Javier Bardem and Penelope Cruz say 'I Do'

Normally I'm pretty good about making sure I don't post gossip or things of that nature on this blog, but this is a special occasion. Two of my favorite actors not to mention one of my favorite Hollywood couples have tied the knot. A sexy, sexy Spanish knot.

Oscar winners Javier Bardem and Penelope Cruz, who first met on the set of Bigas Luna's 1992 film 'Jamon, Jamon' (Cruz's first film at the age of 17, Bardem was 22) have married in a characteristically private ceremony at a friend's Bahamas home. People speculated for several months that the two were secretly engaged, but neither ever confirmed or denied. However, there was Bardem's rather unexpected declaration of love to Cruz at the Cannes film festival (see my report of it a few posts down). Perhaps this was his means of saying to the world, "Yep. It's happening, people."

The pair have dated since 2007 when they reunited onscreen in Woody Allen's "Vicky Cristina Barcelona." In the film, they portray a tempestuous divorced couple whose desire for one another is only matched by their urge to kill each other. In this case, here's hoping life does not imitate art.

Movie News: Cannes wrap-up and more!

Pictured: Javier Bardem and Juliette Binoche, winners for "Biutiful" and "Certified Copy," respectively.

A few weeks ago, May 23d to be exact, while I was weeping over the Lost finale, the Cannes film festival concluded with its 63d annual presentation of the Palme d’Or. This year the top prize went to the Thai film “Uncle Boonmee Who Can Recall His Past Lives” by Apichatpong Weerasethakul (and no, I did not just press random letters on my keyboard, that is his full name). The film appears to have polarized its audiences, not an unusual occurrence at Cannes, after all this is where Antichrist made its public debut, for which Charlotte Gainsbourg took home the Palme d’Or for acting in 2009.

This year Best Actress went to the ever lovely Juliette Binoche for the film “Certified Copy” by Iranian filmmaker Abbas Kiarostami. Best Actor was a tie between Javier Bardem in Alejandro Gonzalez Inarritu’s “Biutiful” and Elio Germano in “Our Life,” an Italian film by Daniele Luchetti. Bardem made a bit of a PR splash in his speech, when he openly dedicated the award to longtime girlfriend Penelope Cruz, who has notoriously refused to discuss their relationship in public. But Bardem, usually on board with this policy, dashed pretense aside as he opened his speech by saying, “I share this with my friend, my mate, my love, Penelope.” Cruz, taken totally off guard, immediately burst into tears and began blowing kisses in his direction.




In other news, the first handful of stills from the upcoming American adaptation of “Let The Right One In” (retitled “Let Me In”) have been released, and quite frankly, I am pleased. Granted, anyone looking at that photograph who has seen the original Swedish film will realize that is almost an exact replica of a shot in that film, but at least we know they’re staying faithful to the barren atmosphere that made the story so effective rather than making a slightly creepier Twilight movie. Two more photos can be found at the following link: http://bigfanboy.com/wp/?p=3050

It has now been reported that Keira Knightley and Matt Damon have tentatively been cast in an adaptation of the F. Scott Fitzgerald novel “Tender is the Night.” As is true with virtually all Fitzgerald novels, the story heavily reflects the relationship between Scott and his own wife Zelda. Therefore I think it’s safe to conclude that Knightley’s attachment to this film means that “The Beautiful and the Damned” is officially getting scrapped. I am not pleased.

Gwyneth Paltrow has officially dropped out of the upcoming film "The Danish Girl" about painter Eimar Wegener, the first recognized transgendered individual. I'm very intrigued by this film, largely because of the interesting casting choices. Nicole Kidman has been cast as Eimar both as a man and a woman. But it seems the role of Greta, Eimar's wife, is somewhat cursed. First it was Charlize Theron, then Paltrow stepped in, and now it's being reported that Uma Thurman is taking over. Most are crediting this sudden withdrawal from Paltrow to her strained marriage to Coldplay frontman Chris Martin. There have been some reports of animosity between the two lead actresses, but they seemed little more than tabloid fluff. But what is particularly confounding is that Paltrow dropped out in the middle of production, meaning reshoots are in order with a new actress, who has yet to be confirmed as Thurman. I don't think it will get shelved, but it is being delayed significantly. Regardless, this seems like a missed opportunity for Paltrow as the film simply wreaks of Oscar potential. Especially for Kidman.

Other than that I am developing a list of films I really want to see this summer, especially ‘The Killer Inside Me’ and ‘Coco Chanel & Igor Stravinsky.’ I'm hoping to see 'Ondine' next weekend, so hopefully a substantial review of something is coming. In the meantime, here is a less-than-one-sentence review of Robin Hood: Watch Braveheart. Or Gladiator. Or King Arthur. Or...eh you get the point.

