BERLIN FILM REVIEW: Rie Rasmussen’s ‘Human Zoo’

human zoo x650By Ray Bennett

BERLIN – Former Danish model Rie Rasmussen, who had the lead role in Luc Besson’s 2005 film “Angel,” writes, directs, edits and stars in her ambitious first feature, “Human Zoo,” about a woman haunted by her hellish experiences in the war-torn Balkans.

Set in racially divided Marseilles, with constant flashbacks to events in Kosovo, the film tries to mix a kind of fascist chic in its depiction of nihilistic crime in post-war Belgrade and a sober statement about changing borders and saving souls with a very mushy romance.

Rasmussen plays Adria, whose mother was a Serbian Christian and whose father was an Albanian Muslim, which means she faces hatred from all sides when the former Yugoslavia breaks into pieces. Saved from a killing squad by a ruthless soldier named Srdjan, who fires on his own officers and then deserts, she accompanies him to Belgrade where he begins a lucrative trade in gunrunning and murder.

Always a hoodlum but now with military training, Srdjan — played with terrific charisma by Nikola Djuricko — is fearless and merciless in his treatment of criminals on both sides of the law who have exploited the region’s chaos for their own ends.

He is a flat-out bad guy, but he grows to care for Adria and Rasmussen’s script gives him enormous charm even as he brutalizes innocents and murders men, women and even a child. Adria learns some of the ugly skills of his trade including how to handle a revolver and, with her hair cut in a jaunty bob, Srdjan even refers to them as Bonnie and Clyde.

The story of how Adria ends up in Marseilles is gradually revealed but meanwhile she has encountered a footloose American named Shawn (Nick Corey) and fallen in love. Helped by a local woman (Hiam Abbas) and her husband who also have adopted an immigrant girl, Adria resorts to violent action when the girl is kidnapped by Russian sex-traders.

The film demonstrates that Rasmussen has much to offer as a filmmaker although it’s too uneven to be called a success. The Belgrade scenes are performed in the local language and are entirely convincing but the sequences in Marseilles are done in English and suffer greatly for that.

Rasmussen holds the screen credibly but while Corey is a hunk and gets to frolic with Rasmussen in some very explicit sex play, he’s a lightweight compared to Djuricko, and the stilted English dialogue leaves even the wonderful Abbas (“The Visitor”) stranded.

Venue: Berlin International Film Festival, Panorama; Cast: Rie Rasmussen, Nikola Djuricko, Nick Corey, Hiam Abbass; Writer-Director: Rie Rasmussen; Director of photography: Thierry Arbogast; Production designer: Hugues Tissandier; Music: Illinav Illim; Costume designer: Joanna Georges Rossi; Editor: Rie Rasmussen; Producer: Luc Besson; Executive producer: Didier Hoarau; Production: Europacorp; Sales: Europacorp; Not rated; running time, 110 minutes.

This review appeared in The Hollywood Reporter.

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BERLIN FILM REVIEW: Nick Oceano’s ‘Pedro’

By Ray Bennett

BERLIN – With the story of Pedro Zamora, the Cuban-born youngster who contracted the HIV virus at age 17 and told his story on MTV’s “The Real World” before dying young, “Pedro” is a film that wears its heart on its sleeve.

Produced by MTV and the folks who make the reality series, it portrays characters who almost all end up doing the right thing in support of a likeable young man who faced up to his fate with fortitude and generosity. Directed by first-timer Nick Oceano, the script is by Dustin Lance Black, Oscar-nominated screenwriter of the movie “Milk.”pedro x325

The film, which is squeaky clean and sentimental, will clearly get wide exposure thanks to MTV and will serve as an ongoing testament to Zamora and help in educating people about the ongoing dangers of AIDS. Gay communities and fans of the show also will respond, although the film’s lack of complexity may not intrigue more demanding audiences.

Pedro (Alex Loynaz) is seen auditioning for the TV show “The Real World: San Francisco” five years after being diagnosed as HIV positive. Those familiar with the show will recognize the other participants in the program, which was an attempt to observe young people interacting honestly and a cut above the likes of “Big Brother.”

