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The Trust, the new semi-caper film from writers Benjamin Brewer and Adam Hirsch and directed by Alex and Benjamin Brewer, starts out somewhat as a shaggy dog story. Which works rather well since the two central characters, both Las Vegas PD police officers (Nicholas Cage and Elijah Wood), look and act like mutts one might find at an animal shelter, desperate to be adopted before they end up in the incinerator.
The two decide to rob a convenience store after they notice that said store receives regular deliveries, large bags, which disappear inside the premises. In return, nothing comes out; nada; zip; not a thing. So what exactly are the owners hiding inside in that new, state of the art, almost impossible to get into, concrete and steel freezer that is just simply too high end for a mom and pop operation such as it is?
The two decide to go after a pig in a poke and break in and take whatever they can find. And though each have their own personal motivations (Wood’s character Waters is bored and burnt out, and Cage’s character Stone has ideas for the force that go underappreciated), in many ways they really do it for the best of all reasons—they can. Read the rest of this entry »
There is one profoundly profound bit of dialog in Noah, the new “Biblical” (I put that in quotes because, well, there have been some complaints about just how Biblical it really is, so, you know, don’t want to make the Big Guy upstairs angry cause, let’s face it, after seeing this movie, one thing is clear, when he gets mad, he gets pissed, know what I mean?…anyway), the new “Biblical” epic from writers Ari Handel and Darren Aronofsky, the latter of whom also directed.
At one point, Noah seems to really lose it and starts planning some rather terrifying and somewhat shocking actions that most people would suggest are not of the most Godly kind, to say the least. His middle son, Ham, states that he thought God chose Noah because Noah was good. Noah’s response is, no, God chose him because he could get the job done. Read the rest of this entry »
There has been a lot of controversy over movies that have opened in the last few months (or as they are known in Hollywood, the ones more likely to have a chance at being nominated for an Oscar). For Zero Dark Thirty, it’s the use of torture (oh, sorry, I mean, enhanced interrogation techniques; but you say potayto and I say, etc.); for Argo and Lincoln, it’s historical accuracy; for Django Unchained, it’s the use of the n-word and Tarantino’s take on slavery. But none of them have shown the vitriol and ferocious debate that one major motion picture has created in the hearts of true movie goers: Les Miserables and its non-use of lip synching. While all the objections of other films could be summed up by someone putting words in other people’s mouths, it’s only Les Miserables that hasn’t done it—literally. And still has gotten in trouble for it.
Les Miserables, the movie version of the long running Broadway musical, is probably an experience you either go with or you don’t. For the record, I did. As with others in the audience I saw it with, I was often on the verge of tears at this large, sweeping story that takes place in France during the revolution (no, not the French revolution of 1789, dude, but the June Rebellion of 1832—if you didn’t know that, you are so obviously not a Les Miz fan). It’s a story that has all the virtues of 19th century literature: a huge, all-encompassing, complicated story; tons of coincidence; young people falling in life or death love with a look across a crowded room (or alleyway here). It also has all the defects of 19th century literature: a huge, all-encompassing, complicated story; tons of coincidence; young people falling in life or death love with a look across a crowded room (or alleyway here). Again, you either go with it or you don’t.
I don’t know how William Nicholson (who adapted the play to film) and director Tom Hooper did it. There’s no reason for this movie to work. It probably should have resulted in an over the top, campy musical adaptation filled with picturesque poor people dancing in the streets. But that’s not what happened. Instead we have a deeply moving and often overpowering story of man’s inhumanity to man and the power of spiritual redemption.
Of course, much of this has to do with the original source material, a French musical by Claude-Michel Schonberg, Alain Boublil and Jean-Marc Natel, if for no other reason in that it’s not exactly a musical. Though there are a few lines spoken here and there, Les Miserables is more an opera. So instead of a story in which the authors had to create clunky transitions to songs sung by the various characters (which can result in a certain disconnect and call attention to the artificiality of what is going on), we instead have a story whose dialog and emotion is only heightened by music, a stirring score that just sweeps you along whether you want it to or not. One can make the argument, I suppose, that the original story by Victor Hugo has been shrunk by the usual necessity of telling a big story in a smaller venue; but one can just as easily make the argument that the story has also been enlarged and deepened by the expressive and impassioned music.
