Things Are Tipping

The three biggest N.Y. Times columnists — Paul Krugman, Frank Rich and Maureen Dowd — have this weekend delivered serious slapdowns to President Barack Obama, principally about a sense that he’s hasn’t been tough or angry enough with the big banks and the community of rank insider entitlement, that no real transparency has been forthcoming about where stimulus dollars have been going, and that he’s too dug in to the Tim Geithner-Lawrence Summers view of things, which is too Wall Street cozy and laissez-drifty.

The line that got me came from a N.Y. Times letter to the editor, and was used by RIch for the title of his column — “Has a Katrina Moment Arrived?” It was written five or six days ago by a Cupertino woman named Paulette Altmaier. “This is a defining moment for his presidency, and how he responds will determine the trajectory of his term,” she wrote. “He needs to deal with the excesses within the financial industry with the same toughness and conviction that President Ronald Reagan brought to bear during the air traffic controllers’ strike. To date, he is sorely wanting.”

Obama’s team “must start actually answering the questions that officials like Geithner and Summers routinely duck,” Rich wrote.

“Inquiring Americans have the right to know why it took six months for us to learn (some of) what A.I.G. did with our money. We need to understand why some of that money was used to bail out foreign banks. And why Goldman Sachs, which declared that its potential losses with A.I.G. were ‘immaterial,’ nonetheless got the largest-known A.I.G. handout of taxpayers’ cash ($12.9 billion) while also receiving a TARP bailout. We need to be told why retention bonuses went to some 50 bankers who not only were in the toxic A.I.G. unit but who left despite the “retention” jackpots. We must be told why taxpayers have so little control of the bailed-out financial institutions that we now own some or most of. And where are the M.R.I.’s from those ‘stress tests’ the Treasury Department is giving those banks?

“Another compelling question connects all of the above: why has there been so little transparency and so much evasiveness so far? The answer, I fear, is that too many of the administration’s officials are too marinated in the insiders’ culture to police it, reform it or own up to their own past complicity with it.”

Krugman scared me the most when he wrote yesterday morning that “the Geithner plan has now been leaked in detail [and] it’s exactly the plan that was widely analyzed — and found wanting — a couple of weeks ago. The zombie ideas have won.

“The Obama administration is now completely wedded to the idea that there’s nothing fundamentally wrong with the financial system — that what we’re facing is the equivalent of a run on an essentially sound bank. As Tim Duy put it, there are no bad assets, only misunderstood assets. And if we get investors to understand that toxic waste is really, truly worth much more than anyone is willing to pay for it, all our problems will be solved.

“This plan will produce big gains for banks that didn’t actually need any help; it will, however, do little to reassure the public about banks that are seriously undercapitalized. And I fear that when the plan fails, as it almost surely will, the administration will have shot its bolt: it won’t be able to come back to Congress for a plan that might actually work. What an awful mess.”

Livery of Hell

I saw this flyer stuck to a wall in a laundromat yesterday in downtown Philadelphia. The concept is flat-out brilliant. An agent needs to sign John Heimbuch, and some producer needs to option the rights. Flesh-eating ghouls staggering around Elizabethan London in valour period garb and speaking in Shakespearean verse…are you kidding? I’d pay to see this film in a New York minute.

Spinning

One obviously can’t watch screeners, read scripts, clean the house, arrange screenings, make calls, and write stories/items at the same time. The tension created by the inability to focus on just one of these (and letting the other three go for the time being) is exhausting. At least there’s one thing I’m dead certain of — i.e., the repulsiveness of Costco-level Latin dance music, which is now throbbing through the ceiling and vibrating paint chips off the walls.

Saving The Alamo

In his most recent Digital Bits column, restoration guru Robert Harris has announced a full-on drive to raise enough cash to digitally restore two versions of John Wayne‘s The Alamo — a 172-minute general release cut, which would be rendered in either 70mm or in digital 2K or 4K, and the full-boat 192-minute roadshow version (not counting the overture, entr’acte and exit music).


A frame of the original 70mm print of The Alamo as it exists today.

How many people out there are dying to see the three hour and 12 minute version of Wayne’s 1960 epic, restored to full and glorious perfection? Well, myself for one. I’m totally queer for lustruous large-format films of the ’50s and ’60s. But this project isn’t about anticipating public clamor as much as doing the right thing by a solid, engaging, well-crafted film about true-blue patriotism, and especially one valued by old-school conservatives who believe that preserving the memory of a valorous episode in Texas history is an essential, sacred duty.

