Applause

Hollywood Elsewhere is offering a raised-fist salute to actor John Lacy, who was canned three days ago (i.e., Saturday) for stopping a performance of Cat On A Hot Tin Roof at Newhall’s Repertory East Playhouse in order to deal with a drunken bigot who was heckling the show with homophobic slurs. Lacy reportedly jumped off the stage after the drunk wouldn’t shut up (the guy reportedly shouted “fag” more than once) and physically ejected him from the theatre.

This is how all drunken assholes should be dealt with. Lacy is to be applauded, not fired. He sounds to me like a guy Denzel Washington might portray in a film. A man of slow-burning conviction who doesn’t take shit.

The show reportedly continued following the incident and concluded to a standing ovation. Lacy was fired right after the performance. The REP authority figure who did that (probably executive director Ovington Michael Owston) should be ashamed of himself and offer apologies all around. The theatre has since announced the closing of the Tennessee Williams play “due to casting loss.” The REP’s official statement notes that “cast members” have left the show, which indicates some of Lacy’s fellow cast members resigned in protest when he was whacked.

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Not Trendy Tokenism But…

I’m as gratified as Vulture‘s Kyle Buchanan that Lupita Nyong’o has snagged a somewhat marginal supporting role in J.J. AbramsStar Wars: Episode VII. (Possibly as a villain of some sort or, as a Hollywood Reporter story mentioned last January, as “a descendant of Obi-Wan Kenobi.”) Not because the reboot will offer a great acting opportunity but because (a) it’s a nifty, high-profile paycheck gig and we all need to pay the mortgage, and (b) it signifies, as Buchanan puts it, that Nyong’o’s “career momentum is restored, and her ascent to the Hollywood A-list now comes complete with an A-list project.”

But from a Movie Godz perspective the hire is (a) a purely practical maneuver on Nyong’o’s part and (b) a right-down-the-middle Hollywood political gesture.

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Mr. Cage, Your Stylist Is Calling

For me the most eerie and bizarre aspect of Left Behind (Samuel Goldwyn, 10.3) is that over-sized shirt collar worn by Nicolas Cage in the poster. Will you look at that thing? I haven’t seen a movie star wearing a collar that gauche-looking since the ’70s, when elephant collars (so named because they look like Dumbo ears) were the sartorial norm. Okay, yes, there are people out there who wear oversized shirt-collars but they tend to be Kiwannis Club hinterlanders who shop at Sears and have no taste in the New York or Milan or Paris sense of that term. Movie stars are expected to look a little better (think Denzel’s airline pilot in Flight) than average people, and Cage — I’m sorry but what can I say? — looks like a total putz here. Look at that expression! “Duhhhh, I just wear what the wardrobe woman gives me…in any event this movie is about the rapture, not shirt collars!”

Samuel Beckett’s Animal House

I hate trailers for big-name, heavily-promoted comedies because they always spoil too many punch lines and physical comedy stunts. I was excited about 22 Jump Street when the first teaser popped last December. Now it’s five and a half months later and I almost feel numb about it, which pisses me off because this obviously clever, possibly hilarious film would be a good deal more pleasurable if I hadn’t watched succeeding trailers 39 times. At least Scott Foundas‘s Variety review has me back in the mood. Costars Jonah Hill and Channing Tatum are “both marvelous physical comedians, and much of 22 Jump Street turns on Laurel-and Hardy-like juxtapositions of Hill’s short, stocky inertia against Tatum’s chiseled, gravity-defying grace. Tatum has been too good too many times now to still be deemed a revelation, but he seems especially boisterous and joyful here, like a mischievous first-grader trapped in a linebacker’s body, or perhaps a very deft comic actor who only belatedly came into a full sense of just how funny he can be. Whatever becomes of the Jump Street franchise from here, let no man put this acting partnership asunder.”

Likelihood of Suffragette

Sarah Gavron and Abi Morgan‘s Suffragette, the Carey Mulligan-Meryl Streep-Helena Bonham Carter drama about the women’s right-to-vote movement in England, filmed last winter and is currently in post. With seven months remaining in the year, Indiewire‘s Kevin Jagernauth is wondering if the period project “will be completed in time for the fall festival circuit or if it’ll be held for next year.” Being ready for a Telluride/Venice/Toronto debut might be tough, but other significant films have managed much tighter schedules. There’s certainly time to prepare for an opening in October, November or December. It would be kind of dumb for Suffragette‘s producers to not labor mightily to open their film by 12.31, if for no other reason than to benefit from the usual award-season hoopla that is afforded any half-decent, serious-subject film released between Labor Day and New Year’s Eve.


Carey Mulligan (second from left) as “Maud” in Sarah Garvon and Abi Morgan’s Suffragette.

