rocket short film Eleven deleted scenes Storyboards and location photos Photographs by Laura Wilson The Shafrazi Lectures, No 1: Bottle Rocket, a sort of scholarly lecture about the movie Murita Cycles a 1978 short film from Barry Braverman Altogether, that’s a lot of Bottle Rocketry for anyone. But the biggest draw for most people will be the new transfer, and the commentary from Wilson and Anderson, who also wrote the film. You think they’d have some interesting insights into the making of this film. After all, Wilson and Anderson have known each other since college, and have collaborated on several films together. Instead what you get is a sleepy commentary from Wilson, with Anderson constantly prodding him and desperately trying to add some value to the track. At one point Anderson asks Wilson if he got the suggested questions or topics that were sent to him, in case they ran into long silences on the commentary, to which Wilson replies, “No. What questions?” Unfortunately, it ends up sounding like someone from Criterion called them that morning, and said “Oh, we need to record you guys in about two hours.” Both Wilson and Anderson sound pretty much bored by the entire process, and there are several moments where vast expanses of silence pass by like icebergs in the night. Even if they ran out of stuff to talk about from Bottle Rocket, couldn’t they just shoot the breeze? No funny stories from the set? No anecdotes about all the Wilson brothers? No, instead you get stuff like Wilson saying to Anderson, “Hey, isn’t that your hair in that shot?” Why not just feature Anderson by himself? He did a great solo job on The Royal Tenenbaums commentary. I don’t know much about the history of DVD authoring, so I’m not sure if there’s ever been a time when a DVD producer has gone back to the talent to say “I’m sorry, this just isn’t usable. Can you guys try that again?” The only commentary that comes to mind that is this inexplicably bad is from The Goonies, when Sean Astin has to leave in the middle because he had to attend a dinner with Joe Pantoliano. No kidding. The other extras on the disc almost make up for this, particularly the eleven deleted scenes. There’s a scene called “Temple Nash Jr.” where Dignan, Bob, and Anthony are asking all kinds of gun questions of a redneck gun nut. It’s hilarious enough to be a standalone short film. Most directors comment on deleted scenes, but sadly Anderson doesn’t chime in on why these were cut. I’m assuming it must have been for time. The Wilsons’ mother Laura, a professional photographer, took photos during the making of the short film and during its Sundance run, and also documented the crew’s initial meetings at Columbia Studios. These are shot in black and white, and they look terrific. There’s something about young Wes Anderson with his shock of Eraserhead hair that smacks of an Ivy League prep school, even though he was born and raised in Texas. Plus, seeing the pure joy on both Anderson and Wilson’s faces as they jump Toyota-commercial style off of the Columbia steps is a treat. The only bad thing about the doc The Making of Bottle Rocket is that it’s only 26 minutes long. Filmmaker and longtime friend of the Wilson/Anderson set Barry Braverman gets pretty much everyone involved in the film on camera, and the best quote comes from James Caan, who says about his experience working on the movie, “Well, it was like three days. It was like being in the left hand corner of the Hollywood Squares or something.” There are some great remembrances in this that aren’t in the commentary track, and it’s also been shot in high-def widescreen as well. It’s too bad they couldn’t have made this feature length. Also included on the disc is a short film from Braverman, this one made in 1978. It’s called Murita Cycles, and is about Braverman’s father who ran a bicycle shop on Staten Island for years, and Wilson and Anderson both said it was one of their inspirations for the Bottle Rocket short. It’s a touching look at an eccentric guy who goes from normal father to packrat kook and is documented and interviewed by his son. The Shafrazi Lectures, No 1: Bottle Rocket is an 11-minute, very strange discussion of the film from Tony Shafrazi, the owner of the Shafrazi Gallery in New York. He’s the artist who spray painted “KILL LIES ALL” on top of Picasso’s “Guernica” in the Museum of Modern Art in 1974. It’s a near-incoherent praise of the film, and he compares it to films like East of Eden and Breathless, while displaying scenes on sheets of paper that he’s holding up in a dark room. It’s hard to decide if it’s sincere or not, since they including fake Charlie Rose style interviews from “The Peter Bradley Show” on the Tenenbaums disc. It’s almost worth watching just for the sheer bizarre factor. “I don’t like all this serious stuff,” Shafrazi remarks at one point. There’s one other special feature nearly as painful as the commentary, but for different reasons. That’s an anamorphic test scene that was shot when they considered shooting the movie in the widescreen Panavision format. It looks completely gorgeous, and would have made Bottle Rocket even prettier than it already is. Granted, it’s a fairly perfect movie by my standards, but the movie geek in me yearns for a non-existent widescreen version of this to get unearthed sometime. Maybe in an alternate universe. DVD booklets are not always worth remarking on, but this one includes Dignan’s complete 75-Year Plan along with essays from James L. Brooks and Martin Scorsese, all done in Dignan’s handwriting, which I assume is from illustrator Ian Dingman. If I admit that I’m giving serious consideration to scanning and framing the 75-Year Plan, then at least I’m on the first step to recovery from Anderson addiction. Originally posted on:SpoutBlog
