Honoree Patricia Clarkson Exclaims “I’ve Never Been Kissed By So Many Guys!” as Provincetown Film Festival 2014 Wraps Up
Posts tagged ‘Penelope Cruz’
I had the great privilege and pleasure at the Montreal World Film Festival this past summer to chat with the great Spanish actress Carme Elias, who is just stupendous in the Venezuelan film “La Distancia Mas Larga” or “The Longest Distance”. She also spoke very interestingly about her work with Pedro Almodovar on the film “Flower of My Secret,” one of my all time faves.
Carme played the mistress in the film of Marisa Paredes’ husband.
And in “La Distancia…” she plays an ailing, but determined and very modern grandmother, who goes to the mountains above the Amazon, seeking…she doesn’t quite know what…And Carme plays this end-of-life character with great force and great restraint. She’s utterly beguiling in it. And I hope American audiences soon get to see it. Venezuelan actor Alec Whaite, who co-stars in the film, directed by Claudia Pinto, translates here.
Camera ~ Federico Foa Fuentes
Editing ~ Kevin Teller
Natalie Dormer of “Game of Thrones” and also the upcoming “Hunger Games” talks about her new role in “The Counselor” which opened yesterday co-starring Brad Pitt, Cameron Diaz, Javier Bardem, Penelope Cruz & Michael Fassbender! She’s sitting on top of the world as one of the hottest young stars of today and she couldn’t be lovelier!
Oscar is such a fickle little devil. If the Academy Awards were held tomorrow, Cate Blanchett would win in a walk for “Blue Jasmine”, ANOTHER astonishing Woody Allen movie with an unforgettable performance by Cate the Great.
Plusses ~ All the rave reviews, and the staggering performance itself.
Minuses ~ All this Oscar brouhaha is WWWAAAY toooo soon in the Oscar season. Sony Pictures Classics has to keep “Blue Jasmine”, a rare, exotic flower blooming til the holidays.For a film that’s only playing now in two cities that’s no mean feat.
Minuses ~ Sony Pictures Classics is NOT the Weinstein Co.
If this were one of Harvey’s girls she WOULD win. Lest not forget that the last woman to win for an Oscar for a Woody film was the beauteous, unforgettable, explosive Penelope Cruz in “Vicki Cristina Barcelona” But that was a WEINSTEIN Co. release! You’ve GOTTA have Harvey…Sony Pictures classics is not known for nailing WINS. But nailing nominations, yes. See Emmanuelle Riva’s near miss last year for “Amour.” She got the nomination, yes, and some major critics’ awards,but…she lost to last year’s Harvey girl, Jennifer Lawrence.
Minuses ~ She’s playing Ruth Madoff
Plusses ~ She makes you LIKE her.
Plusses- It’s a complex, intelligent career-capping role that people will be talking about as long as they discuss Cate Blanchett.
Pluses ~ She had AN HOUR-long chat with Charlie Rose, who gave her the ENTIRE program.
Minuses ~ By the end of the hour, she and Charlie got soooo abstract and convoluted, they completely lost me. And I’m sure many others too. And Academy voters watch Charlie Rose like a hawk.
Minuses ~ She looks like she’ll be up against two OTHER Aussie homegirls, Nicole Kidman for “Grace of Monaco” playing the late Princess, who died tragically in an auto accident. AND that other wonderful Australian actress Naomi Watts in “Diana” about another blonde royal, the late Princess of Wales, who also dies tragically in an car crash. THREE Australian Best Actress nominees? WHEN has that ever happened before? And it is a good thing? Will they split the Australian vote? IS there an Australian vote?
