“It’s worth mentioning now and forever that the Oscar race has little to do with the reality of great movies. Well, sometimes the two realities converge but the Oscar race is mostly about a race to the middle. You’re looking for something that thousands of people can agree upon is great. We know this can’t possibly be true as Zero Dark Thirty and The Limey and Vertigo and Citizen Kane were ignored or under-valued by this consensus. As was Psycho and Jaws and most of the films I consider great. The Oscar race is what it is, but in too many instances it’s the last thing you want to rely upon for any kind of true measure of a film’s worth over the long haul. Fuck these people.” — sent by a journalist friend when I shared a disparaging view of a presumed Best Picture contender, written by a producer pal.
Yesterday a friend said A Star Is Born would’ve been much more interesting if the genders had been flipped — if the Jackson Maine character had been Sheryl Crowe with a drinking problem and if the ingenue had been some young guy (Shawn Mendes, Jaden Smith…someone in that realm). That way the plotline grooves wouldn’t seem so familiar and the whole vibe and atmosphere would’ve felt fresher and nervier.
I would have been delighted, in fact, if Bradley Cooper had instead directed Elyse Hollander‘s Blonde Ambition, the top-rated Black List script about Madonna‘s struggle to find success as a pop singer in early ’80s Manhattan.
It was reported last summer that Madonna is no fan of the script, and that she doesn’t want the film version to happen. They should make it anyway. If and when Blonde Ambition activates it’ll be a Universal thing. The producers will be RatPac Entertainment, Michael De Luca Productions and Bellevue Productions.
It was almost two years ago when I wrote that Ambition is going to be a good, hard-knocks industry drama — a blend of a scrappy, singing Evita with A Star Is Born mixed in. If the right actress plays Madonna the right way, she might wind up with a Best Actress Oscar nomination…maybe, who knows?
This is a flinty, unsentimental empowerment saga about a tough player who took no prisoners and was always out for #1. No hearts and flowers for this mama-san.
The success of Blonde Ambition will depend, of course, on who directs and how strong the costars are, particularly the guy who plays Madonna’s onetime-boyfriend John “Jellybean” Benitez, whose remix and producing of her self-named first album launched her career, as well as her Emmys bandmate and previous lover Dan Gilroy.
A Star Is Born‘s logline was basically “big star with a drinking problem falls for younger ingenue, she rises as he falls and finally commits suicide, leaving her with a broken heart.” Blonde Ambition is about a hungry, super-driven New York pop singer who, like Evita Peron, climbs to the top by forming alliances with this and that guy who helps her in some crucial way, and then moves on to the next partner or benefactor, but at no point in the journey is she fighting for anything other than her own success, and is no sentimentalist or sweetheart.
I’ve been a Hamptons Film Festival guy for about five hours now. I checked into Wainscott’s 380 Inn and then picked up the badge around 2:30 pm. There’s not much to report except that the air is agreeably fall-like with a hint of a slight nip. Jacket and scarf weather.
Tonight’s hot film is Yorgos Lanthomos‘ The Favourite, which I caught in Telluride. Loved the first two acts, not so much the third. No offense but I’m not quite in the mood to see it a second time.
I’m actually thinking of slipping into Kirill Serebrennikov‘s Leto (which I caught last May in Cannes). Review excerpt: “Set during the early ’80s Leningrad rock-music scene and focusing on a largely factual, less-than-ardent romantic triangle, Leto (Russian for summer) is a kind of monochrome dream trip — more about feeling the vibe than savoring the story. It’s something you need to sink into rather than judge and evaluate with a fine tooth comb.”
The price of almost everything in East Hampton is about 50% higher than in the real world. It’s like Switzerland here.
Sen. Susan Collins (R., Maine) has announced she’ll vote in favor of Brett Kavanaugh‘s nomination to the Supreme Court. Here’s her explanation. The actual Senate vote isn’t until tomorrow, but Collins has made her bed and she’ll lie in it the rest of her life. A passage in her Wikipedia page describes Collins as “fiscally conservative but [with] socially moderate views.” That is no longer true, I’m afraid. She’s done a truly horrible thing.
“It will happen this way. You will be on the New London ferry to Orient Point. A bright, sunny day with crisp fall weather. And a fellow passenger, probably overweight and atrociously dressed, will suddenly be next to you, chatting about the Hamptons Film Festival or whatnot. And then another passenger, perhaps someone you know, maybe even trust, will join the conversation. And he will smile, a becoming smile. And then you’ll feel something hard pressing into your ribs.”
For the first time in eight or nine years, Hollywood Elsewhere is hitting the Hamptons Film Festival (10.4 thru 10.8). Leaving at 8:45 am or 30 minutes hence. To avoid the horrible LIE traffic I’ll be taking the New London ferry to Orient Point and then motoring down to East Hampton. And I’ll be staying in the cheapest, most bare-bones, nickle-and-dimey Tobacco Road motel in the region (Wainscott’s 380 Inn).
The final Senate vote on Judge Kavanaguh will presumably begin around 3 pm. I’m not a dreamer — I know what’s going to happen. The reprehensible Susan Collins and Jeff Flake are going to vote for the guy, and that’s all she wrote.
The HIFF films will include the usual award-season suspects — First Man, Roma, Green Book, Boy Erased, Cold War, Can You Ever Forgive Me, The Hate U Give, Capernaum, The Panama Papers, Ben Is Back, Everybody Knows, A Private War and Paul Dano‘s depressingly perverse Wildlife. The Hamptons fest “holds the distinction of being the only East Coast film festival to have screened the eventual Best Picture winner at the Oscars for the past eight years.”
I won’t be able to return to Manhattan in time for Sunday evening’s Bohemian Rhapsody screening in Union Square so I’ll have to catch it on Thursday, 10.11. Los Angeles journos will be seeing Bryan Singer‘s film tomorrow night.
Apart from my profound admiration for the performances by Mahershala Ali in Green Book and Richard E. Grant in Can You Ever Forgive Me?, I’m not all that certain of my Best Supporting Actor persuasions at this stage.
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