Actor David Carradine dies aged 72

David-Carradinex650

By Ray Bennett

LONDON – Associated Press has reported out of Bangkok that actor David Carradine, star of the 1970s TV series “Kung Fu” who had a wide-ranging career in the movies, has been found dead in the Thai capital. A news report said he was found hanged in his hotel room and he is believed to have been murdered. Investigation is ongoing. He was 72.

Carradine was always a forthright individual and he gave me one of the best interviews I’ve ever done. I ran into him at the Festival de Cannes at the opening Marché Party in May 2000 and he agreed to meet for a beer and a chat at the Noga Hilton.

“The secret to Cannes,” he told me, “is: Don’t hustle. Let everyone else hustle. Then you can have fun.”

Carradine had been coming to the festival on and off for over 20 years. He had films in competition, he won a prize, and he usually responded when a producer asked him to help get attention for a picture.

He said, “Often I’ll come without portfolio, as it were. I hang out; do an interview here and there; take a couple of meetings; go to a party or two and get bored instantly. I make so many independent movies that there are always two or three in the marketplace I don’t even know about.”

He said he always enjoyed it. Not least because in Europe he was associated more with such films as “Bound for Glory” and “The Long Riders,” and having worked with Ingmar Bergman, than for his cult TV series, “Kung Fu.”

Carradine said, “I had no idea that show would change things and mean so much to people, but my life has been very arbitrary. I wish it weren’t. I wish I could direct my destiny. There are many things I wished I could do that I never did. Too old to play Hamlet now. Better hurry up and play Lear.”

Like many of the genre actors who worked outside the studio system, he said he made B pictures because he enjoyed the work. He had one called “Nightfall” at Cannes in 2000, and he left mid-festival to head for British Columbia to make a western titled “By Dawn’s Early Light” with Richard Crenna.

He said, “For me, I want to work, if there’s something at hand to do. But something about the project needs to jog me. Even at my age, I’m still trying to make a name for myself.”

He was in Cannes that year with his brother Robert Carradine, who was known for the “Revenge of the Nerds’ films: “We don’t get to see each other a lot because we’re always off on location somewhere, so that was nice. Usually at a party there’s a little meditating pool of quiet where I can talk, say, to Gene Hackman about cars and planes.”

He had no time for people who went home from Cannes complaining: “People in L.A. say Cannes is such a drag. I say, ‘What the fuck are you talking about?’ The place is beautiful, the food is beautiful, the women are beautiful. It’s because they were on the second floor of the Carlton sweating and praying, desperate. Fuck that.”

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THEATRE REVIEW: ‘Sister Act” the musical

Sister Act 1 x650By Ray Bennett

LONDON – Brash and sentimental but witty and tuneful, the stage musical version of Whoopi Goldberg’s 1992 comedy film “Sister Act” is a foot-stomping, hand-clapping success with great songs by multiple Oscar-winner Alan Menken and a star-making performance by American newcomer Patina Miller.

Originating at the Pasadena Playhouse, the show has a book by “Cheers’ alumni Cheri and Bill Steinkellner and lyrics by Glenn Slater that draw on Joseph Howard’s original screenplay. Now it’s a major West End production with all the trappings at the celebrated London Palladium.

The most rousing songs are delivered by Miller, whose previous experience includes a stint on “All My Children” and a production of “Hair” in Central Park. With good looks, a splendid voice and terrific comic timing, she has catapulted into the big-time.

Miller has the Goldberg role of Deloris, a brassy lounge singer in 1978 Philadelphia, who witnesses a murder and is placed in a convent to keep her safe before the trial. British stage, film and TV veteran Sheila Hancock has the role of the Mother Superior played in the film by Maggie Smith.

sister act 2 x650She tolerates Deloris by putting her in charge of choir practice and the nuns quickly become high-stepping, swinging sisters whose performances attract paying audiences that will save their decaying church. The publicity also attracts the killer, Deloris’ manager Shank (Chris Jarman), who is determined to silence her.

The plot is simply a device on which to hang 17 songs and everyone in the cast gets a chance to shine. It’s harmless and cheerful, but both book and lyrics are mildly disrespectful of the church exploiting iconography and an impersonator of the Pope, and the show more than the film takes the view that being a nun is not a great idea.

Hancock has a sweet song titled “Here Within These Walls” to evoke her sincerity but Katie Rowley Jones, as an orphan who is now a novice, sings a number titled “The Life I Never Led” in which she lists the freedoms she’s been denied. “How I Got the Calling,” in which the sisters first display their talent for soaring harmony, is more about the ability to sing than their devotion.

