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Alain Boublil and Claude-Michel Schonberg certainly did not need for a film adaptation of "Les Miserables" to happen to validate the work. After all, this is one of the most successful stage productions of all time, omnipresent for over over two decades, beloved and still relevant. There was a point in Hollywood history where any successful stage musical was automatically brought to the screen in the most lavish possible fashion, but that hasn't been true for many years now. Musicals, like Westerns, are increasingly rare, and Hollywood is no longer turning out performers who are automatically at home singing and dancing in front of the camera. For Tom Hooper, following up "The King's Speech" was going to be tough no matter what, and I'll give him credit for ambition. He called his shot and swung for a home run, and while he didn't knock it out of the park, the material itself is so strong, and the film's cast is so game, that it doesn't matter.
The script by Alain Boublil, Jean-Marc Natel, James Fenton and William Nicholson is very faithful to the original stage production, which plays almost as a highlights reel of Victor Hugo's novel. There is a sort of runaway train quality to the narrative, and the film maintains that same breakneck pace from the visually arresting opening moments to the final haunting moments. There is a feeling at times that things move so quickly and with such unrelenting pace that it's hard to catch your breath, hard to let yourself fully experience a beat emotionally, but that's the production itself. It's just inherent to how they've told the story. And while there are certainly things about the film that make full use of the difference between stage and screen, this still feels like a fairly intimately scaled story considering the time span it covers and the huge cast of characters involved.
Is all the world a stage? Well, in Joe Wright’s “Anna Karenina,” the stage became the medium through which the director retold Leo Tolstoy’s classic story. An unusual choice fraught with risks? To be sure. An extraordinary amount of potential? Equally certain. But production designer Sarah Greenwood and set decorator Katie Spencer were tasked with helping Wright’s vision come to fruition. We recently spoke to the duo about their work on the film.
Jingle Bells, holding tight to the one you love, singing puppets: no, it's not another lousy Christmas song, it's Piney Gir's "Outta Sight."
The Kansas-born (holler) pop songwriter assembled a team of sock puppets for her take on "Mystery Date," the video backdrop to unabashedly catchy "Outta Sight" from her album "Geronimo!" The track's strengths lie in her lyrical simplicity, a realness in that sweet voice, rounded out with bright arrangement power.
Welcome to Oscar Talk.
In case you're new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.
A quick review of last night's "30 Rock" coming up just as soon as I'm a nymphomaniac virgin widow with a hotel room and a latex allergy...
With Top 10 season upon us, I'm slowly beginning to whittle down a year's worth of viewing into some sort of order. And while I have a lot to see before I can actually finalize my list -- my screening diary for the next week is a veritable pileup of supposed awards fare, nearly as dense as a festival schedule -- I'll need to see an improbable amount of four-star films between then and now for "Tabu" not to land in its upper reaches.
Since the Berlinale 10 months ago, you've heard me badgering on about Portuguese director Miguel Gomes's semi-silent wonder -- part postmodern comedy, part rapturous colonial-era love story -- with a range of artistic reference points that ranges from F.W. Murnau to Phil Spector. I'm far from alone in my enthusiasm: it landed at #2 on Sight & Sound's Best of 2012 critics' poll last weekend. It hits US screens in a few weeks, but I only recently latched onto this US trailer from Adopt Films (in which, I'm chuffed to say, I'm one of the critics quoted.)
Today's most enjoyable Oscar-related feature comes from Steve Pond, who has rounded up a selection of the more notable and/or quirky campaign maneuvers from the season thus far, from curious merchandise (a "Lincoln" cookbook, haggis crisps for "Brave") to an Academy rule violation by shortlisted doc "The Invisible War." My favorite, though, is a typewritten letter to BFCA voters from the campaign-averse Steven Soderbergh on behalf of Matthew McConaughey: "I'm breaking my longstanding embargo regarding pleas for recognition... we found [his performance] to be completely bananas in the best sense of the word. As he says in the film, 'The moon is just a chip shot away!'" Now one for for Channing Tatum, please. [The Wrap]
"Let's just enjoy this week and look forward to our big comeback next year." - Finn
I've reached a point with "Glee" where even when I enjoy a lot of things about an episode -- as I did with "Swan Song" -- it doesn't matter. The recent string of unbearable episodes has completely severed my connection to the show (a connection that survived through Season 2 and Season 3), possibly for good.
It'll take a lot more than a halfway decent episode to bring it back, and I just don't see that happening given the current state of the show.
NEW YORK -- Warner Bros. spared no expense tonight ringing in the arrival of Peter Jackson's "The Hobbit: An Unexpected Journey" with a New York premiere and an ornate after-party at Guastavino's on the east side. The space's "soaring granite arches and catalan vaulted tiled ceiling," to steal from its own PR, served as a perfect palette for Middle Earth-inspired wares. Wooden tables decked with candelabras and other similar decor offered a comfortable dose of Hobbiton as Jackson, stars Martin Freeman, Andy Serkis and Ian McKellen, "Argo" director Ben Affleck, actors Patrick Stewart, Elijah Wood, Liv Tyler and many more filled the room to capacity.
The toast, of course, is to Jackson's accomplishment, the first in a new, sure-to-be-expansive trilogy of films adapted from J.R.R. Tolkien's intro to "The Lord of the Rings." And hopes are rightly high that the film will land just right with fanbases both old and new to send this one soaring at the box office. But while the film's aesthetic and feel certainly hearkens back to the franchise Jackson launched in the early aughts, there were attempts at mining a new identity, and much of that was inherent in the enterprise.
It's the eco challenge this week, and while I find this to be an admirable effort, I don't have high expectations. Too often green is considered synonymous (at least to designers) with earthy, nutty granola looks that make me hope someone plopped some Birkenstocks on the accessories wall. There's no reason for it, except that sometimes the designers want to make it abundantly clear that their dress is GREEN, and how will you know unless it's ugly?
It's time for Delena! After so, so many episodes of futile yearning and goopy, lusty eyes between Damon and Elena, they're finally free to pursue their wanton desire for one another. But I get the sense this love connection is not to last. First hint? The sire bond possibility floated last week by Caroline and Stefan. The second hint would be entirely about editing. Yeah, editing.