]]>Tue, 06 Jan 2009 21:00:59 GMTSpoutBlogSpoutBlog on spout.com1/6/2009 4:00:59 PMCriterion, who had already shown the Wes Anderson love with their Rushmore, The Royal Tenenbaums and The Life Aquatic discs, announced back in 2007 that they were going to be putting out an edition of Bottle Rocket. This was met with much joy, especially because the previously released version, which came out back in 1996, was about as bare bones as you could get. The only real special feature it could claim was widescreen on one side of the disc, and full screen on the other. Big whoop. The new version, which just came out in late 2008 has a ton of features, and is available in both standard and Blu-ray editions. But it also contains one of the single most sour notes ever hit in an Anderson DVD. It’s so extremely painful that it makes the package almost worth avoiding. Just to be fair, here’s a list of everything the new edition of Bottle Rocket includes: a new digital transfer, approved by Wes Anderson and director of photography Robert Yeoman DTS HD 5.1 soundtrack Commentary track from Owen Wilson and Wes Anderson The Making of Bottle Rocket documentary with interviews from the actors, director, and producer James L. Brooks, directed by Barry Braverman The original 13 minute Bottle Rocket short film Eleven deleted scenes Storyboards and location photos Photographs by Laura Wilson The Shafrazi Lectures, No 1: Bottle Rocket, a sort of scholarly lecture about the movie Murita Cycles a 1978 short film from Barry Braverman Altogether, that’s a lot of Bottle Rocketry for anyone. But the biggest draw for most people will be the new transfer, and the commentary from Wilson and Anderson, who also wrote the film. You think they’d have some interesting insights into the making of this film. After all, Wilson and Anderson have known each other since college, and have collaborated on several films together. Instead what you get is a sleepy commentary from Wilson, with Anderson constantly prodding him and desperately trying to add some value to the track. At one point Anderson asks Wilson if he got the suggested questions or topics that were sent to him, in case they ran into long silences on the commentary, to which Wilson replies, “No. What questions?” Unfortunately, it ends up sounding like someone from Criterion called them that morning, and said “Oh, we need to record you guys in about two hours.” Both Wilson and Anderson sound pretty much bored by the entire process, and there are several moments where vast expanses of silence pass by like icebergs in the night. Even if they ran out of stuff to talk about from Bottle Rocket, couldn’t they just shoot the breeze? No funny stories from the set? No anecdotes about all the Wilson brothers? No, instead you get stuff like Wilson saying to Anderson, “Hey, isn’t that your hair in that shot?” Why not just feature Anderson by himself? He did a great solo job on The Royal Tenenbaums commentary. I don’t know much about the history of DVD authoring, so I’m not sure if there’s ever been a time when a DVD producer has gone back to the talent to say “I’m sorry, this just isn’t usable. Can you guys try that again?” The only commentary that comes to mind that is this inexplicably bad is from The Goonies, when Sean Astin has to leave in the middle because he had to attend a dinner with Joe Pantoliano. No kidding. The other extras on the disc almost make up for this, particularly the eleven deleted scenes. There’s a scene called “Temple Nash Jr.” where Dignan, Bob, and Anthony are asking all kinds of gun questions of a redneck gun nut. It’s hilarious enough to be a standalone short film. Most directors comment on deleted scenes, but sadly Anderson doesn’t chime in on why these were cut. I’m assuming it must have been for time. The Wilsons’ mother Laura, a professional photographer, took photos during the making of the short film and during its Sundance run, and also documented the crew’s initial meetings at Columbia Studios. These are shot in black and white, and they look terrific. There’s something about young Wes Anderson with his shock of Eraserhead hair that smacks of an Ivy League prep school, even though he was born and raised in Texas. Plus, seeing the pure joy on both Anderson and Wilson’s faces as they jump Toyota-commercial style off of the Columbia steps is a treat. The only bad thing about the doc The Making of Bottle Rocket is that it’s only 26 minutes long. Filmmaker and longtime friend of the Wilson/Anderson set Barry Braverman gets pretty much everyone involved in the film on camera, and the best quote comes from James Caan, who says about his experience working on the movie, “Well, it was like three days. It was like being in the left hand corner of the Hollywood Squares or something.” There are some great remembrances in this that aren’t in the commentary track, and it’s also been shot in high-def widescreen as well. It’s too bad they couldn’t have made this feature length. Also included on the disc is a short film from Braverman, this one made in 1978. It’s called Murita Cycles, and is about Braverman’s father who ran a bicycle shop on Staten Island for years, and Wilson and Anderson both said it was one of their inspirations for the Bottle Rocket short. It’s a touching look at an eccentric guy who goes from normal father to packrat kook and is documented and interviewed by his son. The Shafrazi Lectures, No 1: Bottle Rocket is an 11-minute, very strange discussion of the film from Tony Shafrazi, the owner of the Shafrazi Gallery in New York. He’s the artist who spray painted “KILL LIES ALL” on top of Picasso’s “Guernica” in the Museum of Modern Art in 1974. It’s a near-incoherent praise of the film, and he compares it to films like East of Eden and Breathless, while displaying scenes on sheets of paper that he’s holding up in a dark room. It’s hard to decide if it’s sincere or not, since they including fake Charlie Rose style interviews from “The Peter Bradley Show” on the Tenenbaums disc. It’s almost worth watching just for the sheer bizarre factor. “I don’t like all this serious stuff,” Shafrazi remarks at one point. There’s one other special feature nearly as painful as the commentary, but for different reasons. That’s an anamorphic test scene that was shot when they considered shooting the movie in the widescreen Panavision format. It looks completely gorgeous, and would have made Bottle Rocket even prettier than it already is. Granted, it’s a fairly perfect movie by my standards, but the movie geek in me yearns for a non-existent widescreen version of this to get unearthed sometime. Maybe in an alternate universe. DVD booklets are not always worth remarking on, but this one includes Dignan’s complete 75-Year Plan along with essays from James L. Brooks and Martin Scorsese, all done in Dignan’s handwriting, which I assume is from illustrator Ian Dingman. If I admit that I’m giving serious consideration to scanning and framing the 75-Year Plan, then at least I’m on the first step to recovery from Anderson addiction. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/11/7/37067.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/7/2008 3:01:08 PM
