Don’t read about ‘Dean Spanley’, just go see it

dean stanley x650By Ray Bennett

If you like droll, dry and eccentric English movies then “Dean Spanley” is for you.

It’s a small picture set in Edwardian times and stars Jeremy Northam, Sam Neill (pictured) and Peter O’Toole, who all perform beautifully. But it’s the type of film it’s better to know nothing about before you see it. I had no idea what it was about and my smile started very soon and got wider as it played out.

The film is released in the United Kingdom on Friday but although it screened at the Toronto International Film Festival this year, no United States release has been announced. That’s a real shame as it should do well, and it also prevents me listing “Dean Spanley” in my Top 10 films of the year for The Hollywood Reporter.

Directed by New Zealander Toa Fraser, it’s based on a novel by Irish writer Lord Dunsany (1878-1957) with a screenplay by veteran Scottish writer Alan Sharp, who has some very interesting credits that will not at all prepare you for “Dean Spanley”.

Amongst many other films, Sharp wrote the scripts for some terrific little pictures from the 1970s including Richard Fleischer’s “The Last Run” (1971, starring George C. Scott; Peter Fonda’s “The Hired Hand” (1971, starring Fonda and Warren Oates; Robert Aldrich’s “Ulzana’s Raid” (1972), starring Burt Lancaster; Ted Kotcheff’s “Billy Two Hats” (1974), starring Gregory Peck; and Arthur Penn’s “Night Moves”, starring Gene Hackman.

Sharp also wrote Sam Peckinpah’s last feature, “The Osterman Weekend” (1983), starring Rutger Hauer, and Michael Caton-Jones’s “Rob Roy” (1995), starring Liam Neeson.

“Dean Spanley,” for which he is also executive producer, was obviously a labour of love and it shows.

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‘Slumdog Millionaire’ tops British Indie Film Awards

 

slumdog millionaireBy Ray Bennett

LONDON – Danny Boyle’s “Slumdog Millionaire” (pictured), a tale of a young boy from Mumbai who becomes a surprise success on “Who Wants To Be a Millionaire”, was named best film at the British Independent Film Awards tonight and Boyle won as best director.

Dev Patel, who plays the boy in the film, won the most promising newcomer award. Vera Farmiga won as best actress for “The Boy In the Striped Pyjamas” and Michael Fassbender won as best actor for “Hunger”. Steve McQueen was named best debut director for “Hunger” and Sean Bobbitt, cinematographer on “Hunger”, won the best technical achievement award.

Although Sally Hawkins, star of Mike Leigh’s “Happy-Go-Lucky” was overlooked as best actress, her co-stars Alexis Zegerman and Eddie Marsan won the awards for best supporting actress and actor.

Rupert Wyatt’s prison drama “The Escapist” won the prize for best achievement in production; James Marsh’s “Man On Wire” was named best documentary and Ari Folman’s “Waltz With Bashir” won for best foreign film. Martin McDonagh won the screenplay award for “In Bruges”.

Actors David Thewlis and Martin Sheen won career achievement awards.

This story appeared in Cue Entertainment.

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Lots of awards contenders in UK January film releases

the reader. x650jpgBy Ray Bennett

The January UK release schedule is chock-a-block with awards contenders including two with much-anticipated Kate Winslet performances, another with Anne Hathaway, and several films featuring potential BAFTA and Oscar candidates for best actor such as Benicio Del Toro, Michael Sheen, Frank Langella, Sean Penn, Viggo Mortensen, Mickey Rourke, Brad Pitt, Leonardo DiCaprio and Tom Cruise.

Nominations for the 2009 British Film Academy Awards are due on Jan. 15 but although BAFTA rules require entered films to be screened for voting members by Dec. 18, distributors have until Feb. 6 to put them on general release ahead of awards night on Feb. 8. The US Academy Awards will be handed out on Feb. 22.

Kate Winslet won a BAFTA award as best supporting actress for “Sense and Sensibility” in 1996 and she has added three more British Academy and five Oscar nominations since then. Expectations are high for both of her new films, “The Reader” (pictured top) directed by Stephen Daldry and “Revolutionary Road” directed by husband Sam Mendes, who won an Oscar as best director for “American Beauty” in 2000.