Also, new layout! huzzar!

Movie News!

So let’s dive right in here with a story I literally just read but am very jazzed about. Several months ago, the History Channel announced that they would be airing their first scripted drama in 2011 in the form of an 8-part miniseries about the life of JFK called “The Kennedys”. Some people (myself included) have expressed some concern over the fact that it is being written and produced by the people who made 24 as they are openly conservative. However, I have faith that the History Channel is aware of how much hype this thing is already getting and they’ll make sure it’s as legit as it can be. And with the new announcement of casting, it sounds like they will be successful. John F. Kennedy will be played by Greg Kinnear with Katie Holmes as Jackie. They have also cast Barry Pepper as Robert F. Kennedy and ultimate mini-series actor Tom Wilkinson as Joseph Kennedy. Personally, I am stoked. Kinnear is one of my favorite actors and I never actually realized how much he looks like JFK until just now. And finally, FINALLY Katie Holmes has found her chance to actually prove herself as an actress and not just the brain-washed kept woman of a psychopath.

= ? Really?

Other casting news, Penelope Cruz has dropped out of Lars Von Trier’s upcoming film “Melancholia” to be replaced by…Kirsten Dunst? This is where the info gets fuzzy because Charlotte Gainsbourg is also cast and I have a much easier time believing that she could take over a Penelope Cruz role than Kirsten Dunst, who I’m pretty sure is the complete visual opposite of Penelope Cruz. Not surprisingly, Cruz has opted to do the fourth Pirates of the Caribbean film over Von Trier’s film. On the one hand, I’m sad because I’m sure she would be phenomenal in it and I’m always looking to see her in meaty roles, but on the other, a gal’s gotta make money. And she is literally the only reason I will see the Pirates movie so I think it’s for the best.

>

Now for some DEVASTATING casting news. As you recall, in my last Movie News post, I expressed utter glee and delight at the news that Christoph Waltz would be playing Sigmund Freud in the upcoming film “The Talking Cure.” Well….now he isn’t. It’s Viggo Mortensen. I love Viggo, I really do, but if there was ANYONE who was truly meant to play Freud it is Christoph Waltz. On top of this, they’ve changed the name of the film to “A Dangerous Method” which, at the risk of sounding stupid, sounds really stupid.



In lighter events, Carey Mulligan has now officially been cast in Emma Thompson’s remake of My Fair Lady AND an English version of The Girl With the Dragon Tattoo. Not sure what’s happening with the film of The Seagull, but if I find out it’s been scrapped I will probably injure someone. This Christoph Waltz business is bad enough.

Tattered Photographs. Broken Embraces.

Pictured: Penelope Cruz and Lluis Homar


It can now be established as fact that when Penelope Cruz and Pedro Almodovar make a movie together, magic. happens. Ever since he bumped her up to leading lady status in Volver, for which she received her well-deserved first Oscar nomination, she has gotten a steady stream of quality English-language roles including those in Elegy and of course Vicky Cristina Barcelona, for which the Academy showed her love. But Broken Embraces reaffirms that when speaking in her native tongue, especially under the masterful eye of Almodovar, Cruz is at her absolute best.

This is an Almodovar film for Almodovar fans, and I soaked up every minute of it. The biggest treat was realizing that Girls and Suitcases, a film within the film starring Penelope Cruz’s character, is in fact none other than the classic Almodovar film Women on the Verge of a Nervous Breakdown. In fact, some actresses from the original film appear again, for example, Rossy de Palma who originally played Marisa, in this takes on the role of Lucia, who was originally played by Julieta Serrano. It also fulfilled a cinematic fantasy of mine, and evidently Almodovar’s, to see Cruz in the role helmed by his first muse Carmen Maura.

Obsessive Almodovar fangirl moment aside, Broken Embraces is one of his best yet. In the last few years he has truly matured the content of his films and is creating characters both engaging and relatable. While they aren’t the every-women of Volver, they are still experiencing emotional turmoil that anyone can understand. Like most of his films, Broken Embraces is nearly impossible to summarize, but here’s my best shot. A blind writer, Harry Caine (Lluis Homar), reflects on his former life as filmmaker Mateo Blanco and his tumultuous relationship with the bewitching Magdelena (Penelope Cruz). Magdelena stars in Mateo’s ultimately final film while sharing not only his bed, but that of much older business mogul Ernesto (Jose Luis Gomez). When Ernesto learns of his mistress’s love affair, he is driven mad with jealousy and soon begins a revenge plot that leaves its impact on every character’s life.