Minuses – Meryl Streep will very likely be nominated for the vicious, drug-addicted mother who you love to hate in “August: Osage County.” a Weinstein Co. production that’s heading straight to the Toronto Film Festival, as are “Grace” and “Diana”. This would leave Meryl the only American actress in this category, although she already has THREE other Oscars. The fifth slot I’m guessing is going to Berenice Bejo for “The Past” ANOTHER of Harvey’s films. And she would be in the now traditional French actress slot. We see it every year now. This film will also be at Toronto…Or it could be ANOTHER French actress Julie Delpy, who stars in and who also co-wrote the “Sunrise/Sunset/Midnight” trilogy. She was nominated before for a Best Screenplay. And Berenice Bejo was also previously nominated for Best Supporting Actress for “The Artist.”
And of course, we must not forget the Babe Factor. The pretty young thing who sweeps in from seemingly nowhere and makes the Academy of collective Old White Rich Men fall in love with her and takes the prize, again, like Jennifer Lawrence did last year. This could be the surprising and gorgeous American Beauty Amanda Seyfried who unbelievably breaks your heart as Linda Lovelace in “Lovelace.” And Radius is behind “Lovelace” which is Harvey Weinstein’s Co., too.
<So LOOK OUT!
A completely empty playing field is going to be SLAMMED in about a month’s time by alllll these female centric movies playing at TIFF and also, some of them at Telluride.
Will I get to TIFF this year to talk to all these great ladies? I hope so. I’m trying my hardest, but I’ll certainly be seeing all four of these acclaimed-already, buzzed-about movies…
So Cate the Great AND especially Sony Pictures Classics REALLY have their work cut out for them.
Cate already has an Oscar. But then so does Nicole and Meryl has three.
It’s Cate’s to lose, as they say. But SPC has a history of stumbling at the end game.
It could be Cate, but…
PROVINCETOWN FILM FESTIVAL 15th ANNIVERSARY Wrap-Up
Epstein/Friedman Triumph TWICE with Double Whammy of “Lovelace” &”The Battle of AMFAR” ~ Almodovar, “Fruitvale” and Divine also score
Oscar-winning documentary filmmakers Rob Epstein & Jeffrey Friedman did the seemingly impossible at the 15th Anniversary of the Provincetown International Film Festival, which just wrapped. They opened this smart, exciting, essential & growing film festival with their first narrative feature film “Lovelace” about the ’70’s porn star Linda Lovelace of “Deep Throat” fame and followed it up with a terrific doc about the AIDS organization “The Battle of AMFAR.” Both were superb.
“Lovelace” was my favorite film of PIFF, boasting a surprising trio of Oscar-worthy performances from Amanda Seyfried (“Les Miz,””Mama Mia”) as Linda Lovelace herself,and Peter Sarsgaard (“An Education”) is incredibly believable in his tough-to-take role as Lovelace’s porn producer/husband Chuck Traynor. The triumvirate of great star turns is completed by an unrecognizable Sharon Stone as Lovelace’s hard-nosed Catholic mother. I never thought Seyfried had the dramatic chops, and I, like Harvey Weinstein I was told, did not realize that it was Sharon Stone as the mother, until the end credits rolled, and I nearly jumped out of my skin!
Stone has been nominated once before for “Casino”, but didn’t win, and now I think she will have another strong shot for sure, as Seyfried and Sarsgaard will, too, be up for Oscar consideration again. And this time, as a Best Supporting Actress, she could actually win. And neither Seyfried nor the worthy-as-hell, overdue Sarsgaard has ever been nominated either. Also, Radius the new Weinstein Co. off-shoot is repping this terrific film.
A biopic of a porn star? I didn’t think I’d like it, but “Lovelace” and Seyfried and Sarsgaard and filmmakers Epstein and Friedman draw you in utterly and make you CARE. And it’s funny, too, when it needs to be, and tragic as Lovelace’s story gets darker and darker. And with Harvey Weinstein in the mix behind them, look out!
“The Battle of AMFAR” is about the founders, the unlikely duo of research scientist Dr. Mathilde Krim and superstar-turned-activist Elizabeth Taylor. who joined forces to bring about a critical change in the perception of the HIV/AIDS epidemic in 1985. This terrific doc that sped by at a lightening pace was ALSO directed by Epstein and Friedman, who also directed “Lovelace”! Is there anything these two titans of cinema can’t do? It was definitely their time to shine at this year’s charming sea-side Festival.