Ralph Fiennes co-stars in “The Reader” (Jan. 9, Entertainment), which is set in post-war Germany but delves back into Nazi war crimes. David Hare wrote the screenplay, adapted from a novel by Bernhard Schlink. “Revolutionary Road” (Jan. 30, Paramount) teams Winslet with her “Titanic” co-star Leonard DiCaprio (also an awards contender) in a story of an American couple in the 1950s who give up their comfortable suburban life in New England and move to France.

rachel getting married hathaway x650Anne Hathaway (“The Devil Wears Prada”, “Get Smart”) has won high praise for her performance in Oscar-winner Jonathan Demme’s “Rachel Getting Married” (above) playing a rehab habitué who goes home for her sister’s wedding with mixed results.

Benicio Del Toro won a best supporting actor Oscar for “Traffic” in 2001 and Steven Soderberg won as best director for that film. The two pair up again in a two-part saga about Latin American revolutionary Ernesto “Che” Guevera. Given a mixed reception when shown in one piece at this year’s Festival de Cannes, the 268-minute epic is being distributed as two films, “The Argentine” (Jan. 2, Optimum Releasing) and “Guerilla” (Feb. 20). The first picture is a rousing depiction of Che’s involvement with Fidel Castro in the victory over Cuban dictator Batista. The second one is the downbeat story of a failed coup and his death in Bolivia. Both films are almost entirely in the Spanish language but the Puerto Rican Del Toro has received warm reviews for his performance.

Michael Sheen and Frank Langella recreate their award-winning stage performances as David Frost and US President Richard Nixon in Ron Howard’s film version of the Peter Morgan play “Frost/Nixon” (Jan. 9, Universal). Langella won Broadway’s Tony Award playing the disgraced Nixon who expected his televised interviews with Frost to be a breeze until the British TV talk-show host turned the tables.

Milk Penn x650Sean Penn (above with James Franco), who won the 2003 Oscar as best actor for “Mystic River”, plays another real-life character in “Milk” (Jan. 16, Momentum), 1970s San Francisco politician Harvey Milk. He was the first openly gay man to be elected to public office in the US and was shot to death by a former city supervisor, played in the film by Josh Brolin.

Viggo Mortensen stars in “The Road” (originally Jan. 16, Icon, but now postponed), adapted from the doomsday novel by Cormac McCarthy (“No Country For Old Men”). Directed by Australia’s John Hillcoat (“The Proposition”), it’s a fable about a man trying to keep his son safe in a barren post-apocalyptic world. Co-stars include Charlize Theron, Guy Pearce and Robert Duvall.

British cult-film director Darren Aronofsky tries a more mainstream approach in “The Wrestler” (Jan. 16, Optimum Releasing), which won the Golden Lion at this year’s Venice International Film Festival. Mickey Rourke delivers a career-best performance as an over-the-hill wrestler dealing with the effects of a life misspent. Marisa Tomei, who won the best supporting actress Oscar in 1992 for “My Cousin Vinny”, is in contention for honours as well playing a sympathetic stripper, and Hollywood-based British composer and Aronofsky regular Clint Mansell delivers another topline score.

benjamin button pitt x650Brad Pitt has the lead in “The Curious Case of Benjamin Button” (above, Jan. 23, Warner), which has been likened to “Forrest Gump”, not least because the screenplay is by Eric Roth, who won the 1994 adapted screenplay Oscar for that film. Based on a story by F. Scott Fitzgerald, it relates the saga of a man who is born in his 80s and ages backwards, starting in New Orleans in 1918 and ending in the 21st century. David Fincher directs a cast that also features Oscar-winners Cate Blanchett and Tilda Swinton.

The US Academy has nominated Tom Cruise twice as best actor and once as supporting actor and word is that his performance in “Valkyrie” (Jan. 30, 20th Century Fox) could put him in contention again. He plays Col. Claus von Stauffenberg, the Nazi officer who conspired to kill Hitler during World War II. Rumours had suggested that all was not well with the production but now everything seems very positive. Bryan Singer directs a cast that includes several German stars and Brits such as Stephen Fry, Eddie Izzard, Bill Nighy and David Bamber as Hitler.

Other coming attractions include:

Jan. 2: “The Spirit” (Lionsgate UK) stars Gabriel Macht (“A Love Song For Bobby Long”) as a murdered rookie cop who returns to clean up the city, based on a comic book series and directed by Frank Miller (“Sin City”). Scarlett Johansson, Samuel L. Jackson and Eva Mendes co-star.

Jan. 9: “Bride Wars” (20th Century Fox) stars Anne Hathaway and Kate Hudson as best friends who fall out when they plan their weddings on the same day. “Sex Drive” (Contender Films) tells of teenaged American boys trying to lose their virginity. “Surveillance” (Odeon Sky Filmworks) features Julia Ormond and Bill Pullman in a violent and quite twisted tale of murder on the open road directed by Jennifer Lynch (“Boxing Helena”).