Body: Opening today, Soul Men features the final performance from Bernie Mac, who died unexpectedly on August 9. The movie also includes a cameo from Isaac Hayes, who died one day later. Both men join a long list of people whose last films were released after their deaths, a list that includes Brad Renfro, whose final performance, in The Informers, can be seen in theaters come next May. Unlike some names on that list, Bernie Mac, whose voice can also be heard in the new animated sequel Madagascar: Escape 2 Africa, isn’t likely to receive a posthumous Oscar nomination as a tribute to his final work. But as one of the most underrated comic actors of the past few years, Mac likely gives a great performance as soul singer “Floyd Henderson,” enough to fall in with the crop of posthumously released roles we’ve showcased below: 1. Spencer Tracy in Guess Who’s Coming to Dinner Tracy died from a heart attack June 10, 1967, a couple weeks after finishing his work on Guess Who’s Coming to Dinner, which was released that December. It would end up one of his most distinguished performances, earning him a posthumous ninth Oscar nom for Lead Actor. 2. James Dean in Rebel Without a Cause Dean received two posthumous Oscar nominations, but it’s easy to forget that neither of them were for Rebel Without a Cause, despite the film being Dean’s first posthumous release. Were it possible under the Academy’s rules, Dean could have been nominated for playing iconic teen Jim Stark, but he was instead recognized solely for East of Eden (the first official posthumous Oscar nomination for acting), which had been released a few months prior to Dean’s accidental death. Meanwhile Dean’s costars in Rebel, Sal Mineo and Natalie Wood, were each nominated for this film. 3. James Dean in Giant This film became Dean’s second posthumous release and earned him his second posthumous Oscar nomination (he won neither). The actor had pretty much finished his work on Giant right before his death, though some post-production vocal work had to be performed by a substitute later on, and the film wasn’t to come out in theaters until two months after the first anniversary of Dean’s death. 4. Clark Gable in The Misfits Like the death of Heath Ledger (see below), Gable’s was blamed on the demands of a role. Whether his performance in The Misfits was too physically demanding or he experienced immense tension from lack of things to do or he lost too much weight too quickly to prepare for the film, there may not have been one single thing that led to his having his third heart attack and then ultimately succumbing to coronary thrombosis mere weeks after finishing up principal photography. A few months later, on Gable’s birthday, his performance was unveiled to the world, and while not as historically remembered as his characters in Gone With the Wind and It Happened One Night, nor one of his three Oscar-nominated roles, it is arguably his greatest work. 5. John Cazale in The Deer Hunter Cazale should have been honored with a posthumous Oscar nomination at some point (I can’t believe I left him off that list), if for no other reason than to recognize his achievement of acting solely in features nominated for Best Picture (including The Godfather Part III, in which he’s only shown in archive footage). But an even bigger reason is that Cazale was a damn good supporting actor and he actually would deserve that statue. For all the talent he displays in The Deer Hunter, though, he was easily upstaged by his costar Christopher Walken, who actually took home the Oscar. 6. Bruce Lee in Enter the Dragon There are tons of artists who didn’t live long enough to see their work become huge successes. Unlike most of them, though, Lee at least experienced some level of stardom prior to his death on July 20, 1973. Unfortunately, he didn’t get to see his final film, Enter the Dragon, open to huge numbers in the U.S., eventually even topping the box office chart here after a few months in theaters. He also tragically never got to see how iconic, influential and culturally significant his performance would become. 7. Brandon Lee in The Crow Bruce Lee also never got to see his son grow up to have a #1 movie, too. Sadly, neither did the son, Brandon, who died accidentally from a malfunctioned prop gun on the set of The Crow. And while the star’s then-mysterious death may have helped to make the movie more popular than would otherwise have been expected, it’s primarily Lee’s performance, not his legacy, that has allowed the movie to remain worthwhile viewing 15 years later. Even if some of that performance was assisted through a controversial yet groundbreaking use of stunt doubles and digital effects. 8. Richard Harris in Harry Potter and the Chamber of Secrets There have now been more Harry Potter films released in which Michael Gambon portrays Albus Dumbledore, yet Harris will forever be remembered more clearly and favorably in the role. Even those of us who like Gambon as the Hogwarts headmasterhave more vivid memories of Harris’ performances in both Harry Potter and the Sorcerer’s Stone and Harry Potter and the Chamber of Secrets, the latter of which arrived in theaters less than three weeks after the actor’s death on October 25, 2002. Surely some fans would have preferred to see Harris reprise his role in the subsequent films courtesy of effects wizardry similar to that done in The Crow and Sky Captain and the World of Tomorrow (see below). 9. Laurence Olivier in Sky Captain and the World of Tomorrow It may have been morally wrong for Kerry Conran to digitally create a villainous performance from Olivier 15 years after the legendary actor’s death, but who doesn’t want to keep getting new performances from such a master thespian, even if it it technically consists of nothing but archive footage? Besides, it’s still better than making him posthumously hawk beer, vacuum cleaners, or McDonalds cheeseburgers. Too bad the film as a whole was such a disappointment. 10. Heath Ledger in The Dark Knight His performance as The Joker is better than anyone ever dreamed it would be, before or after he died suddenly last January. He’ll get an Oscar nomination, at least, and will probably even win. Will his final performance, in The Imaginarium of Doctor Parnassus, yet to be seen or released, be as remarkable? It’s quite possible that if this list is ever rewritten in the future that Ledger will join Dean as another actor with two slots, for two monumentally great performances released posthumously. Originally posted on:SpoutBlog
