I was lucky enough to get a sneak peek at the new short film by Antonia Bogdanovich — MY LEFT HAND MAN —  starring Thomas Brodie-Sangster (Nanny McPhee, Love Actually), Andrew Howard (Limitless, upcoming “Hatfields and McCoys”), Kevin Bigley (“The Chicago Code,” “CSI: Miami”) and Erich Wildpret, who is a Latin American star. The 18-minute dramatic short screens as part of the NJ Film Fest at Rutgers on January 28th.  Although the film clocks in at under half an hour I was captivated by the beautiful mosaic of emotions Bogdanovich was able to create both as writer and director in this film.  The story is told in a straightforward, simple manner however the situation is anything but conventional.

The Emersons are a theatrical family, of sorts – one son is a street performer who recites Shakespeare while his older brother picks pockets in the crowd. Their father, a has-been thespian, spends the take on booze and ponies. But Samuel wants to make like his comic book hero The Cardinal Comet and split; and a visit from a loan shark gives Samuel a chance at freedom.

Ms. Bogdanovich graciously allowed me to pepper her with questions, both about this amazing film and the process of making it, as well as how her impressive lineage played a part in making her who she is today.  Read on as she tells me about the challenges of creating a short film, how her own rebellious youth helped her created the character of Samuel, and exactly what a “left hand man” means to her …

Antonia Bogdanovich

Antonia! I just saw your short film, MY LEFT HAND MAN, and found it incredibly compelling. In 18 minutes you manage to tell a story which provides so much back-story yet takes place in a very short span of time.

You not only directed MY LEFT HAND MAN, but wrote it as well. Where did this idea of the story come from?

Antonia Bogdanovich: The idea came from a few places. I love Shakespeare – as an actor, I studied it a bit at the Royal Academy of Dramatic Arts in London (summer program). And I have seen quite a few very good productions on stage, as well as some of or most of the films. I really relate to his work, it has such depth yet it is so accessible. The crime elements are from my own experiences….ahem… I was a bit of a juvenile delinquent – rebelling pretty hard against my upbringing. So I basically hung out with kids that stole cause they had to (their parents didn’t have enough to finance their extracurricular activities) or because they just liked the thrill of getting away with it or both.

The comic book comes from my son – who loves superheroes – but I chose comic books because I wanted it to be clear that my character couldn’t really afford cell phones or cable TV. Then it became even more important to show that their father wouldn’t really allow it even it they could afford it.

I also really wanted to write about two brothers. And what it would be like if they had to fend for themselves. My parents were away a lot working when I was growing up, and I had to figure out a lot of stuff on my own. And I love the dynamic of brothers. It’s really fascinating how close they can be, but don’t necessarily interact the way sisters do. (I have 2 sisters).

What does the title mean to you personally? And further, what do you think the title would mean to your characters – something different?

AB: The title, as you probably gathered, is a play on “my right hand man.” So the title means having someone you can depend on, but in a real backwards kind of way. You can depend on them, but you really shouldn’t. So the father depends on his kids, but he shouldn’t. The brothers depend on themselves, but they shouldn’t have to at such a young age. And in the end, they all encounter great losses because of this. So I guess the title is really about enabling and co-dependence, familiar themes I think all families contend with, but this one worse than some others.

I think to my characters the title might mean something different for each one. The father would deny it completely. The older brother would say that no one was or is his right or left hand man. And the youngest brother, Samuel (Thomas Brodie-Sangster), would probably feel the same way I do about the title. Samuel’s brother is his left hand man. He depends on him because he really doesn’t have a choice. But in the end, he only has himself to depend on. So in a way, he’s free.

MY LEFT HAND MAN will be screening as part of the New Jersey Film Fest at Rutgers. How did you become a part of that?

AB: I submitted to the New Jersey Film Festival and they accepted the film. I really thought festivals in New York and New Jersey would respond to this story so I searched festivals in that area. Fingers crossed I get into a few more!

