Here We Go Again

The fair young maiden is dead and gone — all female leads in action-adventure-fantasy pics set in any period have to follow the Neytiri/Katniss Everdeen example. (Not to mention Kristen Stewart in Snow White and the Huntsman, Natalie Portman in Your Highness and Cate Blanchett‘s Maid Marian in Robin Hood.) Strong and feisty, a canny survivor, an armed combatant and tough cookie, good with a knife or a bow-and-arrow, skilled in martial arts, etc.

Which is well and good — nobody wants to go back to “some day my prince will come.” But it’s the same old groove over and over again, no?

“Brave seems a wee bit conventional by comparison with, say, how radically The Incredibles reinvented the superhero genre,” writes Variety‘s Peter Debruge. “Adding a female director to its creative boys’ club, the studio has fashioned a resonant tribute to mother-daughter relationships that packs a level of poignancy on par with such beloved male-bonding classics as Finding Nemo.

“Though going all girly has made parent company Disney skittish in the past (most recently retitling its Rapunzel adventure Tangled to play to crossover interest), this new Celtic princess comes off as enough of a tomboy to ensure near-universal appeal. As its title suggests, Brave offers a tougher, more self-reliant heroine for an era in which princes aren’t so charming, set in a sumptuously detailed Scottish environment where her spirit blazes bright as her fiery red hair.”

Once Rules Night

Once, the B’way musical based on John Carney’s 2007 Ireland-shot film of the same name, won the Tony Award for Best Musical last night. It won seven other Tonys — Enda Walsh won for Best Book of a Musical, John Tiffany won for Best Direction and Steve Kazee won for Actor in a Leading Role in a Musical. Also: Bob Crowley for Scenic Design; Natasha Katz for Lighting Design; Clive Goodwin for Sound Design, and Martin Lowe for Best Orchestrations.

Istanbul Serf

At 53, Madonna still struts it — still exudes that cocky femme swagger that I recall from a Blond Ambition concert 22 years ago. And all hail a flash of tit for any reason, any time. But the Istanbul guy shooting this video (or the guy next to him) really loses it when the boob appears. What kind of a rube…? A guy raised Islamic, I’m guessing.

Sylbert

On page 196 of his 2009 Warren Beatty biography Star, Peter Biskind describes the work aesthetic of fabled production designer Richard Sylbert: “Sylbert had a method, which consisted of distilling the movie’s theme, choosing visual metaphors reflective of that theme, and then making each and every design element a slave to those metaphors.”

Sylbert’s stark black-and-white interiors in The Graduate (’67), a likely allusion to choice, ethics and morality, was one example; ditto the jungle flora and zebra-skin design of the Robinson’s den, and the preference for cheetah- and zebra-skin slips, bras and bathing suits worn by Mr. Robinson as well as Benjamin Braddock’s mom, which had something to do with unruly libidos and predatory behavior.

In short, Sylbert never focused solely on design elements — he was a kind of co-director (in his mind, certainly) who always focused on the big overall.

Sylbert designed The Manchurian Candidate (’62), Long Day’s Journey Into Night (’62), Lilith (’64), The Pawnbroker (’64), Grand Prix (’66), Who’s Afraid of Virginia Woolf? (’66), The Graduate (’67), Rosemary’s Baby (’68), Catch-22 (’70), Carnal Knowledge (’71), Chinatown (’74), Shampoo (’75), Reds (’81), The Cotton Club (’84) and Dick Tracy (’90).

I’m not saying that other production designers don’t use the same theme-metaphor approach that Sylbert did. I’m saying that I can’t think of any off the top of my head. So I’m asking.

Here’s a 10.27.06 article I wrote about Sylbert, whom I knew somewhat and with whom I had several great discussions and off-the-record interviews. He died from cancer a little more than a decade ago — in March 2002.

Word To The Wise

All I’m saying about Cloud Atlas (Warner Bros., possibly December), “an epic story of mankind” with multiple characters and several time-flipping narratives, is that you might want to read David Mitchell‘s 2004 novel of the same name before seeing it. The last thing you want is to watch a film that makes you go “wait…what?” time and again. You want to be truly “with” the experience, and not fighting it or feeling defeated by it. So I’m just telling you as a friend that you need to buy the book and put on the coffee and study it and figure it all out before seeing the film. You’re back in high school and you’ve homework to do. Simple as that.

Poppy

Yes, of course — George Herbert Walker Bush looks like a very wise and commendable statesman compared to his son, but I don’t know if I can accept a Barry Goldwater-like revisionist view at this stage. HBO is debuting 41. Here’s Maureen Dowd’s chat with the 88 year-old ex-Prez.

“Of course I’m respectable. I’m old. Politicians, ugly buildings, and whores all get respectable if they last long enough.” – John Huston‘s Noah Cross in Chinatown (’74).

Goodies, Baddies & Iffies

The summer season has been underway for five or six weeks now, but let’s spitball some of the remainder — i.e., films opening between June 11th and Labor Day that have stirred interest or curiosity — in terms of likely bests, worsts, mehs and in-betweeners. I’ve seen six or seven of the following but otherwise I know zip (I’m sitting in the attic of a hotel inside the medieval village of Cesky Krumlov and don’t feel all that connected as we speak) — this is mainly intuition & premonition. If you know or have heard something, please share.

Boiled down, there are about 15 summer films opening over the next 10 weeks that are either essential or almost certainly worth seeing. If I’m missing something truly exceptional or terrible, please advise.

Essential, Sterling, Nutritious: Beasts of the Southern Wild (6.27), Side By Side (August TBA — best documentary of the summer?)

Obviously Unmissable: The Dark Knight Rises (7.20), Bourne Legacy (8.3), The Campaign (8.10).

Hearing Good Things: Magic Mike (6.29), The Amazing Spider-Man (7.3 — a friend saw it, was genuinely pleased), Savages (7.6).

Sturdy, Commendable, Recommended: Trishna (7.13), The Queen of Versailles (7.20), Searching for Sugar Man (7.27).

Modest, Low-Key, Reasonably Decent: Your Sister’s Sister (6.15), Take This Waltz (6.29), 2 Days in New York (8.10).

Possible Sleeper: Hit and Run (8.24)

Trepidations: Rock of Ages (6.15). Abraham Lincoln: Vampire Hunter (6.22), Seeking a Friend for the End of the World (6.22), Total Recall (8.3), Premium Rush (8.24)

No Clue: People Like Us (6.29), Hope Springs (8.10), 360 (.3),

Nope: Red Lights (7.13), Killer Joe (7.27), Sparkle (8.17), Lawless (8.29).

Hidden: To Rome With Love (6.22).

Little Stuffed Bear: Ted (6.29).

Indifferent: Brave (6.22)

Strange Intrigue: Klown (7.27).

Sandler Pics Never Change: That’s My Boy (6.15).

Tyler Perry Pics Never Change: Tyler Perry’s Madea’s Witness Protection (6.29).

Necessary Sit: The Woman in the Fifth, Tahrir: Liberation Square.

Only Prometheus Character I Was Down With

Ridley Scott‘s Prometheus opened yesterday so it’s time for reader opinions. Individual critiques, of course, but how did the room feel? My 6.1 review again: “Impressively composed and colder than a witch’s boob in Siberia. Visually striking, spiritually frigid, emotionally unengaging, at times intriguing but never fascinating. It’s technically impressive, of course — what else would you expect from an expensive Scott sci-fier? And the scary stuff takes hold in the final third. But it delivers an unsatisfying story that leaves you…uhm, cold.”