The theme of individuals revealing their true nature extends beyond Deloris to individual nuns including Claire Greenway as the plump and boisterous one and Julia Sutton channeling Ruth Gordon as a tough old bird. Deloris’ mild-mannered boyfriend, a cop named Eddie (Ako Mitchell), and Shank’s hoodlums also deliver songs that reveal them to be more than they at first appear.

Slater’s lyrics are bright and sassy with many clever and inventive rhymes, and while Anthony Van Laast’s choreography is more about keeping the nuns leaping than anything else, director Peter Schneider makes it all snappy, and the show has been rewarded with cheering and standing ovations.

Venue: London Palladium, runs through Feb. 10; Cast: Sheila Hancock, Patina Miller, Ian Lavender, Chris Jarman, Ako Mitchell, Katie Rowley Jones; Music: Alan Menken; Lyrics: Glenn Slater; Book: Cheri and Bill Steinkellner, based on the motion picture written by Joseph Howard;Director: Peter Schneider; Choreographer: Anthony Van Laast; Set designer: Klara Zieglerova; Costume designer: Lez Brotherston; Lighting designer: Natasha Katz; Sound designer: Mick Potter;  Producers: Whoopi Goldberg, Michael Reno, Joop Van Den Ende, Bill Taylor, Adam Spiegel.

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CANNES FILM REVIEW: Denis Villeneuve’s ‘Polytechnique’

polytechnique x650By Ray Bennett

CANNES – Denis Villeneuve’s “Polytechnique” is a dispassionate retelling of the massacre of 14 young women at a school in Montreal by a deranged young man with a high-powered rifle in December 1989.

Filmed in black and white, the French-language film, which screened in Directors’ Fortnight, does not set out to comprehend the crime other than to suggest that the shooter (played with a vacant stare by Maxim Gaudette) was a pathetic loser who chose to blame women for his empty life.

The focus is on what happens to two survivors of the incident. Jean-Francois (Sebastien Huberdeau) is the only person in the huge, crowded building who appears to do something to help, while Valerie (Karine Vanasse) is an engineering student who somehow survives being shot at point-blank while her fellow students die beside her.

The impact on them is quite different and as they are composite characters it could be said that they represent the guilt of the men, who were not targeted, and the determination of the women who survived to honor their dead schoolmates and push on with their lives.

The 76-minute film, produced by Remstar and Don Carmody Prods., and handled by Wild Bunch, is as much a memorial as it is a docudrama and as such it will interest educators and students, and make for sober television. It’s a pity, though, that more of an attempt wasn’t made to understand the killer and explain such things as why no one apparently thought to phone for help or hit the fire alarm.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: Michel Franco’s ‘Daniel and Anna’

daniel and anna x600By Ray Bennett

CANNES – Michel Franco’s prurient and off-putting little film “Daniel & Ana”, which screened in Directors’ Fortnight, is about a teenage brother and slightly older sister in Mexico City, who are kidnapped and forced to have sex with each other for a video camera.

The camera lingers unnecessarily on the attractive characters as they are made to disrobe and couple at the risk of death from three hoodlums. The siblings are released afterward and do not report the crime.

They deal with the event differently, as soon-to-be-married Ana (Marimar Vega) seeks help from a psychologist to put it behind her and formerly shy and caring 17-year-old Daniel (Dario Yazbek Bernal) develops a raging lust for his sister. A scene in which Daniel brutally rapes Ana also is overly indulgent.

Suspense builds as Daniel becomes increasingly possessive of Ana and jealous of her fiance, and the youth goes to their wedding ceremony and reception bearing a newly purchased and deadly looking knife.

Produced by Alameda Films, with Fortissimo handling sales, the film’s titillating subject matter and sex scenes could find some boxoffice return but audiences will puzzle over such things as an absence of motive for the kidnappers.

Using the video for blackmail seems the most obvious, but the kidnappers are never seen or heard from again.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: ‘The Imaginarium of Doctor Parnassus’

imaginarium x650By Ray Bennett

CANNES – The first big question about Terry Gilliam’s “The Imaginarium of Doctor Parnassus” involves how the filmmaker managed to complete the film when his star Heath Ledger (below) died in the middle of shooting. The answer is with great imagination and skill.

The second big question is whether Gilliam has produced something to rank with his great fantasies “Time Bandits” and “Brazil,” and the answer is sadly no.