The artificial atmosphere of a residence filled with camera crews is dealt with lightly, although Black’s script observes that MTV preferred Zamora to use his Spanish first-name Pedro rather than Peter, which all his friends called him.

Flashbacks tell the story of Zamora’s move from Cuba to Florida in the Mariel boatlift that saw several siblings left behind. It traces his relationship with his mother, who died of cancer when he was still quite young, and his adoring sister Mily (Justina Machado).

It depicts his love affair with another AIDs activist, Sean (Dajuan Johnson) and their betrothal live on MTV, and shows what an inspired lecturer Zamora became, talking to kids about how to protect themselves and relate to AIDS sufferers.

It’s all very sincere and inevitably touching but sometimes the acting is as stilted before the film camera as it appears to be in front of MTV’s cameras. Everyone works very hard to make it work, though, and given the bravery of its subject and the importance of the topic, being earnest is far from a bad thing.

Venue: Berlin International Film Festival, Panorama; Cast: Alex Loynaz, Justina Machado, Hale Appleman, Dajuan Johnson; Director: Nick Oceano; Screenwriter: Dustin Lance Black; Director of photography: Mark Putnam; Production designer: Denise Hudson; Music: Barbara Cohen; Costume designer: Natalia Collazo;Editor: Jonathan Alberts; Producers: Anne Clements, Chris Panizzon, Richard Glatzer, Wash Westmoreland; Executive producers: Jonathan Murray, Gil Godschein, Scott Freeman, Paris Barclay; Production: Bunim Murray Prods.; Sales: Bunim Murray Prods; Not rated; running time, 93 minutes.

This review appeared in The Hollywood Reporter.

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BERLIN: Great Cajun music in Tavernier’s ‘Electric Mist’

In the Electric Mist x650By Ray Bennett

BERLIN – There are several reasons to like French director Bertrand Tavernier’s handsome and atmospheric feature “In the Electric Mist,” which had its world premiere at the Berlin International Film Festival tonight, not least the sumptuous cinematography by Bruno de Keyzer, who has collaborated with the director more than once but most impressively on the jazz classic “Round Midnight (1986).

Tommy Lee Jones gives a shrewd and witty performance as crime writer James Lee Burke’s iconic Louisiana law officer Dave Robicheaux, in an adaptation by Jerzy Kromolowski and Mary Olson-Kromolowski of the bestseller “In the Electric Mist With Confederate Dead.”

Tavernier surrounds Jones with some fine actors in good form including Peter Sarsgaard, John Goodman, Mary Steenburgen and Kelly MacDonald. But the strong cast goes deep with Ned Beatty, James Gammon (pictured with Jones), Levon Helm, Bernard Hocke, Pruitt Taylor Vince, Justina Machado, Julio Cesar Cedillo and Walter Breaux.

One of the richest pleasures is the music, which combines an evocative score by Marco Beltrami (“Hellboy,” “Live Free or Die Hard”) with tracks by artists including Buddy Guy, who has a key role in the film as Sam “Hogman” Patin revealing crucial information to Det. Robicheaux.

Here’s what Tavernier had to say about the music in the production notes for “In the Electric Mist”:

On Marco Beltrami: “From day one, I wanted to work with him because he’d impressed me with his scores for ‘The Three Burials of Melquiades Estrada’ and ‘3:10 to Yuma’. He was thrilled because most of the time in Hollywood, composers are hired when the shoot wraps. He even went to Louisiana to get the feel of Cajun music and talk with musicologists. This helped us determine ‘way in advance the use of percussion instruments or of the accordion, or of the different musical themes. Besides, he gave me leeway to do what I wanted during sound mixing since he recorded all the instruments on a separate track.”

On using sourced tracks: “This is music I personally picked, like Clifton Chenier’s ‘I’m a Hog For You’ and ‘Coming Home’. Or like Michael Doucet’s ‘Rendez-moi Pauline’ and ‘J’ai passé devant ta porte’, which I found out about thanks to the Cajun crew members and fell in love with. For the ending, I used a Handel aria because I wanted to break away from the Cajun musical atmosphere we’d grown accustomed to – I then needed religious music that matched the crane camera work and the mist over the graveyard.”