The Weinstein Co. was also behind the laceratingly powerful racial drama “Fruitvale Station”, a true story about an innocent African American youth, 22-year-old Oscar Grant, who is wrongly slain by police on New Year’s Eve 2008. Unknown actor Michael B. Jordan has to carry virtually every scene of the film, and he does, but it is Oscar Winner Octavia Spenser(“The Help”) who outdoes herself here as Grant’s mother.
Grant is no plaster saint and his mother knows it. We are shown flashback scenes of Grant in prison, when his mother comes to visit and tells him she won’t be coming to see him anymore and refuses to hug him. We see her try to control her wild, pothead son, when he gets out, and she tries to keep him on the straight and narrow, and most monumentally, we see her grieving when he is shot-to-death by police. Octavia Spenser meets every challenge of this bravura, heart-breaking role that pulls out all the stops, and then some.
Having won both the Grand Jury Prize for dramatic feature and the Audience Award for U.S. Dramatic film at 2013’s Sundance Film Festival, “Fruitvale Station”, the subway station where the tragedy occurs, seems primed to compete across the categories as last year’s Sundance favorite “Beasts of the Southern Wild” did. And with Harvey as its’ producer, you know it will be a significant player this awards season.
An enchanting Film Festival by the sea, picturesque Provincetown is surrounded on three sides by water, and boasted a particularly strong slate of docs this year, with “Casting By” about the late, great, legendary casting director Marion Dougherty. Who at one time, as Tom Donahue’s film amply illustrates, seemed to be running the film industry in the ’70s. Dougherty speaks for herself fortunately in many insightful interviews, where it is revealed that she single-handedly talked directors Peter Friedkin into casting Gene Hackman in “The French Connection” and also persuaded John Schlesinger to cast Jon Voight in “Midnight Cowboy”! Try to imagine those two films without those two great performances, both of which won Best Actor & Best Film. Dougherty became so powerful that she turned Casting which was a male-dominated field, into the female-centric one it is today, as she constantly hired women as her assistants. But Casting Director don’t get Oscars. They don’t even have their own category, even as Dougherty and others fought for accreditation. The all-powerful DGA wants to make sure the power stays with The Director and not The CASTING Director. If the public only knew! And “Casting By” at least shines a bright, benevolent light on this tricky situation.
Another doc that knocked my socks off was “I Am Divine” about the late drag performer and cult icon of John Waters’ films “Pink Flamingos”, “Female Trouble” and “Hairspray” among many others. Filmmaker Jeffrey Schwarz emphasizes what a good actor Divine was underneath all the make-up and gowns and that he was poised to have a substantial character as a male character actor when he died of a massive heart attack at age 40. Too young. Too soon. And like with the unlikely heroine of “Lovelace”, Schwarz makes you care about his too-chubby protagonist, who just couldn’t stop eating. Or acting. Or acting out.
Waters was there to speak about the film and his late star. Noting that when people said that they often saw Divine walking around Provincetown in kaftans back in the Day, Waters said, “That’s a lie! Divine took cabs!”
And last but not least there is Pedro Almodovar’s HILARIOUS new comedy “I’m So Excited!” which is already one of my favorite Almodovar films. The hottest ticket in one of the smallest theaters (The Art House 2), I had to line up in a Rush Line for AN HOUR before the film started! But I got in! And what a delight it was!
I don’t remember Almodovar doing such an out-and-out comedy since “Woman on the Verge…” or “Tie Me Up! Tie Me Down”. Pedro, always a scamp as well as a camp, lets the bobby pins fall where they may as he lets his hair down in the wildest situation imaginable. A plane is stalled flying over Toledo, where it circles and circle and circles. The three tres gay male flight attendants have drugged all the passengers in coach and are left to entertain the first class passengers with campy numbers like “I’m So Excited”, which is a music video-like gem. Pedro could direct musicals, too, if he wanted. I couldn’t stop laughing!