]]>Fri, 07 Nov 2008 20:01:08 GMTSpoutBlogSpoutBlog on spout.com11/7/2008 3:01:08 PMOpening today, Soul Men features the final performance from Bernie Mac, who died unexpectedly on August 9. The movie also includes a cameo from Isaac Hayes, who died one day later. Both men join a long list of people whose last films were released after their deaths, a list that includes Brad Renfro, whose final performance, in The Informers, can be seen in theaters come next May. Unlike some names on that list, Bernie Mac, whose voice can also be heard in the new animated sequel Madagascar: Escape 2 Africa, isn’t likely to receive a posthumous Oscar nomination as a tribute to his final work. But as one of the most underrated comic actors of the past few years, Mac likely gives a great performance as soul singer “Floyd Henderson,” enough to fall in with the crop of posthumously released roles we’ve showcased below: 1. Spencer Tracy in Guess Who’s Coming to Dinner Tracy died from a heart attack June 10, 1967, a couple weeks after finishing his work on Guess Who’s Coming to Dinner, which was released that December. It would end up one of his most distinguished performances, earning him a posthumous ninth Oscar nom for Lead Actor. 2. James Dean in Rebel Without a Cause Dean received two posthumous Oscar nominations, but it’s easy to forget that neither of them were for Rebel Without a Cause, despite the film being Dean’s first posthumous release. Were it possible under the Academy’s rules, Dean could have been nominated for playing iconic teen Jim Stark, but he was instead recognized solely for East of Eden (the first official posthumous Oscar nomination for acting), which had been released a few months prior to Dean’s accidental death. Meanwhile Dean’s costars in Rebel, Sal Mineo and Natalie Wood, were each nominated for this film. 3. James Dean in Giant This film became Dean’s second posthumous release and earned him his second posthumous Oscar nomination (he won neither). The actor had pretty much finished his work on Giant right before his death, though some post-production vocal work had to be performed by a substitute later on, and the film wasn’t to come out in theaters until two months after the first anniversary of Dean’s death. 4. Clark Gable in The Misfits Like the death of Heath Ledger (see below), Gable’s was blamed on the demands of a role. Whether his performance in The Misfits was too physically demanding or he experienced immense tension from lack of things to do or he lost too much weight too quickly to prepare for the film, there may not have been one single thing that led to his having his third heart attack and then ultimately succumbing to coronary thrombosis mere weeks after finishing up principal photography. A few months later, on Gable’s birthday, his performance was unveiled to the world, and while not as historically remembered as his characters in Gone With the Wind and It Happened One Night, nor one of his three Oscar-nominated roles, it is arguably his greatest work. 5. John Cazale in The Deer Hunter Cazale should have been honored with a posthumous Oscar nomination at some point (I can’t believe I left him off that list), if for no other reason than to recognize his achievement of acting solely in features nominated for Best Picture (including The Godfather Part III, in which he’s only shown in archive footage). But an even bigger reason is that Cazale was a damn good supporting actor and he actually would deserve that statue. For all the talent he displays in The Deer Hunter, though, he was easily upstaged by his costar Christopher Walken, who actually took home the Oscar. 6. Bruce Lee in Enter the Dragon There are tons of artists who didn’t live long enough to see their work become huge successes. Unlike most of them, though, Lee at least experienced some level of stardom prior to his death on July 20, 1973. Unfortunately, he didn’t get to see his final film, Enter the Dragon, open to huge numbers in the U.S., eventually even topping the box office chart here after a few months in theaters. He also tragically never got to see how iconic, influential and culturally significant his performance would become. 7. Brandon Lee in The Crow Bruce Lee also never got to see his son grow up to have a #1 movie, too. Sadly, neither did the son, Brandon, who died accidentally from a malfunctioned prop gun on the set of The Crow. And while the star’s then-mysterious death may have helped to make the movie more popular than would otherwise have been expected, it’s primarily Lee’s performance, not his legacy, that has allowed the movie to remain worthwhile viewing 15 years later. Even if some of that performance was assisted through a controversial yet groundbreaking use of stunt doubles and digital effects. 8. Richard Harris in Harry Potter and the Chamber of Secrets There have now been more Harry Potter films released in which Michael Gambon portrays Albus Dumbledore, yet Harris will forever be remembered more clearly and favorably in the role. Even those of us who like Gambon as the Hogwarts headmasterhave more vivid memories of Harris’ performances in both Harry Potter and the Sorcerer’s Stone and Harry Potter and the Chamber of Secrets, the latter of which arrived in theaters less than three weeks after the actor’s death on October 25, 2002. Surely some fans would have preferred to see Harris reprise his role in the subsequent films courtesy of effects wizardry similar to that done in The Crow and Sky Captain and the World of Tomorrow (see below). 9. Laurence Olivier in Sky Captain and the World of Tomorrow It may have been morally wrong for Kerry Conran to digitally create a villainous performance from Olivier 15 years after the legendary actor’s death, but who doesn’t want to keep getting new performances from such a master thespian, even if it it technically consists of nothing but archive footage? Besides, it’s still better than making him posthumously hawk beer, vacuum cleaners, or McDonalds cheeseburgers. Too bad the film as a whole was such a disappointment. 10. Heath Ledger in The Dark Knight His performance as The Joker is better than anyone ever dreamed it would be, before or after he died suddenly last January. He’ll get an Oscar nomination, at least, and will probably even win. Will his final performance, in The Imaginarium of Doctor Parnassus, yet to be seen or released, be as remarkable? It’s quite possible that if this list is ever rewritten in the future that Ledger will join Dean as another actor with two slots, for two monumentally great performances released posthumously. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/7/16/32630.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/16/2008 3:00:59 PM