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BERLIN FILM REVIEW: Lucia Puenzo’s ‘The Fish Child’

fish child x650By Ray Bennett

BERLIN – Argentinean writer-director Lucia Puenzo has followed up her successful first film, 2007 Cannes Critics Week winner “XXY,” with “The Fish Child” (El nino pez), which, despite its unfortunate title, is a satisfying noirish tale that works well as a thriller and an intriguing love story.

The title, which no doubt resonates better in Spanish, refers to a surrealistic element that the film could easily do without, having to do with a fantasy about an underwater creature that guides the souls of lost children.It doesn’t get in the way of the central tale, however, which involves the romance of two attractive young women who dream of escaping bourgeois Buenas Aires and going to set up house together by a lake in rural Paraguay.

Lala (Ines Efron), the daughter in a wealthy but dysfunctional family, has had eyes only for Ailin (Mariela Vitale), a Guarani maid from Paraguay, since she came to work at the house when Lala was 13. Ailin responds and over time they become lovers and confidantes and start to make dreamy plans.

The Guarani girl is a seductive attraction to all comers, however, including Lala’s father, a controversial judge whose affairs are mixed up with a corrupt police chief. Things go badly wrong when the judge dies suddenly just as Lala and Ailin are ready to make their getaway. Lala makes it to Paraguay, while Ailin is accused of killing the judge and sent to prison.

Puenzo’s tale, based on her own novel, follows Lala as she discovers some harrowing truths about Ailin’s youth and determines to free her lover so they can fulfill their dream. With the police chief involved in using prison inmates as party girls, the film turns into a suspenseful thriller as Lala, with some help, goes to Ailin’s rescue.

Well-paced and absorbing, the film boasts winning performances by the two leads and there is typically fine music by Andres Goldstein and Daniel Tarrab.

Venue: Berlin International Film Festival, Panorama; Cast: Ines Efron, Mariela Vitale, Pep Munne; Director: Lucia Puenzo; Screenwriter: Lucia Puenzo; PDirector of photography: Rodrigo Pulpeiro; Production designer: Mercedes Alfonsin; Music: Andres Goldstein & Daniel Tarrab, Laura Zisman; Costume designer: Julio Suarez; Editor: Hugo Primero; roducers: Luis Puenzo, Jose Maria Morales; Executive producers: Fernando Sirianni, Miguel Morales, Claire Dornoy; Production: Historias Cinematograficas, Wanda Vision, MK2; Sales: MK2; Not rated; running time, 96 minutes.

This review appeared in The Hollywood Reporter.

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BERLIN FILM REVIEW: Yoav Shamir’s ‘Defamation’

defamation x650By Ray Bennett

BERLIN – Israeli filmmaker Yoav Shamir tackles the thorny and provocative issue of anti-Semitism in his documentary “Defamation” and finds a deep divide between Jews who see it everywhere and Jews who find it nowhere, least of all in America.

The film is presented as the journey of a young man who has grown up in Israel without experiencing anti-Semitism on a quest to discover what it is and how it affects people.

Taking an understated but determined approach, he variously interviews his grandmother, blacks and Orthodox Jews who are neighbors in New York, rabbis, professors, Israeli school kids on a trip to a German concentration camp imposed on occupied Poland, and members of the Anti-Defamation League.

Everyday folk display the usual type of ignorance about people they hardly know and the scholars argue fiercely from opposing perspectives and deliver scathing diatribes about right-wing politics in Israel, while the rabbis appear the most sanguine about prejudice in modern life.

The fiercest opponents turn out to be in the United States, where Prof. Norman Finkelstein, who has written about what he calls “the Holocaust industry,” and Abraham Foxman, who is the very active National Director of the ADL, are vocal enemies.

Each was touched personally by the Holocaust but they hold opposing views on the nature of anti-Semitism and its impact on the world in general and Israel in particular. Their divide is profound and passionate, and Shamir takes time to allow both of them to make their case.

The most affecting scenes, however, involve the class of Israeli teenagers on a visit Auschwitz. They speak beforehand of how they are taught that anti-Semitism flourishes everywhere in the world and that by traveling beyond their nation’s borders they are constantly at risk.