But much of the success has to be laid at the feet of Nicholson and Hooper who had the dubious honor or taking a stylized staged production and setting it against the hyper realistic background that is almost inherent in film; an almost impossible task, but one the two have more than succeeded in as far as I’m concerned. And they do it by throwing out all that stagy stylization (except the music, which, of course, can’t be gotten rid of) and adapting it and filming it all with a deathly seriousness. There’s barely a trace of musical comedy or Broadway tinsel here. They don’t even use the cute Dickensian approach that was so successful in Carol Reed’s film version of Oliver. It’s a straightforward look at poverty and injustice filled with people who are desperately poor, starving, having no hope. And the way Nicholson and Hooper film it, it’s often devastating in its realism, a realism that, in fact, may make it more difficult to return to the original. Once one has seen Hooper’s staging of the fight at the barricade, the chase through the sewers, the stunning visuals of 19th Century Paris, can the stage ever again satisfy (sort of “how you gonna keep ‘em down on the farm, once they’ve seen gay Paree” type thing)?
One can almost tell how much Nicholson and Hooper have succeeded by pointing out the one major failure, the “Master of the House” number, a comic look at the innkeepers (Sacha Baron Cohen and Helena Bonham Carter) who have so badly abused the young Cosette. On stage, this number is a real show stopper. In film, it’s a real show stopper too, but in a totally different way. This is the one number that is all musical comedy and writer and director just couldn’t seem to find a way to fit its style into the rest of the movie and so it falls ponderously flat. A close second is the song Suddenly, the only one written expressly for the movie (seemingly in an effort to get an Oscar nomination), a number that feels stylistically inconsistent and doesn’t really add anything to the film as a whole.
And there are some structural issues that can be traced to both source materials, the original musical and the book by Hugo. From the stage, we get a story that jumps from scene to scene leaving out transitional details that result in a story that is at times told in a somewhat clunky manner (as in the scene at the court where a false Valjean is on trial). From the book, we have a plot that has two stories—one, the conflict between Valjean and Jabert, and the other the love story of Cosette and Marius. The two overlap in the middle, but just as one winds down (Valjean/Jabert), the other is still going strong and it takes awhile to wrap things up.
But the rest of the movie is ravishing and ravishingly filmed, the camera often soaring above the actors to show a world that is being watched by God (astounding cinematography by Danny Cohen). The CGI that enables the filmmakers to show a 19th Century Paris often takes one’s breath away. The design aspects (costumes, sets, production design) are stunning.
And then there is the acting. It’s a superlative cast, with nary a false note (pun intended) to be had. They succeed for the same reason as Nicholson and Hopper: they all play their roles with a devastatingly seriousness. It’s probably Hugh Jackman’s (Jean Valjean) best performance. There’s no point in talking about Anne Hathaway as Fantine; I couldn’t improve on anything that hasn’t already been said. The young lovers (Eddie Redmayne and Amanda Seyfried) make us believe in not just love, but overpowering passion, at first sight. The one major issue, as has been pointed out by better men than I is Russell Crowe as Javert. His singing is a bit lacking (to put it diplomatically). But I don’t think he’s quite the weak link everyone maintains, mainly because his acting is so sure and strong and he is often filmed against overpowering backdrops that help bring an intensity to what he is saying that his singing cannot. At the same time, all I could think is how more interesting it would have been if Sacha Baron Cohen and Crowe had switched roles.
As for the non lip synching? Sorry, guys, but I thought it was a brilliant decision. It brought a dramatic intensity to the acting that I haven’t seen that often in musicals. But like the movie, it’s probably something you go with or you don’t, and for the record, I did.