Body: Though I first buzzed about an Academy Award nomination for Heath Ledger in The Dark Knight more than a month before his death, I now want to take it all back. I feel all the talk of Ledger’s posthumous Oscar chances will cloud my mind when I finally do see it, and it will probably also cloud the Academy’s judgment, too. Six months from now, when the nominations are announced on January 22 (coincidentally the one-year anniversary of Ledger’s death), if Ledger is not recognized for his role as The Joker, there will surely be an uproar — actually, Hollywood might just up and self-implode. I’m not the only one annoyed by all the Oscar buzz. Terry Gilliam, who directed Ledger in The Brothers Grimm and the upcoming The Imaginarium of Doctor Parnassus, is calling “bullshit” on the whole thing, particularly against Warner Bros., which Gilliam accuses of exploiting Ledger’s death and chance of a posthumous Oscar for publicity purposes. Considering most Oscar campaigns for live actors are really just part of movie marketing, he has a good point. Sure, I would love to see Ledger honored. I’ve believed in his Oscar worth since 10 Things I Hate About You . But in February, if he receives a posthumous award, it will surely feel, at least in good percentage, that it’s because he died young. In that case, why not also give supporting noms sight unseen to Rob Knox for Harry Potter and the Half-Blood Prince and Brad Renfro for The Informers? Despite the more than 10 posthumous nominations in Oscar history, however, it’s not obligatory for the Academy to hand out such accolades every time someone dies before his final movie is released. Just check out the following list of talent who probably deserved posthumous Oscar recognition as much as Ledger does: Jean Vigo for L’Atalante - One of the greatest, most influential films of all time, L’Atalante premiered in France in 1934, a few months before Vigo died of tuberculosis at the age of 29. It eventually made its way to the U.S. 14 years later, just in time for the debut of the Oscar for Best Foreign Language Film. And considering the first recipient, Vittorio De Sica (for Shoeshine), would win again two years later (for Bicycle Thieves), the Academy should have recognized Vigo’s film, even if it was more than a decade old. Unfortunately, it would be many decades before L’Atalante received the kind of esteem it deserves. James Dean for Rebel Without a Cause - Dean starred in only three feature films, one of which, East of Eden, was released prior to his death. He received posthumous Oscar nominations for that film and his final appearance in Giant, which came out a year later. But wouldn’t it have been wonderful if he’d also been nominated for his most iconic role in Rebel Without a Cause? Sure, he’d have posthumously gone up against himself in 1956, but that’s what movie gods like him were made to do. Richard Harris for Harry Potter and the Chamber of Secrets - Not only should Harris have received a nomination, he should have won, too. It doesn’t matter that it wasn’t the greatest performance by the actor, who’d previously been nominated for 1963’s This Sporting Life and 1990’s The Field. It’s that Harry Potter fans would have tuned in and saved that year’s telecast from being the least-watched in years. Just imagine how many people will be tuning in to next year’s show just because of the (inevitable) Ledger nom. Heather O’Rourke for Poltergeist III - I know that I’m only one of maybe three people who like the third Poltergeist movie, but even if you think the movie itself is bad, you have to give little Heather O’Rourke credit for being giving creepily terrific performances throughout the series. Compare her talent to some other young actresses who’ve been nominated. Especially Abigail Breslin of Little Miss Sunshine. And had she lived, she’d probably be a better actress today than Oscar-winner Anna Paquin. F.W. Murnau for Tabu - His Sunrise was pretty successful a few year earlier, at the 1st Academy Awards, but he wasn’t even nominated. In fact, the man who also gave us Nosferatu, Faust and The Last Laugh was never nominated for an Oscar, a fact that might have been different had the Oscars been founded a decade earlier or had he not died tragically in a car accident at age 43. I’m sure, at least, that Floyd Crosby, when winning for his cinematography work on Tabu, raised the statue to the sky and said, “this is for Murnau.” Peter Sellers for The Fiendish Plot of Dr. Fu Manchu - Whether or not you believe the Academy hates on comedic actors, you should agree that Sellers should have won an Oscar before he died. Or after he died. If he’d been nominated for this critical and commercial failure, though, it would of course have been one of those “he deserved it for ______, but this will do” kind of situtations. Stanley Kubrick for Eyes Wide Shut - If Scorsese can finally win with The Departed, Kubrick should have finally won posthumously with what is often thought of as his worst film. If anything, he at least deserved to be nominated instead of M. Night Shyamalan. Adrienne Shelly for Waitress - Didn’t it seem like a sure thing the writer-director-actress, Shelley, would get the nomination this year? Considering Diablo Cody had already (unofficially) won the actual Oscar before the nominations were even announced, could it have hurt to include the tragically murdered screenwriter? Or were there already too many ladies on the screenwriting ballot this year? Thelma Ritter for What’s So Bad About Feeling Good? - If ever there was a supporting actress who should have won an Oscar, Ritter was she. After six nominations (four of them consecutive), a posthumous seventh should have come with this movie (even if I’ve never personally seen it, I bet she’s great as usual). Unfortunately, the ballots were likely already in when she had her heart attack in February 1969. Also, she probably would have lost to Ruth Gordon anyway. Brandon Lee for The Crow - Laugh all you want, but in a crazy year that saw John Travolta recognized with a nomination and Tom Hanks recognized with a win for one of his silliest performances ever, would it have been so strange if the Academy had given Lee the slot filled by Morgan Freeman (obviously Oscar had little love for The Shawshank Redemption as it was)? Originally posted on:SpoutBlog