Shamir uses his camera as an unblinking but compassionate observer as the youngsters make the emotional journey from giggling innocence and guarded fear into the camp’s horror where the crushing images leave them distraught and weeping, and then angry.

Their plight causes the director to offer the thought that perhaps it’s time to stop dwelling on the past, as horrific as it has been. Maybe, he says, it’s time to live in the present and look to the future.

Venue: Berlin International Film Festival, Forum; Director, screenwriter: Yoav Shamir; Director of photography: Yoav Shamir; Music: Mischa Krausz; Editor: Morten Hojbjerg; Producers: Karoline Leth, Sandra Itkoff, Philippa Kowarski, Knut Ogris Production: SF Film Production, Knut Ogris Films, Cinephil, Reveal Prods; Sales: Cinephil; Not rated; running time 91 minutes.

This review appeared in The Hollywood Reporter.

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Mickey Rourke pounds pavement for ‘The Wrestler’

Mickey+Rourke+Darren+Aronofsky+Cinema+Society+CKOift-gDNylBy Ray Bennett

British director Darren Aronofsky says he thinks Mickey Rourke still hasn’t seen “The Wrestler”, the picture they made about a beat-up fighter that has resurrected the actor’s career. He might not have seen it but, boy, has he been talking about it.

Rourke says that making the film required months of muscle-building and training, and included several trips to the hospital, but no matter how hard that was, it’s nothing compared to the marathon he’s been on in promoting it.

From Venice last year, where “The Wrestler”, which costars Marisa Tomei (pictured with Rourke and Aronofsky) won the big prize, the Golden Lion, to Toronto, where critics raved about him, to the Golden Globes, where he won as best actor in a drama, Rourke has proved indefatigable in talking about the film.

Made for peanuts, the film hasn’t torn up the box office but if it does well in the Bafta awards on Sunday and especially later this month in the Oscars — and Rourke is in with a great shout as best actor against the other favourites, Sean Penn for “Milk” and Frank Langella for “Frost/Nixon” — then things will pick up and the promise for DVD and Blu-ray looks high for Optimum, which released the film in the UK in January.

Rourke did all the major talk US shows from Letterman to Jay Leno and, in the UK, showed up not only on the breakfast TV shows but also Graham Norton’s talk show where he flirted outrageously with Jessica Biel.

What has made Rourke’s appearances so appealing is that he has that most unlikely of American stories to tell: the second act. Having made a mark as an arsonist in “Body Heat” (1981), he leapt to fame in “Diner” (1982) and was soon starring in pictures such as “The Pope of Greenwich Village” (1984), “Year of the Dragon” (1985) and “Nine and a Half Weeks” (1986). He had three movies in 1987 — “Angel Heart”, “Barfly” and “A Prayer For the Dying” — and then suddenly it was all over.

Rourke became Hollywood’s favourite bad boy, branded as ego-driven, difficult and on his way down. The actor now makes no bones about it. Speaking in London at a Q&A, he said: “Coming up as a young actor, because of where I came from, there were no rules and I wasn’t accountable. I didn’t care about repercussions so whatever happened the night before, I didn’t really give a damn what the repercussions were and the repercussions were severe because I was out of control.”

As a result, he spent 14 years out in the acting cold and spent several of them as a professional boxer, another skill he’d learned while young, he says: “I was boxing many years before I was acting. I had injuries that meant I had to stop. I got into acting by accident.”

But he studied hard and had the luck, but things changed: “Then I was starting to make a lot of money for the first time in my life. I’d never had any money. I bought the biggest car, the biggest house. Next thing I know, I’m doing movies to pay off my lifestyle. What happened was I lost hold of what meant the most to me.

“I took jobs that I didn’t respect the material, didn’t respect the director, didn’t respect myself for doing them, and that’s when I started to short-circuit because I was taking jobs for all the wrong reasons. Once that happened more than two or three times, I just lost respect for myself and for the profession.”

Aronofsky rescued him. He’d won back a little respect with his appearance in “Sin City” but while his name is on a bunch of films over the years, he rarely worked on them for more than a couple of days.

