Stoops to Conquer

Carey Mulligan, radiant star of Lone Scherfig‘s An Education and an almost-certain Best Actress contender once the games begin, makes a brief appearance in Michael Mann‘s Public Enemies (in a platinum blonde Jean Harlow wig), and appropriately showed up at last night’s after-party. She wouldn’t tell me how her recently announced role in Wall Street 2 will be contoured (sworn to secrecy, etc.) except that she doesn’t play a guilt-tripper. An Education (here‘s my Sundance review again) will play both Telluride and Toronto.


Tuesday, 6.23, 11:05 pm.

Cool Night Air

Coming out of the Westwood Village right after Wednesday evening’s premiere screening of Michael Mann‘s Public Enemies, and in fact just as the closing credits had finished and the curtain had come down. A group of Iraq rebellion solidarity demonstrators positioned themselves across the street, and just as I zoomed in the Canon Elph SD 780 IS decided to lose focus. Go figure.

Enemies Forever

Michael Mann‘s Public Enemies, which premiered last night in Westwood, is glorious and levitational — the most captivating, beautifully composed and freshly conceived gangster movie since Bonnie and Clyde. It’s an art film first, a Mann head-and-heart trip second, a classic machine-gun action pulverizer third, and a conventional popcorn movie fourth. The schmucks will go “meh” and the people who are hip enough to understand what this movie is doing/has done will retire to tens of thousands of nearby cafes and talk it over for at least a couple of hours.


Public Enemies director and cowriter Michael Mann (r.), costar Jason Clarke (l.) at after-party at the Hammer Museum. Compare the eyes, noses, jawlines, foreheads — they could be father and son

Tuesday, 6.23, 11:05 pm.

(l. to r.) Beyond The Box’s Paula Silver, Universal co-president Marc Schmuger, Pete Hammond at Public Enemies after-party

The Public Enemies after-party was perfect — excellent people, great Wolfgang Puck food (mac-and-cheese with lobster) and wonderfully fragrant air coming in from the open rooftop. It’s 2 am and I need to crash. I need to return a car and catch a 10:30 am plane so that’s it. I land in NYC around 7:45 pm — another dead-to-the-world confinement day on a United Airlines jet-slash-bamboo cage.

The Anti-Lumenick

Michael Mann‘s Public Enemies “marks an exciting return to muscular, patient storytelling for Mann,” writes In Contention‘s Kris Tapley. “After dubious stabs at commercial appeal in Collateral and Miami Vice — films that certainly have followers and admittedly plumb thematic depths no other filmmaker would have reached — the director has painted his most resonant character study since 1995’s Heat.

Public Enemies “fits seamlessly into a line of filmmaking Mann has generated to represent, as F.X. Feeney has called it, ‘a profound, interactive, philosophical history of the United States.’ Collateral and em>Miami Vice served as stylistic, muscle-flexing diversions, but here the director seems more thoughtful in his approach to character and structure. As with Ali, he doesn’t succumb to the lures of the biopic. He tells a story, directly, and without qualification or ornamentation. The film is classic Mann.”

$14 Million?

An absurd-sounding story by The Wrap‘s Sharon Waxman and Amy Kaufman appeared early this afternoon, claiming that Nikki Finke was paid $14 million for Deadline Hollywood Daily. If this turns out to be real (or even two-thirds or one-half real), the person who approved the deal would have to be called an idiot.

If I was a prospective buyer I would think twice about paying Finke $1.4 million for her site. If Finke ever leaves her house (I’ve heard she rarely does this) and gets hit by a car like Shelley Winters in Lolita, DHD would be worth absolutely nothing — zilch.

Waxman/Kaufman have written that a knowledgeable source said the $14 million “would be paid out over several years” and that “normally such deals are tied to traffic or to revenue projections…nonetheless, it is an exceedingly high price for a relatively small website.”

Almost Rickety

I was reading Kris Tapley‘s nicely written Batman nostalgia piece and happened to click on the attached YouTube clip of the opening credits. And it was like….whoa! Take away the dark minicam footage (i.e., squirreling through the shadowy caverns of the Batman crest) and the titles alone seem so primitive, so austere — almost like the main titles for a King Vidor or Sam Wood film of the 1940s. You would never see such plain-looking credits on a big-budget comic-book superhero film today.

Humping Robodog

Transformers: Revenge of the Fallen is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments,” writes Roger Ebert in a just-posted review. “One of these involves a dog-like robot humping the leg of the heroine. Such are the meager joys. If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination.

“The plot is incomprehensible. The dialog of the Autobots, Deceptibots and Otherbots is meaningless word flap. Their accents are Brooklynese, British and hip-hop, as befits a race from the distant stars. Their appearance looks like junkyard throw-up. They are dumb as a rock. They share the film with human characters who are much more interesting, and that is very faint praise indeed.

“The human actors are in a witless sitcom part of the time, and lot of the rest of their time is spent running in slo-mo away from explosions, although — hello! — you can’t outrun an explosion. They also make speeches like this one by John Turturro: ‘Oh, no! The machine is buried in the pyramid! If they turn it on, it will destroy the sun! Not on my watch!’

“The humans, including lots of U.S. troops, shoot at the Transformers a lot, although never in the history of science fiction has an alien been harmed by gunfire.

“The battle scenes are bewildering. A Bot makes no visual sense anyway, but two or three tangled up together create an incomprehensible confusion. I find it amusing that creatures that can unfold out of a Camaro and stand four stories high do most of their fighting with…fists. Like I say, dumber than a box of staples.”

Already Figured This

“Arguably, one reason why the film industry has encouraged and promoted the concept of director’s cuts…is that it enables a film’s owner to sell the same product to the same customer twice — or even, in a few special cases, three or four times. Presumably, if you recut somebody’s film, the damage isn’t serious because it can always be ‘restored’ on DVD. The basic mythology appears to be that every film has two versions, a correct one and an incorrect one. But in fact this isn’t quite true.

“A better paraphrase of the mythology would be, more paradoxically, that every film has at least two versions — a correct one and a more correct one, to be succeeded in turn by further upgrades.” — from a 6.23 Slate piece by Jonathan Rosenbaum‘s called “Death by a Thousand Director’s Cuts — How DVD marketing is rewriting the history of film.”

Holding Pattern

The Bruno screening I spoke of yesterday came off as scheduled at 4 pm at Mann’s Chinese. 20% critics, 80% hoi polloi. It’s all cool and fine but no reviews or riffs until July 6th.

Recap

I finally got around to reading Steven Zaillian‘s 12.1.08 draft of Moneyball, or a portion of it. And I can kinda see why a producer-manager friend passed along word about it being “terrific, and why Brad Pitt signed on. But the entire Sony staff, Amy Pascal included, was shocked to read the new script which had been substantially rewritten — a whole different movie.” Again, if anyone can please send along the Pascal freak-out draft, I’ll read both and run a comparison piece.

“Nein, Nein, Nein!”

Hats off to the ad agency guys who assembled this Inglourious Basterds trailer. It’s a very shrewd use of footage, cut together just so, that has actually boosted my recollection of how the film played when I saw it in Cannes. That’s impressive salesmanship.