]]>Wed, 16 Jul 2008 19:00:59 GMTSpoutBlogSpoutBlog on spout.com7/16/2008 3:00:59 PM Though I first buzzed about an Academy Award nomination for Heath Ledger in The Dark Knight more than a month before his death, I now want to take it all back. I feel all the talk of Ledger’s posthumous Oscar chances will cloud my mind when I finally do see it, and it will probably also cloud the Academy’s judgment, too. Six months from now, when the nominations are announced on January 22 (coincidentally the one-year anniversary of Ledger’s death), if Ledger is not recognized for his role as The Joker, there will surely be an uproar — actually, Hollywood might just up and self-implode. I’m not the only one annoyed by all the Oscar buzz. Terry Gilliam, who directed Ledger in The Brothers Grimm and the upcoming The Imaginarium of Doctor Parnassus, is calling “bullshit” on the whole thing, particularly against Warner Bros., which Gilliam accuses of exploiting Ledger’s death and chance of a posthumous Oscar for publicity purposes. Considering most Oscar campaigns for live actors are really just part of movie marketing, he has a good point. Sure, I would love to see Ledger honored. I’ve believed in his Oscar worth since 10 Things I Hate About You . But in February, if he receives a posthumous award, it will surely feel, at least in good percentage, that it’s because he died young. In that case, why not also give supporting noms sight unseen to Rob Knox for Harry Potter and the Half-Blood Prince and Brad Renfro for The Informers? Despite the more than 10 posthumous nominations in Oscar history, however, it’s not obligatory for the Academy to hand out such accolades every time someone dies before his final movie is released. Just check out the following list of talent who probably deserved posthumous Oscar recognition as much as Ledger does: Jean Vigo for L’Atalante - One of the greatest, most influential films of all time, L’Atalante premiered in France in 1934, a few months before Vigo died of tuberculosis at the age of 29. It eventually made its way to the U.S. 14 years later, just in time for the debut of the Oscar for Best Foreign Language Film. And considering the first recipient, Vittorio De Sica (for Shoeshine), would win again two years later (for Bicycle Thieves), the Academy should have recognized Vigo’s film, even if it was more than a decade old. Unfortunately, it would be many decades before L’Atalante received the kind of esteem it deserves. James Dean for Rebel Without a Cause - Dean starred in only three feature films, one of which, East of Eden, was released prior to his death. He received posthumous Oscar nominations for that film and his final appearance in Giant, which came out a year later. But wouldn’t it have been wonderful if he’d also been nominated for his most iconic role in Rebel Without a Cause? Sure, he’d have posthumously gone up against himself in 1956, but that’s what movie gods like him were made to do. Richard Harris for Harry Potter and the Chamber of Secrets - Not only should Harris have received a nomination, he should have won, too. It doesn’t matter that it wasn’t the greatest performance by the actor, who’d previously been nominated for 1963’s This Sporting Life and 1990’s The Field. It’s that Harry Potter fans would have tuned in and saved that year’s telecast from being the least-watched in years. Just imagine how many people will be tuning in to next year’s show just because of the (inevitable) Ledger nom. Heather O’Rourke for Poltergeist III - I know that I’m only one of maybe three people who like the third Poltergeist movie, but even if you think the movie itself is bad, you have to give little Heather O’Rourke credit for being giving creepily terrific performances throughout the series. Compare her talent to some other young actresses who’ve been nominated. Especially Abigail Breslin of Little Miss Sunshine. And had she lived, she’d probably be a better actress today than Oscar-winner Anna Paquin. F.W. Murnau for Tabu - His Sunrise was pretty successful a few year earlier, at the 1st Academy Awards, but he wasn’t even nominated. In fact, the man who also gave us Nosferatu, Faust and The Last Laugh was never nominated for an Oscar, a fact that might have been different had the Oscars been founded a decade earlier or had he not died tragically in a car accident at age 43. I’m sure, at least, that Floyd Crosby, when winning for his cinematography work on Tabu, raised the statue to the sky and said, “this is for Murnau.” Peter Sellers for The Fiendish Plot of Dr. Fu Manchu - Whether or not you believe the Academy hates on comedic actors, you should agree that Sellers should have won an Oscar before he died. Or after he died. If he’d been nominated for this critical and commercial failure, though, it would of course have been one of those “he deserved it for ______, but this will do” kind of situtations. Stanley Kubrick for Eyes Wide Shut - If Scorsese can finally win with The Departed, Kubrick should have finally won posthumously with what is often thought of as his worst film. If anything, he at least deserved to be nominated instead of M. Night Shyamalan. Adrienne Shelly for Waitress - Didn’t it seem like a sure thing the writer-director-actress, Shelley, would get the nomination this year? Considering Diablo Cody had already (unofficially) won the actual Oscar before the nominations were even announced, could it have hurt to include the tragically murdered screenwriter? Or were there already too many ladies on the screenwriting ballot this year? Thelma Ritter for What’s So Bad About Feeling Good? - If ever there was a supporting actress who should have won an Oscar, Ritter was she. After six nominations (four of them consecutive), a posthumous seventh should have come with this movie (even if I’ve never personally seen it, I bet she’s great as usual). Unfortunately, the ballots were likely already in when she had her heart attack in February 1969. Also, she probably would have lost to Ruth Gordon anyway. Brandon Lee for The Crow - Laugh all you want, but in a crazy year that saw John Travolta recognized with a nomination and Tom Hanks recognized with a win for one of his silliest performances ever, would it have been so strange if the Academy had given Lee the slot filled by Morgan Freeman (obviously Oscar had little love for The Shawshank Redemption as it was)? Originally posted on:SpoutBlog http://www.spout.com/blogs/jjgittes/archive/2008/5/13/28958.aspx Post By: jjgittes
Post To: jjgittes Blog
Post Date: 5/13/2008 5:15:37 PM