Rourke says, “He came over and after he introduced himself he said, ‘Well, you’ve ruined your career for the last 15 years and I can’t raise any money, nobody wants you … but if I put you in this movie’ — and he put his finger in my face — ‘You’re going to listen to everything I tell you. You’re going to do everything I say. You’re not going to be running around in the clubs all night long. And you can never disrespect me in front of the crew. And I can’t pay you.’ I thought, ‘Well, OK, he’s smart and he’s got a lot of balls.’”

Still Aronofsky had to fight to keep Rourke in the picture. The studio wanted Nicolas Cage but the director knew who would be perfect in the role, and he won the day. Now Rourke is in line to play a villain in the “Iron Man” sequel. A great second act.

This story appears in Cue Entertainment.

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THEATRE REVIEW: Richard Dreyfuss in ‘Complicit’

ComplicitBy Ray Bennett

LONDON – Government sanctioned torture and freedom of the press are topics of explosive dramatic potential but Joe Sutton’s new play “Complicit,” which has opened at the Old Vic, misses the opportunity.

Richard Dreyfuss plays Benjamin Kritzer, a Pulitzer Prize-winning journalist who has written about the harsh treatment of political prisoners and has now been hauled before a Grand Jury where a prosecutor threatens him with a long prison sentence if he does not reveal his source.

The play, staged by director Kevin Spacey in the round, keeps the courtroom drama offstage, however, preferring to focus on the interaction between Kritzer, his fearful wife, played by Elizabeth McGovern, and his wily lawyer (David Suchet). Meanwhile, video screens reveal the nature of Kritzer’s writing via a television interview.

There is much talk about modern-day threats to America and the West, and how to deal with implacable enemies. Kritzer reveals himself as deeply conflicted on the issue as his wife whines about him protecting his family and his lawyer makes slick deals behind his back.

None of the characters rings true, though, with Dreyfuss especially stranded in a poorly defined role. Veteran investigative reporters, especially those with a Pulitzer, tend to be dogged if not pugnacious but this guy is all self-pity and liberal guilt.

The play’s opening was delayed a week to give it “more development time” while preview audiences reported that Dreyfuss had trouble with his lines. On press night, he wore a visible earpiece although he didn’t show any sign that he needed it. The Oscar-winning actor remains capable of gripping an audience with the passion of his delivery.

McGovern has only a moment or two to shine between bouts of nagging about her husband’s duty to family over country while Suchet invests the lawyer with more cunning than resides in the words he’s given.

But there is little the actors – or director Spacey, who chose to put on the production as the Old Vic’s artistic director – can do with a dull and wordy play that touches on important questions but makes no real stab at finding answers.

Venue: The Old Vic, London, runs through Feb. 21; Cast: Richard Dreyfuss, Elizabeth McGovern, David Suchet; Playwright: Joe Sutton; Director: Kevin Spacey; Set designer: Rob Howell; Lighting designer: Howard Harrison; Video designer: John Driscoll; Sound designer: Simon Baker for Autograph.

This review appeared in The Hollywood Reporter.

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‘Prisoner’ star Patrick McGoohan dies at 80

The Prisoner x650LONDON – Mel Gibson told me that when was casting his Oscar-winning best picture “Braveheart,” he kept saying he wanted someone like Patrick McGoohan to play the vital role of William Wallace’s nemesis, Longshanks, King Edward I (pictured below)

Finally, he wondered why not McGoohan himself? The result was one of the most dynamic portrayals of a brutal monarch in movies. It was McGoohan’s last major film role.

The Emmy-winning actor who created and starred in the cult classic television show “The Prisoner” (top), died Tuesday in Los Angeles after a short illness. He was 80.

McGoohan Braveheart x650Here’s the AP report:

Patrick McGoohan won two Emmys for his work on the Peter Falk detective drama “Columbo,” and more recently appeared as King Edward Longshanks in the 1995 Mel Gibson film “Braveheart.”

But he was most famous as the character known only as Number Six in “The Prisoner,” a sci-fi tinged 1960s British series in which a former spy is held captive in a small enclave known only as The Village, where a mysterious authority named Number One constantly prevents his escape.

McGoohan came up with the concept and wrote and directed several episodes of the show, which has kept a devoted following in the United States and Europe for four decades.