The 172-minute version will be strictly intended for theatrical screenings while the 192-minute version will be accessible only on DVD and Bluray.

I’ve been hearing about this project for years, but a commitment from MGM to render a 70mm print at the end of the year-long restoration process has been secured. Various other parties have stepped up to the financial plate in terms of pledges and whatnot. There’s no question that this beautifully shot, slightly stodgy epic needs to be digitally restored, as the original visual elements are pretty much degraded and cracked and faded all to hell. Is The Alamo a great film? No, but it’s a pretty good one, and Harris’s new venture deserves respect.

Justice

In a 3.20 interview with WWD’s Jacob Bernstein, “Depression 2.0 Queen” Suzie Orman delivers a message to George W. Bush: “You blew up every single financial vessel we had and if you think you aren’t personally responsible….well, the blame starts at the top. If I were you, I would feel so absolutely horrific that I would take every penny I had and distribute it to anybody and everybody to help them in whatever way I could. You owe the American people every penny of your fortune and your family’s fortune.”

These Three

So Knowing was #1 yesterday with $8,950,000, but the word-of-mouth may be sinking it today with I Love You, Man, which came in second with $6,350,000, poised to take the top slot. Or maybe not. I’m guessing that the three-day Knowing figure will be closer to $21 or $22 million rather than $25 million, and Man might top the $20 million mark.

And Tony Gilroy‘s Duplicity — arguably the best of the three (or certainly the best made) — will come in a distant third. The Clive Owen-Julia Roberts espionage drama earned $4,700,000 yesterday and may end up with $13 or $14 million by Sunday night. So again Roberts hasn’t opened a film, or certainly not big-time. I’d say her fee should be adjusted to $5 million per film now — no more. My two kids don’t like her, and my ex-wife dislikes her. I don’t like her either but I respect her combativeness in the same way I respect a power-hitter in baseball.

“Instant Cult Film”…what?

Seth Rogen‘s character in Observe and Report (Warner Bros., 4.10) is a hero in what universe apart from the secular universe of Warner Bros. marketing? “Eeeee!!!,” they scream as they jump up on chairs and tops of desks like girls who’ve just seen a mouse. “A cult film! A cult film! Eeeee!”

This is not a film, remember, that’s been “played for sitcom jokiness and family-friendly slapstick,” as Variety‘s Joe Leydon explained a few days ago, but which “attempts something much darker, if not downright transgressive, with a pic bound to divide auds and critics into love-it-or-leave-it camps.”

“This movie is a minor miracle, an original and unfiltered dark comedy that demolishes the mainstream-friendly comic persona that Seth Rogen’s been cultivating the last few years,” Drew McWeeny recently wrote from South by Southwest. “It’s convulsively funny, disturbingly violent, and uncomfortably carnal and intimate at times. And it’s not a redemption story about how [Rogen’s character] sorts out his problems and eventually becomes a happy or a better person. It’s a slow slide from bad to worse, and that’s exactly what makes this an instant cult classic.”

Yari Blues Again

Two days ago Amy Kaufman posted a Wrap piece about the Yari Group’s decision to go into bankruptcy last December. It’s puzzling why Kaufman decided to get into this three months later as nothing really new is reported. The standout element are two differing opinions about the state of Yari’s company before it went bust. The first is from Rod Lurie, director-writer of Nothing But The Truth as well as producer of What Doesn’t Kill You, two Yari releases that fell through a trap door when Chapter 11 was declared. The other view is non-attributable.

“The Yari team are good and smart people who got caught in the perfect storm of the economy,” Lurie says. “But it was like a drive-by shooting. Everything’s going great and then we’re on the ground, bullet-ridden.”

But later in the piece Kaufman writes that “several people who’d been working with the company said the signs of trouble had long been clear at Yari, and that Yari’s trouble were not necessarily indicative of bigger problems in the indie industry. ‘There were certainly release dates that weren’t met at Yari and bounced around,’ said one source who refused to be named. ‘In 2008, you would have been nuts to sell your film to Yari Film Group.'”

Nothing But The Truth will have a DVD and Bluray release on 4.28.09.