A carnival show with a mirror to the imagination allows Gilliam to employ his remarkable gift for imagery, but the worlds he creates will not take the breath away of children or grown-ups. The combined star power involved will generate a plentiful boxoffice return, but the film is neither intelligent enough nor silly or grotesque enough to become a lasting favorite.

imaginarium2 x325Filled with phantasmagorical images with the occasional echo of “Monty Python’s Flying Circus,” the picture involves a classic duel between the forces of imagination, led by Dr. Parnassus (Christopher Plummer), and the architect of fear and ignorance, known here as Mr. Nick (Tom Waits, pictured with Plummer).

Andrew Garfield and Lily Cole provide youthful love interest, and Ledger is again the joker in the pack as a stranger who is not what he seems.

The setting is a horse-drawn carnival sideshow in modern London, an attraction in which Dr. Parnassus, who claims to be immortal, invites ticket buyers to enter a world of their own imagination by stepping through a large mirror. Once beyond it, faces change and fates vary, which is how Gilliam gets away with having Johnny Depp, Jude Law and Colin Farrell step into the Ledger role.

Ledger makes his entrance as a man being hanged from London’s Blackfriar’s Bridge with his arms tied at his back. Saved and named George by the members of Dr. Parnassus’ troupe, he claims to remember nothing and joins the players. The doctor and Mr. Nick have a lifelong wager in which the soul of Dr. P’s daughter (Cole) is the prize, and he suspects the devil has placed George there to make trouble. The rest of the film involves various plunges into the mirror’s vast wonderland, with George changing physiognomy along the way.

The visual effects are colorful and entertaining without ever becoming a coherent force. The score by Mychael Danna and Jeff Danna has the required flair and sweep.

Plummer and Waits are the twin rocks of the film, and they enter the spirit of playfulness with typical skill. Garfield continues to expand his considerable range, and model Cole makes a pretty picture. The three stars that came to Gilliam’s rescue also make amusing contributions, but it’s hard not to wonder how much better the film would have been with a complete performance by the charismatic, adventurous Ledger.

The film is dedicated to Ledger and producer William Vince, who died after filming was completed.

Venue: Festival de Cannes, Out of Competition; Cast: Heath Ledger, Johnny Depp, Jude Law, Colin Farrell, Andrew Garfield, Christopher Plummer, Tom Waits, Lily Cole, Verne Troyer; Director, producer: Terry Gilliam; Screenwriters: Terry Gilliam, Charles McKeown; Director of photography: Nicola Pecorini; Production designer: Anastasia Masaro; Music: Mychael Danna, Jeff Danna; Costume designer: Monique Prudhomme; Editor: Mick Audsley; Producers: William Vince, Amy Gilliam, Samuel Hadida; Executive Producers: Dave Valleau, Victor Hadida; Production: Infinity Features Entertainment, Poo Poo Pictures, Davis Films; Sales: Mandate International; Not rated; running time, 122 minutes.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW BRIEF: Juraj Lehotsky’s ‘Blind Loves’

'Blind Loves' 2008 x650By Ray Bennett

CANNES – Love is blind, the poets say, and the blind also love but it’s not so easy to clink glasses of celebratory champagne when you and your partner cannot see.

Slovakian director Juraj Lehotsky observes this charmingly in his heartwarming documentary “Blind Loves”, screened in Directors Fortnight at the Festival de Cannes.

Filmed in the half-light of claustrophobic living quarters that do not bother those without vision, this look at several blind people getting on with their lives sends an unsentimental but optimistic message. Destined for strong showings on the festival circuit, the film also should thrive in educational circles.

Lehotsky has a keen and compassionate sensibility and he uses classical music to great effect. Even at a trim 77 minutes, the film makes the characters come alive and some of the small moments are deeply affecting.

These include blind lovers losing each other momentarily on a crowded dance floor; a sightless woman hanging up the laundry to dry on a line; a young boy asking his now-blind mother what she used to see; a blind woman describing why her favorite color is orange because of all the senses primed by the fruit; and a teenaged girl tapping into the Internet and dreaming of love.

It’s a film that puts a smile in your heart and you don’t need eyes for that.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: Ken Loach’s ‘Looking for Eric’

Looking for EricBy Ray Bennett

CANNES – The term “crowd-pleaser” is not often attached to the work of Ken Loach, the British Palme d’Or-winning director of films of social realism, but his latest Festival de Cannes Competition entry, “Looking for Eric,” is exactly that.

At the press screening, there was laughter throughout, frequent clapping and sustained applause at the end. Loach regular Paul Laverty’s script is filled with great gags and the director does his typically polished job of bringing out the best in his actors.

They include former soccer player Eric Cantona (pictured right with Steve Evets), the Frenchman who was unheralded at home but called King Eric at Manchester United, the world’s biggest football club.