Born in New York on March 19, 1928, McGoohan was raised in England and Ireland, where his family moved shortly after his birth. He had a busy stage career before moving to television, and won a London Drama Critics Award for playing the title role in the Henrik Ibsen play “Brand.”

He married stage actress Joan Drummond in 1951. The oldest of their three daughters, Catherine, is also an actress.

His first foray into TV was in 1964 in the series “Danger Man,” a more straightforward spy show that initially lasted just one season but was later brought back for three more when its popularity — and McGoohan’s — exploded in reruns.

Weary of playing the show’s lead John Drake, McGoohan pitched to producers the surreal and cerebral “The Prisoner” to give himself a challenge.

The series ran just one season and 17 episodes in 1967, but its cultural impact remains.

He voiced his Number Six character in an episode of “The Simpsons” in 2000. The show is being remade as a series for AMC that premieres this year.

“His creation of ‘The Prisoner’ made an indelible mark on the sci-fi, fantasy and political thriller genres, creating one of the most iconic characters of all time,” AMC said in a statement Wednesday. “AMC hopes to honor his legacy in our re-imagining of ‘The Prisoner.”‘

Later came smaller roles in film and television. McGoohan won Emmys for guest spots on “Columbo” 16 years apart, in 1974 and 1990.

He also appeared as a warden in the 1979 Clint Eastwood film “Escape from Alcatraz” and as a judge in the 1996 John Grisham courtroom drama “A Time To Kill.”

His last major role was in “Braveheart,” in what The Associated Press called a “standout” performance as the brutal king who battles Scottish freedom fighter William Wallace, played by Gibson.

In his review of the film for the Los Angeles Times critic Peter Rainer said “McGoohan is in possession of perhaps the most villainous enunciation in the history of acting.”

McGoohan is survived by his wife and three daughters.

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‘Yes Man’ Jim Carrey pays tribute to my friend Blackie

Jim+Carrey+Zooey+Deschanel+Premiere+Warner+h-USHyzjT5tlBy Ray Bennett

It was great to see that Jim Carrey still pays tribute to my late friend Bruce Blackadar for helping the Canadian comedian break into the big time. At a London press conference for his new film “Yes Man”, I mentioned that I had seen Carrey perform at Toronto’s Yuk Yuks comedy club back when Bruce was writing about him.

He took the time to explain to the UK entertainment press corps:

“Yes, he was a huge help to me. His was one of the first big articles I ever got and of course it was in the Toronto Star, so it was a big deal. That was a very pivotal moment for me. It was the thing that catapulted me in Canada to being known nationally, so I really am grateful to him for that. He gave me a lot to live up to too. He said something like ‘He’ll be bigger than Richard Pryor in six months.’ I was crazy, I was like ‘Wha-at?’ ‘Johnny Carson hasn’t seen anything … ‘ It was really fun.”

I spoke to Carrey afterwards and he hadn’t heard that Bruce, who started out with me at The Windsor Star, had died. I told him what a great friend Blackie had been as well as a great writer. “Well,” Carrey said. “You know nobody really dies.”

“Yes Man”, which co-stars Zooey Deschanel (pictured with Carrey), Bradley Cooper and Terence Stamp, tells of a man who decides to say yes to everything and the word from Hollywood is that Carrey’s deal with Warner Bros. on the movie  involved no upfront payment so that he could make very little or end up with £75 million.

No wonder Carrey said yes to every opportunity to promote the movie including a major junket in London for the UK premiere in December. Now in theatres, the film’s DVD release is due in April.

Not that the Canadian comic is a slacker when it comes to beating the drums for his films. He showed up on TV’s “American Idol” wearing an elephant hat to promote “Horton Hears a Who!”, which grossed $297 million worldwide this year.

Critics haven’t always admired his choices, but audiences still love him so that even his flops make money. “Fun With Dick and Jane” garnered $202 million around the world in 2005 and while the serious “Eternal Sunshine of the Spotless Mind” made just $72.2 million, it had only a $20 million budget and won him critical praise plus BAFTA and Golden Globe nominations.