Jan. 16: “Beverly Hills Chihuahua” (Walt Disney), which was No. 1 when it opened in the US, is a shaggy tale about a spoiled pooch suddenly adrift in Mexico City with a voice cast including Drew Barrymore and Andy Garcia. “Seven Pounds” stars Will Smith as a depressed and guilt-ridden taxman who attempts redemption by helping seven strangers.

Jan. 23: “Slumdog Millionaire” (Pathe) is the latest from Danny Boyle, a tale about a contestant in the Indian version of “Who Wants To Be A Millionaire” that is also the subject of much awards chatter. “Role Models” (Universal) stars Paul Rudd and Seann William Scott as cocky salesmen doing reluctant community service. “Underworld 3: Rise of the Lycans” (Entertainment) is more of the same but without Kate Beckinsale.

Jan. 30: “Franklyn” (Contender Films) stars Sam Riley (“Control”) in a story about a London ruled by religious fanatics. “My Bloody Valentine” (Lionsgate UK) is a tale of mythic horror while “Nick And Norah’s Infinite Playlist” (Sony Pictures) follows Manhattan teenagers seeking a mythical rock band.

This article appeared in Cue Entertainment.

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Ry Cooder at home in the California desert

Ry Cooder in the desert

There are nearly 100 Ry Cooder tracks on my iPod, just ahead of Randy Newman, including songs, film scores and his last three releases, the superb trilogy “Chávez Ravine” (2005), “My Name Is Buddy” (2007 ) and “I, Flathead” (2008), all from Nonesuch Records.

And so it was a pleasure to see in today’s travel section in The New York Times a fascinating piece by Lawrence Tones exploring the relationship between Cooder’s songs and the working class towns of the Southern California desert. There’s also a terrific audio slide show with photos by Erik Grigorian (as above) and links to his albums.

Here’s an excerpt:

Ry Cooder — the rock and blues guitarist, roots musician, record producer, songwriter and composer — is a son of Santa Monica who has spent nearly 40 years exploring all corners of the musical planet, like a sharp-eared extraterrestrial on a lifelong voyage of discovery. (His two-CD career anthology, released last month, has a perfect title: “The U.F.O. Has Landed.”)

But even that barely covers it — it’s strictly from his solo albums and the haunting scores he wrote for films like “Alamo Bay” and “Paris, Texas”. If you add all the records he has made with other musicians, like Gabby Pahinui, Flaco Jiménez, Ali Farka Touré, Mavis Staples, the Chieftains and, most famously, the Cuban all-stars of the Buena Vista Social Club, you can only wonder where on earth he could go next.

The answer: his own backyard.

Read the full story.

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Carl Morgan, a real newspaperman, dies at 77

By Ray Bennett

LONDON – I was sad to get a phone call last night from Trevor Wilhelm, a reporter at Canada’s Windsor Star, who said Carl Morgan (pictured), former editor of that newspaper, had died. Carl was city editor in my early years at the paper a very long time ago.

My connections to the Star are strong with many friends still there and my daughter Shannon Bennett is in the marketing department.

CarlMorgan.jpgI immediately called lifelong friend Ron Base in Canada, who was also there at that time, and broke the news. We chatted about those treasured days and wondered how impersonal the obituary would be, but Wilhelm (who also spoke to another lifelong friend, Jimmy Bruce) did a great job and indulged our nostalgia.

Here are some excerpts:

Carl Morgan hated cliches so he’ll have to forgive his grieving friends and colleagues. Former colleagues of Morgan, the volunteer, family man and former Windsor Star editor who died Friday after a battle with cancer, couldn’t avoid cliches while talking about him no matter how hard they tried.

“He was a real newspaper man’s newspaper man,” said former Star reporter Ron Base. “He was a throwback to the kind of hard drinking, tough talking, no-nonsense editors that you usually only see in newspaper movies.”

“We used to call him the whirling dervish, because he was going in many directions at one time and wanted everything done that very minute,” said former Star editor and publisher Jim Bruce. “We never called him that to his face. He didn’t suffer fools very easily. He was not very happy when he didn’t think people were pulling their weight or living up to their potential.”

“I’ve worked in two great newspaper environments in my life,” said Ray Bennett, a former Star reporter now working at the Hollywood Reporter in London, England. “One was at the Los Angeles Herald Examiner in the late 80s. The other one was definitely at The Windsor Star in the early 70s. It was a great group to work for. We had fun. We played hard, we worked hard. And Carl was very much leader of his boys in the newsroom.”