Cruz is ravishing as ever. In what may be her most nuanced performance, which is an odd thing to say considering how over-the-top Lena is as a character, a small twitch of the face says it all. For example, after a bout of lovemaking with Ernesto (and vomiting immediately thereafter out of disgust, poor thing) Lena returns from the bathroom to see his lifeless body on the bed. Assuming him dead, she lights a cigarette, and ever so slightly shrugs in resignation. However, that shrug speaks volumes and allows the audience to understand exactly how she feels.

With strong performances from Almodovar’s latest team of actors (including a particularly moving turn from Blanca Portillo as Mateo’s longtime agent and admirer) Broken Embraces draws you in its melodramatic grip and holds as tight as it can until the very last impeccably constructed frame. Almodovar proves once again that he is a maestro of all elements of cinema, from a deep and complex narrative that never once gets muddled to mis-en-scene that makes a painting out of every frame. Easily one of my favorites of the year.

"You're too busy inventing your own life." : Nine.

Pictured (from left to right): Judi Dench, Penelope Cruz, Marion Cotillard, Sophia Loren, Stacey "Fergie" Ferguson, Nicole Kidman, Kate Hudson, (opposite) Daniel Day-Lewis.


Rob Marshall should thank whatever gods of cinema blessed him when it came time to cast his musical Nine, based on the stage production of the same name, inspired by Fellini’s autobiographical 1963 film 8 ½. It’s difficult to think of a group of actors quite as gilded in Oscar gold as this. Indeed that was what attracted me to the film in the first place. What could possibly be bad about a film containing my favorite actor starring opposite some of my absolute favorite actresses? Quite a bit, as it turned out.

The production numbers were superbly choreographed and meaningfully directed and overall very well-sung, all things considered. Each actress is given her share of the spotlight and numbers that do their characters and their talents justice (Nicole Kidman being a minor exception, her one song, “Unusual Way” is upsettingly minimalist in production). The acting was great on all counts (not surprising) and the look of the entire piece was extremely visually engaging. However, good acting and clever musical performances are not enough to cover up a deeply flawed plotline in which none of the characters, not even its lead, are properly fleshed out.

I admit, I fell under its trance as any enthusiastic audience member would, however, that same audience member, if they have a knowledge of the work of the actresses in this film, would realize that they are all playing characters they have done before. Penelope Cruz, whom I adore not only in this film but in most of her other work, is simply reprising her role as Maria Elena of last year’s Vicky Cristina Barcelona. She’s just as funny and just as deserving of the nominations she has been getting and will probably continue to get, but it’s nothing we haven’t seen before. The same can be said of Nicole Kidman, who, in her brief appearance, once again is Satine of 2001’s Moulin Rouge as the used muse. Judi Dench is, well…Judi Dench, but to be fair, nobody does it better.

The only two in the movie who move past their comfort zones (and barely so) are Daniel Day-Lewis and Marion Cotillard (both of whom won their best lead Oscars in 2008, funnily enough). Day-Lewis is captivating as ever, and while he does not reach the level of There Will be Blood, he reminds us that he is arguably the best actor currently working. Cotillard is divine as his troubled wife Luisa. Her two numbers are sung with a passion none of the other actresses are really given a chance to convey, but nonetheless, she is certainly not losing steam after her astonishing turn in La Vie en Rose. With Nine and Public Enemies, she proves that she can stand out even in movies that are not meant to necessarily showcase her. If you see this film for any reason, let it be for her performance.

With a cast as amazing as this (kudos to Fergie especially, who could out-sing those Oscar winners any day of the week), Marshall owed it to these women and to himself to give them roles that would challenge them and allow them to prove why they impressed us in the first place. Actresses with this much ability should be given material worthy of it, and quite simply they are not.

That aside, the plot itself has its missteps. The entire story centers on the existential crisis within Guido Contini, however, we are given such little insight into his past that he comes off far less sympathetic than was probably intended (no fault of Day-Lewis’s either, he did the best he could). We are forced to chalk up his frustration and “my life is falling apart” mentality to a bad case of writer’s block, with vague hints at a tormented childhood thanks to imagined conversations between Contini and the ghost of his mother (an incandescent Sophia Loren). At one point the film tries to bring in some sort of battle with his religious conscience, but ultimately just kind of gives up on it.

Nine is not a flop, the acting is great, despite its sense of déjà vu. Marshall puts his choreography roots on fantastic display and reminds us what a true artist he actually is when it comes to spectacle. The flaws match the positives, but do not outweigh them. Essentially, I liked Nine as much as I disliked it.