Body: James Dean made only three films before his tragic and untimely death on September 30, 1955. EAST OF EDEN is the only one I hadn’t seen and the second of the three to be shown on Reel 13 (Somehow, I doubt they will show GIANT to make it a clean sweep – it’s over three hours long). I was particularly curious about East of Eden because it paired Dean with one of his Actors’ Studio mentors – director Elia Kazan. Kazan introduced the more naturalistic "method" acting style (of which Dean was a disciple) to Hollywood with films like A STREETCAR NAMED DESIRE and ON THE WATERFRONT. The impact of the collaboration is most apparent in that Dean, for the only time in his brief career, seems to be surrounded by actors with a similar background and training. In the blog for REBEL WITHOUT A CAUSE, I noted how it often seemed that Dean was acting in his own (better) movie, but here, he is amongst peers in Julie Harris, Burl Ives, Lois Smith and Jo Van Fleet, who won an Oscar for her supporting performance (I am usually against giving Oscars to people for less than ten minutes of screen time, but I might have to make an exception here – she was brilliant). Oddly enough, with all the familiar and talented thespians around him, Dean’s presence is less effective than it was in his other work. Don’t get me wrong – he displays several moments of greatness (great body language throughout, outstanding choices in the Ferris wheel scene), but as blasphemous as it might be to say, there were a few moments where I felt he went too far. He is constantly whining, crying or pouting to such an extreme degree, that it diffuses the moments that really call for it. Now, this isn’t overacting in the traditional sense of the word. As a matter of fact, I feel similarly about this performance as I did about the recent performance by Daniel Day-Lewis in THERE WILL BE BLOOD. It’s more scenery chewing than overacting. Both actors are believable when they hit those extreme emotions, but I wonder if the choice to go that far is always appropriate. While it’s impressive that they can get there, they might be actually be harming the overall narrative. The more often they cry or scream, the less impact it will have as the film goes on. This is problematic because, more often than not, the end of a film requires the broader emotions more than the beginning. For example, there is a scene toward the end of East of Eden where Dean’s character presents his father (Raymond Massey) with a gift that he worked his ass off for, but the righteous father manages to find the negativity in it. Dean cries and convulses in full breakdown mode, almost as if he didn’t have full control of his motor skills. This had the potential to be very powerful – if we hadn’t seen it three or four times earlier. To be fair, however, this was Dean’s first film (many people assume that Rebel was his first film, but Eden was released six months earlier) and he clearly went on to refine his craft in his next efforts. Elia Kazan also seemed a little off his game. He made this film in between two of his career masterpieces: ON THE WATERFRONT (1954) and the highly underrated BABY DOLL (1956) (rent it now!), but this film, which was probably his most ambitious in terms of scope and budget, seems more like an experiment to him than anything else. I got the sense that he was almost playing with ideas, concepts, angles and staging. He employs these very interesting Dutch angles (cockeyed angles) throughout the film, but very often, they don’t seem to be motivated by anything going on in the scene. There is an early Q&A scene between Dean and Massey. As the scene goes on, the angle becomes more and more off-axis, but the scene occurs way too early to utilize a technique that extreme. (There is a scene later on the film, when Dean is on a swing, where Kazan justifies the awkward angle by using the forward movement of the swing to essentially "push" the camera off-axis. This works much better). Other experiments were more successful. First, this might have been the first time he shot in color (I am pretty sure it is, but I can’t prove it for sure) and the results are astounding. The cinematography is beautiful and the colors are extraordinarily rich. Several scenes are worthy of a painting. Second, he is a master of staging and not in the theatrical sense. This is very much blocking for the camera frame. The best and most obvious example is the scene that takes place immediately after the previously mentioned scene where Dean presents the gift. Dean pouts in the backyard, but does so under a huge tree. Its leaves hang so low that they obscure the entire top half of Dean. Julie Harris runs under the tree to console him so she is also hidden. (This idea of obscuring characters/moments from the camera occurs often in the Kazan oeuvre). From their legs and torso, you can tell they stand very close, but is he crying on her shoulder? Are they making out? Then, Dean’s brother comes out and orders Harris (his girlfriend) out from the tree. She runs out from under the tree and into the foreground. The brother is in the middle ground with his back to the camera and Dean is in the background, still mostly obscured by the tree. The brother then begins to cruelly admonish Dean’s character, but it’s Harris’ face we see – so its almost as if the brother could be referring to either one of them. It’s a beautiful, simple and truly cinematic framing idea that manages to convey a multitude of ideas with one swift stroke.As you may have interpreted, I have mixed feelings about EAST OF EDEN. While the artistic achievements of the film, some of which I have outlined, are exciting, the film ultimately fails to pack an emotional punch, possibly because the narrative is mired in the complexities and the allegories of the Steinbeck novel its based on. Kazan had adapted Steinbeck before (VIVA ZAPATA!) and in many ways, they are interested in very similar things as artists (you can draw a strong, straight line between Tom Joad and Terry Malloy), but I wonder if there isn’t just too much going on in EAST OF EDEN for one film to swallow. Familial relations, foreign politics, xenophobia, profiteering, infidelity, class distinctions, pragmatism vs. idealism, the heredity/nature of evil and of course, the albatross hanging over the whole thing – Biblical allegory (in case you can’t figure it out, Burl Ives comes by to explain it to you at the end…) – are all covered within the 110 minutes of EAST OF EDEN. While I think its great that Kazan and screenwriter Paul Osborn tried to layer the film with all that meaning, I wonder if they didn’t push it too far. With all those deep issues crammed into one package, it’s hard to care about any of them.