Penelope Cruz and Antonia Banderas make hilarious brief cameo appearances at the beginning of the film. And I was particularly fond of returning Almodovar regular Lola Duenas, “Sole” Penelope’s illegal hair-dresser sister in “Volver”, as a wacky psychic who predicts that she’ll lose her virginity on this flight. What do you think? Hilarity ensues! Don’t miss it!
The new Oscar season starts at Cannes. Yes. It does. It’s earlier every year, but this year Cannes seems particularly poised to kick off a few, or more than a few Oscar hopefuls, LONNNNNNNNNNNNNNNG race, or stroll, I guess at this distance, to the 2012 podium.
First off, I’m starting with the film that opened Cannes to such tumultuous acclaim, Woody Allen’s new film, yes, ANOTHER one, set and shot entirely in Paris, called, of course “Midnight in Paris.” And Woody, who avoids all such hype, usually, in the US, does turn up in personi and walks the red carpet in Cannes whenever he’s got a film in competition.
And the French are going crazy for “Midnight in Paris” picked up for distribution by Sony Pictures Classics already and on its way to a theater NEAR YOU! Maybe as soon as next week in major cities.
Now I haven’t seen it yet, but people are acclaiming it as one of his best. Although some bloggers like David Poland of www.moviecitynews.com thought it was just “Okay.” Which is it?
Well, one thing is ALWAYS true of a Woody Allen film…it’s a VERY Oscar friendly cinematic situation, especially in the Supporting categories. And the ONE person coming out of Cannes with a bucketful of kudos is unknown Corey Stall, who plays Ernest Hemingway. EVERY review singled him out. And so did Oscar Goddess Sasha Stone, who, yes, is there in person, covering every thing on and off La Croisette in fine form at www.awardsdaily.com and also at Steve Pond’s www.thewrap.com
I’m not surprised because I know Corey from his days at NYU Grad Acting, where I saw him ace a WIDE variety of roles, including Big Daddy in a memorable “Cat on a Hot Tin Roof”. He must’ve been 24 or 25, and he’s not fat. Maybe he was in a fat suit, but he shaved his head and was virtually unrecognizable to me as one of Tennessee Williams most indelibe characters, and Corey made it HIS OWN. He was transformative, mature-for-his-age and memorable. I can still see him to this day, grumbling out that key word to Big Daddy’s character “MENDACITY!” And you could swear that it was a man in his ’50s or ’60s doing it! And it was young Corey Stall! No wonder his Ernest Hemingway as a young man in “Midnight in Paris” is resonating so strongly with critics at Cannes. It sounds like a perfect meeting of actor and character to me.
C0rey may not win, but he is the one who is being singled out in a star-studded cast that includes Owen Wilson, Kathy Bates and Marion Cotillard, and that usually means OSCAR NOMINATION! I’m calling it now!
There may be many more nominations coming this scrumptious-sounding film’s way, and I’ll let you know when I see it ASAP.
And then there’s Tilda Swinton, evidently, by all reports, doing her career best in a film called “We’ve Got to Talk About Kevin.” Actually, we’ve got to talk about Tilda…Who just doesn’t stop topping herself. I can’t wait to see this film, too.
And coming up at Cannes, or winding up to the Big Finish, the Grand Finale is Pedro Almodovar’s new film, “El Piel Que Habito” (The Skin I Live In) which is the Closing Night Film. His first film in ages without Penelope Cruz ,but WITH his first break-out International Star, Antonio Banderas.
Lots of Oscar potential here.
But will they go the distance or fade, unfortunately, as the year wears on, like Mike Leigh’s “Another Year” did last year and “Bright Star” did the year before?
But it seems like Woody and Tilda have started their Oscar ball rolling in fine French fettle. Let the games begin!