…unless, of course, Suffragette ends up playing too much like a generic single-issue political struggle piece a la The Normal Heart, in which case it might be a better fit for HBO sometime next year.

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Pitt Corrections

Last night People‘s Mary Green posted a statement from Brad Pitt about being attacked at last Wednesday night’s Malificent premiere by the obviously deranged Vitalii Sediuk, the Ukrainian ex-journalist. Pitt’s statement was presumably given verbally to Green and then transcribed, and that’s fine. It just needs a few edits. Corrections and comments are in bold:

Pitt: “I was at the end of the line signing autographs [no comma] when out the corner of my eye I saw someone stage-diving over the barrier at me. I took a step back [but] this guy had latched onto my lapels.” HE comment: Excellent first sentence, tight and clean, off to a good start.

Pitt: “I looked down and the nutter was trying to bury his face in my crotch [no comma] so I cracked him twice in the back of the head — not too hard [no dash] but enough to get his attention, because he did let go.” HE comment: What does “cracked” mean exactly? A hard open-palm slap? A clenched-fist punch? I myself would have karate-chopped Sediuk on the back of the neck, the benefit being that when the media asks for a quote “karate-chopped” sounds more studly in a martial-artsy way.

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Joseph Heller’s Something Happened

My wild guess is that Penske attorneys knocked on Nikki Finke‘s door and read her the riot act (i.e., the reported contract stipulation about not competing until 2016), but that’s just, like, a notion, man. A big maybe. Now she’s saying she’ll launch on 6.12. It’s probably a bit more complicated than that.

Hideous Marty Waltz

There’s one thing wrong with Delbert Mann and Paddy Chayefsky‘s Marty, which won 1955’s Best Picture Oscar and launched the career of Ernest Borgnine after he took the Oscar for Best Actor. (Mann also won for Best Director; ditto Chayefsky for Best Adapted Screnplay.) The problem is that jaunty Marty theme song, which apparently wasn’t written by score composer Roy Webb but songwriter Harry Warren and arranger George Bassman. The brassy and fanfare-ish waltz is entirely out of synch with the simple, somewhat sad story of a lonely Bronx butcher and his loser friends and a girl he falls half in love with. The purpose of the song was to persuade audiences that Marty wouldn’t be too much of a downer. It succeeded in that goal but the music sure feels like a downer now.

What Am I, A Schmuck?

I was and am a huge fan of James Cameron‘s Avatar, but for some reason I’ve never watched the Bluray version that I own. Possibly because I’m sated from having seen it four times theatrically or maybe because I’ve done that and enough already. But I’m up for a sequel in 2016, sure. If you want to be craven about it I guess I could roll with a trilogy, even. But three sequels for a grand total of four? Cameron has spoken to Slashfilm’s Germain Lussler about the writing process that yielded three Cameron-approved scripts, but really, man, c’mon…this is milking the cow beyond the point of tolerance. Mine, anyway. Not to mention Pandora: The Land of Avatar experience at Disney World plus any other commercial exploitations that are being cooked up as we speak. It feels greedy. I’m sure 20th Century Fox stockholders are delighted, but it seems as if Cameron is counting on exploiting the loyalty of Avatar fans a little too much. I know he’s a hardcore quality guy but on some level I feel like Kirk Douglas inside his gladiator cell as he looks through the overhead bars at a chuckling Peter Ustinov and Charles McGraw and yells, “I’m not an animal!” The three films will open in December in 2016, 2017 and 2018.

What’ll Happen To Don?

In a 5.30 Vanity Fair interview with Mad Men creator Matthew Weiner, Bruce Handy asks about the final episode and the very last beat in the journey of Don Draper (Jon Hamm), which will air next spring. It seemed to me in the recently-aired finale of Part One of the final season — which concluded with Robert Morse‘s musical number — that Draper’s demons had been more or less faced and that he’d at least temporarily overcome his self-destructive tendencies. He’s moved past the drinking, treated Peggy with respect and support, and accepted that it’s time to let Megan go. Twists and turns are sure to happen but it basically feels like “steady as she goes.” All these years I’ve been irked by Draper’s morose, downer behavior, and now that he’s more or less out of the woods I really don’t want to see a relapse. As far as I’m concerned the only thing left to do is loosen up and stop wearing that 1961 Peter Gunn hair style and throw away that stupid fucking hat.

“I wrote the finale over Memorial Day weekend,” Weiner says. “I had an outline that the writer’s room and I had been working on for the past four or five weeks, so that always makes it easier to actually get it done, but it was great to finish it. I’ll be tweaking it and directing and working through that, so it’s not [a] complete release because it’s not really done until it goes on the air.

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