With Man U having just won the English Premier League title once again and heading to the Champions League final in Rome on May 27, the film’s football connection could not be more advantageous. If only the club’s millions of supporters around the world go to see it, and they will all want to, the movie will be a hit.

But “Looking for Eric” should connect with moviegoers who enjoy clever comic writing with a touch of fantasy plus fans of any sport that has legendary heroes. It looks set to be Loach’s biggest mainstream hit.

The footballer materializes in the home of a sad-sack postal worker also named Eric, played with great energy and flair by Steve Evets, whose latest panic attack leads to him repeatedly driving the wrong way round a roundabout until the inevitable crash.

He escapes unhurt and no one else is harmed but Eric is chastened by his latest attempt to flee the unhappy realities of his life. His second wife split seven years earlier and his two stepsons, Ryan (Gerard Kearns) and Jess (Stefan Gumbs), ride roughshod over him at home.

His mates at work, led by portly Meatballs (John Henshaw), do their best to cheer him up, and there’s a hilarious sequence in which they go one at a time to try to make him laugh, but it doesn’t help.

Retreating to his own room, which is full of Man U memorabilia and pictures, including a life-sized poster of Cantona, to whom he confides his worries, Eric is startled to discover the genuine article has shown up to listen.

More than that, the iconic star, who was known for quoting obscure sayings, has brought a bunch of his favorite aphorisms and proverbs to help Eric clean up his life and find some happiness. This involves setting his kids straight and trying to make amends with his first love, Lily (Stephanie Bishop), whom he abandoned with their baby decades earlier.

There’s a moment in the picture when a shift from high comedy to grim reality, caused by Ryan’s involvement with a local hoodlum, is a bit abrupt and some may find the themes incompatible, but it wouldn’t be a Loach film without some of that. With Lafferty’s help, he manages to achieve a balance. In the end, with Cantona’s wisdom and the help of his pals from the post office, Eric finds the courage and wit to win the day in a hugely entertaining final sequence.

Very funny and a bit sentimental, it’s naturalistic comedy of the highest order, with Evets and Henshaw standouts among a terrific cast. Cantona too shows great comic timing and is both imposing and self-effacing, playing off his reputation for being a proud and temperamental man.

Not only Man U supporters will enjoy the splendid clips showing some of his classic passes and goals, and his dialogue is a constant delight. “Sometimes we forget you’re just a man,” Eric tells him. Comes the reply: “I am not a man. I am Cantona!”

Venue: Festival de Cannes, In Competition; Cast: Steve Evets, Eric Cantona, John Henshaw, Stephanie Bishop, Lucy-Jo Hudson, Gerard Kearns, Stefan Gumbs; Director: Ken Loach; Screenwriter: Paul Laverty; Production designer: Fergus Clegg; Music: George Fenton; Costume designer: Sarah Ryan; Editor: Jonathan Morris; Producer: Rebecca O’Brien; Executive producers: Eric Cantona, Pascal Caucheteux, Vincent Maraval; Director of photography: Barry Ackroyd; Production: Cantos Bros. Prods., Sixteen Films, Why Not Prods., Wild Bunch; Sales: Wild Bunch; Not rated; running time, 116 minutes.

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CANNES FILM REVIEW: Olivier Cohen’s ‘Invisible Eyes’

invisible eyes x650By Ray Bennett

CANNES – Olivier Cohen’s intelligent mystery “Invisible Eyes” has all the conventions of a thriller about a woman alone in a house but confounds expectations by moving pleasingly into “Twilight Zone” territory.

The offbeat story, which stars German catwalk veteran Pia Mechler (pictured) as an over-the-hill supermodel who starts to believe the walls have eyes, also has echoes of the themes explored by Charlie Kaufman in “Adaptation,” with a puzzle about who’s really writing the script.

Marketed smartly, the handsomely made film could go beyond its obvious youth audience to draw in fans of classic film and television mysteries. It also features a late Peter Cushing-like appearance by the fine English stage actor Michael Mears as a key instrument in the plot.

The setup is simple. Gaby (Mechler) arrives at a large, remote English country home to spend time watching DVDs and reading scripts in order to move on from being a top model. Her manager/lover Dan (Simon Merrells) enthuses about her future but his manner suggests his words are artificial as he departs to the city.

Gaby soon claims to sense another’s presence in the empty house and begins to fantasize about her first lover, a young man who died in a motorcycle accident. Visibly unsettled, she starts to hear odd noises and receive weird notes. Answering her pleas for help, Dan suspects she’s losing her mind, not least because the notes are in her handwriting.

The French director establishes an unsettling tone that tickles the imagination in the mood of that wonderful word eldritch, but along with the requisite shocks, he delivers a smart and intriguing payoff.