While we await with baited (Oscar bait-ed) breath to see who will win tonight at the DGA Awards out in LA-LA land, I’ve been catching up on a few DVDs that have been coming my way in the snail mail.
While I attended Woody Allen’s press conference at TIFF for “You Will Meet a Tall, Dark Stranger”( look it up back in Sept. ’10), I hadn’t seen the movie until just now.
The DVD is coming out soon, and if you’re a die-hard Woody fan, like I am, I guess, EVERY Woody Allen is a must-see. Even his not-so-good ones, like this.
I thought he sounded a tad desperate with that personal TIFF appearance, and I had heard that YWMATDS, was not one of his best. And everyone was right, but there is still SOMEthing about Woody, even at his worst, that grabs you in the end if you stay with it. The press conference was much more entertaining than this film.
No Scarlett Johansson in this one. And I sort of missed her. Again, it is set in London, and more than ever, it seems like he wishes he was shooting it in New York. You can almost hear him sigh with nostaligia…but all his financing is coming from Europe, so in Europe he stays. He’s shot one coming up in Paris, and another London romp, and also a return to Spain where he did seem inspried with the marvelous “Vicky Cristina Barcelona” that won Penelope Cruz her Oscar three years ago…
I don’t think Woody likes the British very much. He doesn’t really GET them, like he gets New Yawkers. He loves New York. He seems to miss it, and so this film’s characters are very superficially observed. And they all seem like neurotic New Yorkers ANYway.
Naomi Watts is Sally in the ScarJo role, I think. But a little older, a little wiser, and much more serious. In fact, this film is hardly funny at all. I barely laughed at all. But I did find myself LISTENING. This is his most serious film since “Interiors”, but I THINK he meant it to be a comedy…
The title “You Will Meet a Tall, Dark Stranger” comes from what a Cockney fortune teller named Cristal (the always wonderful Pauline Collins) is constantly telling the hapless Helena, Gemma Jones, who is SORT OF the central character, or one of the main characters…A HUGE star in England, ever since she was a beautiful young blonde in the ’60s. Now, Gemma is IN her 60s and playing a daffy, tipsomaniac, an abandoned wife, who is seeking help from the beyond through this soothsayer, who is patently a phony, who mainly serves tea and biscuits and acts as a cheaper psycho-therapist to Jones.
Naomi Watts is her daughter, who is having marital problems, with her blocked novelist of an American husband, Rory, Josh Brolin. EVERY body is cheating on every body else here, per usual in Woody land.
Sir Anthony Hopkins as the desperately exercising ex-husband Alfie of the dumped Gemma Jones, and Naomi Watt’s father, begins by being very pale and wan,a milquetoast ghost of his former robust self, but Hopkins grows in power and force as the film progresses.
I really thought it was VERY bottom draw Woody, but even at that level, Woody grabs you, as you become more and more involved, first with Brolin’s desperate writer, then Hopkins’ desperate older exec. He, OF COURSE, chases after and ultimately bags a hooker, ANOTHER favorite Woody plot, who is decades younger than him, and totally his social inferior…And THEN he marries her…Judy Punch punches it up here as the hooker with a heart of lead.
And the press conference, Punch was there as was Hopkins, Brolin, Jones and Frieda Pinto, who is just sort of generally playing Brolin’s newest muse. Not much depth to this character.
And well, you see where this is going from here…
You can almost predict this film. It’s so by-the-numbers Woody, but then, he hits you with a confounding ending a la the Coen Brothers and suddenly…well, once again, you have to re-think your preceptions about Woody Allen. He DOES get you finally, even if he’s dealing from the bottom of his deck.
I guess I’d rather watch any mediocre Woody movie than most the other films I, as a critic, am forced to watch throughout the year…Even grade C Woody is still something to see. I’m still a fan. After all these yeas and all these movies. He makes too many movies, and sometimes he seems to be just going through the motions, but…one does cherish those motions…