]]>Tue, 13 May 2008 21:15:37 GMTjjgittesjjgittes Blog5/13/2008 5:15:37 PMJames Dean made only three films before his tragic and untimely death on September 30, 1955. EAST OF EDEN is the only one I hadn&rsquo;t seen and the second of the three to be shown on Reel 13 (Somehow, I doubt they will show GIANT to make it a clean sweep &ndash; it&rsquo;s over three hours long). I was particularly curious about East of Eden because it paired Dean with one of his Actors&rsquo; Studio mentors &ndash; director Elia Kazan. Kazan introduced the more naturalistic "method" acting style (of which Dean was a disciple) to Hollywood with films like A STREETCAR NAMED DESIRE and ON THE WATERFRONT. The impact of the collaboration is most apparent in that Dean, for the only time in his brief career, seems to be surrounded by actors with a similar background and training. In the blog for REBEL WITHOUT A CAUSE, I noted how it often seemed that Dean was acting in his own (better) movie, but here, he is amongst peers in Julie Harris, Burl Ives, Lois Smith and Jo Van Fleet, who won an Oscar for her supporting performance (I am usually against giving Oscars to people for less than ten minutes of screen time, but I might have to make an exception here &ndash; she was brilliant). Oddly enough, with all the familiar and talented thespians around him, Dean&rsquo;s presence is less effective than it was in his other work. Don&rsquo;t get me wrong &ndash; he displays several moments of greatness (great body language throughout, outstanding choices in the Ferris wheel scene), but as blasphemous as it might be to say, there were a few moments where I felt he went too far. He is constantly whining, crying or pouting to such an extreme degree, that it diffuses the moments that really call for it. Now, this isn&rsquo;t overacting in the traditional sense of the word. As a matter of fact, I feel similarly about this performance as I did about the recent performance by Daniel Day-Lewis in THERE WILL BE BLOOD. It&rsquo;s more scenery chewing than overacting. Both actors are believable when they hit those extreme emotions, but I wonder if the choice to go that far is always appropriate. While it&rsquo;s impressive that they can get there, they might be actually be harming the overall narrative. The more often they cry or scream, the less impact it will have as the film goes on. This is problematic because, more often than not, the end of a film requires the broader emotions more than the beginning. For example, there is a scene toward the end of East of Eden where Dean&rsquo;s character presents his father (Raymond Massey) with a gift that he worked his ass off for, but the righteous father manages to find the negativity in it. Dean cries and convulses in full breakdown mode, almost as if he didn&rsquo;t have full control of his motor skills. This had the potential to be very powerful &ndash; if we hadn&rsquo;t seen it three or four times earlier. To be fair, however, this was Dean&rsquo;s first film (many people assume that Rebel was his first film, but Eden was released six months earlier) and he clearly went on to refine his craft in his next efforts. Elia Kazan also seemed a little off his game. He made this film in between two of his career masterpieces: ON THE WATERFRONT (1954) and the highly underrated BABY DOLL (1956) (rent it now!), but this film, which was probably his most ambitious in terms of scope and budget, seems more like an experiment to him than anything else. I got the sense that he was almost playing with ideas, concepts, angles and staging. He employs these very interesting Dutch angles (cockeyed angles) throughout the film, but very often, they don&rsquo;t seem to be motivated by anything going on in the scene. There is an early Q&amp;A scene between Dean and Massey. As the scene goes on, the angle becomes more and more off-axis, but the scene occurs way too early to utilize a technique that extreme. (There is a scene later on the film, when Dean is on a swing, where Kazan justifies the awkward angle by using the forward movement of the swing to essentially "push" the camera off-axis. This works much better). Other experiments were more successful. First, this might have been the first time he shot in color (I am pretty sure it is, but I can&rsquo;t prove it for sure) and the results are astounding. The cinematography is beautiful and the colors are extraordinarily rich. Several scenes are worthy of a painting. Second, he is a master of staging and not in the theatrical sense. This is very much blocking for the camera frame. The best and most obvious example is the scene that takes place immediately after the previously mentioned scene where Dean presents the gift. Dean pouts in the backyard, but does so under a huge tree. Its leaves hang so low that they obscure the entire top half of Dean. Julie Harris runs under the tree to console him so she is also hidden. (This idea of obscuring characters/moments from the camera occurs often in the Kazan oeuvre). From their legs and torso, you can tell they stand very close, but is he crying on her shoulder? Are they making out? Then, Dean&rsquo;s brother comes out and orders Harris (his girlfriend) out from the tree. She runs out from under the tree and into the foreground. The brother is in the middle ground with his back to the camera and Dean is in the background, still mostly obscured by the tree. The brother then begins to cruelly admonish Dean&rsquo;s character, but it&rsquo;s Harris&rsquo; face we see &ndash; so its almost as if the brother could be referring to either one of them. It&rsquo;s a beautiful, simple and truly cinematic framing idea that manages to convey a multitude of ideas with one swift stroke.As you may have interpreted, I have mixed feelings about EAST OF EDEN. While the artistic achievements of the film, some of which I have outlined, are exciting, the film ultimately fails to pack an emotional punch, possibly because the narrative is mired in the complexities and the allegories of the Steinbeck novel its based on. Kazan had adapted Steinbeck before (VIVA ZAPATA!) and in many ways, they are interested in very similar things as artists (you can draw a strong, straight line between Tom Joad and Terry Malloy), but I wonder if there isn&rsquo;t just too much going on in EAST OF EDEN for one film to swallow. Familial relations, foreign politics, xenophobia, profiteering, infidelity, class distinctions, pragmatism vs. idealism, the heredity/nature of evil and of course, the albatross hanging over the whole thing &ndash; Biblical allegory (in case you can&rsquo;t figure it out, Burl Ives comes by to explain it to you at the end&hellip;) &ndash; are all covered within the 110 minutes of EAST OF EDEN. While I think its great that Kazan and screenwriter Paul Osborn tried to layer the film with all that meaning, I wonder if they didn&rsquo;t push it too far. With all those deep issues crammed into one package, it&rsquo;s hard to care about any of them. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
Number of films tagged: 12478

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