Merrells, who has won plaudits in the Brando role in a stage production of “On the Waterfront” in London’s West End, makes his character ambiguously sinister and Mears nails his small but vital role.

Mechler’s German-inflected accent when speaking English at first suggests the attractive young actress will wobble when things get spooky but her ever-so-slightly stilted delivery serves the character well. It heightens the evocation of classic suspense movies, along with Damien Salancon’s music, which plays with the genre’s traditions while hitting all the right notes.

Venue: Festival de Cannes, Market; Cast: Pia Mechler, Simon Merrells, Michael Mears, Mark Tintner, Ross Armstrong; Director, screenwriter: Olivier Cohen; Director of photography: Darran Bragg; Production designer: Gaelle Lindingre; Music: Damien Salancon; Costume designer: Nadya Lubrani; Editor: David Laurence; Producer: Liz Rosilio; Production company: HiDe Films; Sales: HiDe Films; Not rated; running time, 107 minutes.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: Kamen Kalev’s ‘Eastern Plays’

eastern plays x650By Ray Bennett

CANNES – Uneven but gripping, Kamen Kalev’s “Eastern Plays,” which screened in Directors’ Fortnight, is a portrait of a young drug addict artist caught up in the violent racial strife of present-day Bulgaria.

There’s a sudden crime not long into the picture, a savage beating that drunken artist Itso (Christo Christov) witnesses. He also takes some blows even as he sees that his younger brother Georgi (Ovanes Torosian) is among the gang running amok.

The film touches on the brothers’ relationship, but it’s more an exploration of the artist’s feelings of desperate alienation in Sofia, a seemingly tranquil city in which street thugs are paid by slick politicos to stir up unrest.

Many scenes take place in darkness and some go nowhere, but its sympathetic portrait of a young man who knows he’s gone off the rails amid the travails of an Eastern Bloc nation grappling with racism will make the picture of interest to festivals and special interest audiences.

Kalev takes his time introducing the central characters up to the point when Itso stumbles upon a gang assaulting a Turkish man and woman and their daughter, who are visiting from Istanbul. Georgi acts as a lookout for the hoodlums but it’s not until the next day when Itso shows up for a family meal that it becomes clear they are brothers.

Itso, who has broken up with his tearful girlfriend Niki (Nikolina Yancheva), is attracted to the dreamy Turkish girl Isil (Saadet Isil Aksoy, pictured), but her father, in the hospital recovering from his beating, forbids her to see him.

Although Itso is on methadone and drinking too much, he forms a bond with the girl while Georgi fights his own demons and their struggles form the rest of the story.

Christov, who died after the making of the film and is given a dedication at the end of it, was a nonprofessional, but his acting shows both range and depth. A scene in which he expresses his emptiness to a witless psychiatrist is touching and he and Aksoy have much chemistry in their scenes together.

Venue: Festival de Cannes, Directors’ Fortnight; Cast: Christo Christov, Ovanes Torosian, Nikolina Yancheva, Saadet Isil Aksoy

Director, screenwriter, editor: Kamen Kalev; Director of photography: Julian Atanassov; Production designer: Martin Slavov; Production: Waterfront Film; Sales: Memento Films International; No t rated; running time, 89 minutes.

This review appeared in The Hollywood Reporter.

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CANNES FILM REVIEW: Caroline Strubbe’s ‘Lost Persons Area’

lost persons area x650By Ray Bennett

CANNES – The setting of Caroline Strubbe’s “Lost Persons Area”, which screened in Critics Week, is a wide flat plain populated by vast pylons bearing power cables that dwarf the human beings below.

The symbolism is the best part of the film, however, which tells of a family and a stranger dealing with an accident that affects all their lives.

Impressive exterior cinematography by Nicolas Karakatsanis is not matched in the interior scenes and, while the actors are plausible, Strubbe’s dialogue is not and too many scenes are fatally dull. The picture may find interest at a few festivals but hopes beyond that appear slim.

Lisbeth Gruwez and Sam Louwyck play Bettina and Marcus, a couple that operates a cafe close to the pylons, while Marcus runs the company that maintains and paints the giant structures. Their young daughter Tessa (Kimka Desart) is a strange, obsessive child who collects found objects and makes quirky objets d’art.

The dynamic changes when charming Hungarian painter Szablocs (Zoltan Miklos Hajdu) signs on and Marcus is injured, resulting in the amputation of a leg.

Strubbe strives to make the couple’s ramshackle relationship convincing and spends much time observing the eccentric child, but interest in their mutual fate soon dissolves.

This review appeared in The Hollywood Reporter.

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