When Carrey pulls out all the comedy stops in something like “Bruce Almighty” in 2003, it scoops up $485 million. “Yes Man” received warm early reviews and Carrey says it’s an illusion that he’s left his trademark comedy films behind.

eternal sunshine x650

He says, “I just do whatever I’m attracted to. The scripts find you when you’re emotionally in the right place to do them. At the time of ‘Eternal Sunshine’ (pictured above with Kate Winslet), I was broken-hearted. The director Michel Gondry said, ‘You look beautiful like this.’ I said, ‘But we don’t shoot for a year.’ He said: ‘Then don’t get well.’ So I said, ‘I’m gonna try to have a good time but don’t worry, I can open up the wound again’.”

He says he took “Yes Man” because of its optimism: “I know what it’s like to be a shut-in. With this movie, I wanted to put something good out into the world, something that makes people feel good. I hope there’ll be a change in the paradigm from cynicism to faith in better things to come. People have said they left the theatre after this movie thinking about what they can say yes to.”

In the film, Terence Stamp (pictured with Carrey below) plays the guru of positive thinking whose self-help classes lead Carrey’s character to become a yes man. Carrey says he’d always wanted to work with the British star, who is known as much for his colourful life and firm opinions as his acting: “We had conversations about gluten-free diets and about Brigitte Bardot. Not too bad. He’s lived a life and he’s an amazing actor. It’s pretty hard to crack him but he has a nutty inside quality. There’s madness in his eyes.”

yes man carrey stamp x650

There are some who feel the same way about Carrey and he agrees that his career was not always a steady climb: “I’ve lived the dream. I’m the luckiest guy in the world and I never forget that. I’m living proof of positive thinking, and that faith is more important than talent. In those early days, there were so many times when I was up and down, had those little thrills and then was washed up. People would say, ‘He’s had his shot, it’s over’. But I never thought I was finished when people said I was finished.”

He still puts everything into his work and he broke three ribs doing a pratfall in a bar scene in “Yes Men”, he says: “Half-way through the pratfall, I changed my mind. I’ve done pratfalls all my life. I know how to do them. But I decided I wanted to get all four limbs up into the frame at the same time.” He carried on and finished the scene: “All I cared about was how it looked.”

He also did a bungee jump off a bridge. For insurance purposes it had to be done on the last day of shooting but Carrey could not be talked out of it, although he said, “My sphincter was so tight I could have made a diamond. Shortly after that, DeBeers bought my ass.”

A version of this story appeared in Cue Entertainment.

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Angelo Badalamenti’s ‘Edge of Love’ my pick of 2008 film scores

The Edge of Love8 x650

By Ray Bennett

Vanity Fair has an interesting rundown of 11 potential candidates for this year’s film score awards. It’s a good list with many of the always deserving usual suspects. Good bets for Oscar nominations include Alberto Iglesias for “Che,” James Newton Howard for “Defiance,” and Thomas Newman for “Revolutionary Road.”

It’s hard not to escape the feeling, though, that while the “Revolutionary Road” score is atmospheric and haunting, director Sam Mendes must have temped his film with Newman’s score for “American Beauty.” Given the popularity of “WALL-E,” Newman’s delightful music for that picture seems like a hotter prospect just as A.R. Rahman’s excellent work should benefit from all the buzz about “Slumdog Millionaire.”

Mychael Danna’s score for Atom Egoyan’s “Adoration” was as good as anything this year but it won’t be eligible for the Academy Awards until next year. Other scores deserving attention in 2008 were “Alexandra,” Andrey Sigle; “Quantum of Solace,” David Arnold; “Synecdoche, New York,” Jon Brion; and “The Wrestler,” Clint Mansell.

My pick for this year’s awards, however, is the typically rich and melodic music written by Angelo Badalamenti for the overlooked Dylan Thomas picture “The Edge of Love” directed by John Maybury.

The Universal soundtrack album is a mix of songs performed by star Keira Knightley (pictured with Sienna Miller) with a couple of tracks by the glorious Madeleine Peyroux and Beth Rowley. Still, there’s plenty of music included from Badalamenti, who is best known for all those scores that made David Lynch’s films seem better than they were and who is long overdue for Oscar attention.

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