Read the full obituary

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Recalling Renee on her birthday

Renee Rich circa 1983
‘Your sweet and shiny eyes
are like the stars above Laredo,
like meat and potatoes to me.
In my sweet dreams we are
in a bar and it’s your birthday,
drinking salty margaritas … ‘

 

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THEATRE REVIEW: Kenneth Branagh in ‘Ivanov’

ivanov1 by J.Persson x650

By Ray Bennett

LONDON – Anton Chekhov wrote “Ivanov” when he was a mere 27, and it shows, and so the Donmar Warehouse’s West End production benefits enormously from having the play re-imagined with the expertise and wisdom of playwright and Oscar-winning screenwriter) Tom Stoppard, who is 71.

Director Michael Grandage and a large and excellent cast headed by Kenneth Branagh in the title role also contribute to make its story of a man crippled by self-loathing and depression resonate with modern pertinence.

The difficulty with the play is that whereas Shakespeare made his tragic heroes kings so that their downfalls had great consequences, it’s difficult to get worked up about Ivanov’s fate. He’s a well-off land owner who is going broke, has a loveless marriage to a dying woman and sees his small world ending, but it takes Stoppard’s wit and great acting to make anyone care.

Critics have likened the title character to Hamlet or Jimmy Porter in “Look Back in Anger,” but his downfall is made gripping by Branagh’s ability to convey his grasp of how fast he is falling from grace and the despair and cruelty that erupt as a result.

Christopher Oram’s evocative sets establish the sweep and fading grandeur of the lifestyle of wealthy country folk seeing world events swirl about them. Ivanov feels less and less a part of their world, spending nights almost as an interloper at their parties and social evenings.

His wife (Gina McKee) is dying of tuberculosis and begs him to stay at home, fearing with good reason that he is attracted to Sasha (Andrea Riseborough, pictured with Branagh), the provocative daughter of wealthy neighbor Lebedev (Kevin R. McNally). Ivanov is too conflicted to actively pursue the girl, though she encourages him with careless enthusiasm. His wife’s self-righteous doctor (Tom Hiddleston), however, becomes convinced that he only married for his wife’s money and conspires to raise the alarm about his dalliance. While at first Ivanov retains the good will of his social circle, things gradually begin to unravel.

Branagh is fine throughout in a thoughtful, unstarry performance. A scene in which the benevolent but henpecked Lebedev offers Ivanov money so that he can repay what he owes to the man’s thrifty wife demonstrates what a fine actor also can do with silence.

The production is the first of the Donmar’s West End season of classics at Wyndham’s Theatre and will be followed by “Twelfth Night” with Derek Jacobi, “Madame de Sade” with Judi Dench and “Hamlet” with Jude Law.

Venue: Wyndham’s Theatre, London, runs through Nov. 29; Cast: Kenneth Branagh, Lucy Briers, Malcolm Sinclair, Gina McKee, Kevin R. McNally, Tom Hiddleston, Andrea Riseborough; Playwright: Anton Chekhov, in a new version by Tom Stoppard; Director: Michael Grandage; Set designer: Christopher Oram; Lighting designer: Paule Constable; Composer/sound designer: Adam Cork; Presented by: Donmar Warehouse.

This review appeared in The Hollywood Reporter; Photo by J.Persson.

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Sean Bean is up to his old tricks in ‘Sharpe’s Peril’

Sean Bean Sharpe x650

By Ray Bennett

Sean Bean admires Bernard Cornwell’s novels about the swashbuckling soldier he plays in the Sharpe films but he takes great delight in the slight change he made to the character.  “He’s supposed to be from London,” grins Bean. “But I made sure he’s a Yorkshireman!”

Despite his success in international films, Bean prefers to live in the UK, where he is a keen supporter of his hometown football team, Sheffield United: “I go to Los Angeles to make pictures but I always come home.” Continue reading

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FILM REVIEW: Giles Borg’s ‘1234’

By Ray Bennett

LONDON – The frustrating life of young and ambitious would-be rock stars is captured with pleasing simplicity and authenticity in “1234,” the first feature from British filmmaker Giles Borg following a series of short films that have won festival attention.

1234_3Shot in the Hackney area of London, the film manages to combine gentle sweetness with a clear-eyed view of the slim chances of its hopeful musicians struggling to launch an indie rock band. Clearly low budget, the film benefits from sharp cinematography by Mike Eley (“Touching the Void”) that reflects the writer/director’s obvious affection for both London and his hapless characters.

With observant dialogue full of dry and ironic banter and likable performances, the film achieves a genial tone and genuine warmth in its ingenuous depiction of the band’s wistful ambitions. It should play well on the festival circuit and make a good calling card for Borg and his producing partner Simon Kearney.

Ian Bonar, with Buddy Holly glasses and a Jason Schwartzman hangdog expression, plays singer, songwriter and guitarist Stevie, who works at a call center but lives for his music and aims to create a band with best mate and drummer Neil (Mathew Baynton). They hook up with out-of-work lead guitarist Billy (Kieran Bew) and Emily (Lyndsey Marshal), a bass guitarist with an all-girl band, and lug their instruments to barren halls rehearsing with indifferent expertise songs of dubious merit.

Bonar is an appealingly offbeat lead and Marshal matches him as a young woman with eccentric artistic tastes. Bew conveys the self-awareness of someone who senses success will always elude him, and Baynton’s drummer is refreshingly not nuts but merely droll and cheerful.

Borg avoids many cliches in his tale, choosing to emphasize character over plot as the four youngsters shamble through their dull day jobs and shuffle towards their musical dreams.

Venue: London Film Festival; Cast: Ian Bonar, Lyndsey Marshal, Kieran Bew, Matthew Baynton; Director, screenwriter: Giles Borg; Director of photography: Mike Eley; Production designer: Richard Campling; Costume designer: Alice Wolf Bauer; Editor: Kevin Austin; Producer: Simon Kearney; Executive producers: Philip Haydn-Slater, Pav Sanhera, James Leahy, Cliff Roberson, Ed O’Brien, Alasdair Maccuish, Norman Merry, Rob Pursey, Mark Vennis, Gary Phillips; Production: Carson Films; Sales: Moviehouse Entertainment; No rating; running time, 85 minutes.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: ‘Zorro the Musical’

Zorro the Musical at the Garrick TheatreBy Ray Bennett

LONDON – A musical version of the saga of the Spanish Californian hero with the mask and deadly sword sounds like a commercial bridge too far but “Zorro the Musical”, with songs by the Gypsy Kings, is a pleasure and a half.

The music is irresistible, the performances are witty and the voices are lovely. The classic tale of a young man who hides his identity in order to defend the oppressed is a familiar tale but it is carried off with such dash and devil-may-care that even the clichés raise a smile.

Zorro the Musical at the Garrick TheatreReturning from a sojourn in Europe, carefree Don Diego (Matt Rawle, pictured top with Adam Levy) returns to California with a gypsy troupe including the bewitching Inez (Lesli Margherita) expecting to find things pretty much the same as when he left. But his Spanish noble father has been drummed out and now Diego’s childhood friend Ramon (Levy), who has become a tyrant, is in charge.

Not only must Diego find his father but he must also fight for the hand of his childhood sweetheart Luisa (Emma Williams, left with Rawle), who also is the object of Ramon’s lust.

It’s simple stuff but on Tom Piper’s splendidly evocative set and with swift and winning direction by Christopher Renshaw, Stephen Clark’s savvy book and lyrics carry everything along in fine form.

Choreographer Christopher Renshaw employs every Spanish form of dancing and gets a large and talented ensemble tapping every toe and stamping every boot-clad foot. It’s stirring stuff, building on the excitement generated when the Gypsy Kings perform.

Rawle, who starred as Che in the hit West End revival of “Evita” a couple of years ago is a terrific Zorro, playing him a rascal as much as a hero, and Levy is a very convincing heavy.

Williams, who was Truly Scrumptious in the original West End cast of “Chitty Chitty Bang Bang” and had the title role in the ill-fated musical version of “Desperately Seeking Susan”, has a voice to match her radiant looks and Margherita raises the temperature with her flamboyant singing and dancing.

Musicals these days don’t seem to produce songs that succeed beyond the stage and that’s true of “Zorro,” but all the numbers are tuneful and the sweep of their presentation and the wonderful cast make it all work.

Zorro the Musical at the Garrick Theatre

Venue: Garrick Theatre, London, runs through Sept. 12; Cast: Matt Rawle, Emma Williams, Adam Levy, Lesli Margherita, Nick Cavaliere, Jonathan Newth; Director: Christopher Renshaw; Book & lyrics: Stephen Clark; Music: The Gypsy Kings, John Cameron; Choreographer: Rafael Amargo; Set & costume designer: Tom Piper; Lighting designer: Ben Ormerod; Executive producers: Sandra Curtis, Peter Himberger, Pascal Imbert, Nancy Larson; Presented by: Zorro London, John Gertz and Isabel Allende.

This review appeared in The Hollywood Reporter.

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