Thomas Brodie Sangster in a scene from "My Left Hand Man"

Thomas Brodie-Sangster is utterly amazing in this film. How did he come to this role?

AB: Thomas Brodie-Sangster is unbelievable. He made me tear up a number of times on the set. And I don’t usually cry in front of people I barely know, but one time I had to literally go outside. I was so overwhelmed with his sheer, natural talent. We would really like to work together again so I pray that happens in the future. The way I found him was I called my dear friend Sean Valla to ask if he would edit my short. He was in Louisiana at the time working on a feature film, The Baytown Disco. I told him about the script and described the main character. He said, “you should check out Sangster” – who was actually working on The Baytown Disco. I asked if he were British and if he could do an American accent to which the answers were both “yes”. Then I looked him up on IMDB and almost died because he was perfect. Then, of course, I recognized him from Love Actually and Nowhere Boy. Then I got really lucky because I sent him the script and he liked it! Sean Valla did end up being my editor so I got 2 great people with one lucky phone call.

Short films can sometimes be more challenging that full-length movies which is something most people would never consider. I’m sure you had to juggle a lot of moving parts to make this film. What’s a story you could share with our readers that’s a good example of this?

AB: On the challenges of short films, three days before we started shooting we lost the actor that was supposed to play the father, Warren. He got a recurring role on a TV show so I totally understood at that time because mine was a short with no real money. Needless to say, I was panicked. We needed an English actor, etc and as you could probably tell from the quality of the acting, I wasn’t about to use a mediocre actor. So I knew if I didn’t end up recasting it with a really talented actor, I would end up cancelling the shoot. I basically “called in” my first big favor. I actually had to call a few people I knew before I really got the favor…lol. The 1st few people I called were like….”ahhh, you say it’s for a short….yeah can’t really help there.” Then someone put me in touch with Andrew Howard, who was literally between projects in Los Angeles for one week and agreed to do it. I will never forget what he did for me or for this film. He was incredible! He is so funny too, that he had everyone on set in stitches!

The film has a beautiful aesthetic – every frame carries an emotion with it. Was that intentional? Or do you just do that intuitively?

AB: As far as the aesthetic (thanks so much for the incredible compliment), I do it intuitively. But I was an amateur photographer and also dabbled in oil painting. My grandfather was a fine artist, my father has an incredible eye, and my mother was an amazing production designer so I guess you could say it’s in the genes. However, I’ve always been an extremely visual learner. So I have to give some of the credit to myself. And when I write scripts I do see every shot in my head and every location before I write it.

Antonia on set

How hard was it for you to switch between your writing persona and your directing persona to complete this film? Was there ever a moment, directing it, that you were tempted to re-write something in order to make something flow better?

AB: Funny you ask about the writing/directing persona. I actually re-wrote up until three days before we were going to shoot. I only stopped because my 1st AD was like, “we need a shooting script now so I can send it out to the crew so stop sending me new drafts!” But on set, my actors improvised a bit – mostly the foul language and some English slang. I only actually wrote one “fuck” in the script. But as I’m sure you noticed there were many many more than that, which was perfectly fine with me because it was completely authentic to the story we were telling.

You are the product of two very talented parents whose combined success in the industry is estimable. That doesn’t necessarily mean that you were going to follow in their footsteps. My dad’s an accountant and that’s the last career I would choose. Even though you are obviously talented as a writer and filmmaker you easily could have decided to do something else to be rebellious. So, my question is – taking all that into account – was this career inevitable? Or could you see yourself doing something else just as easily?

AB: My parents…yes… are a tough act to follow. Well, I started out at a very young age wanting to be a singer. I was quite good, but I had terrible stage fright so I got as far as back-up singing and a demo tape. I also worked in production right out of high school for a number of years, but never knew quite what I wanted to end up doing. At that time, I never ever considered directing. It was too much pressure, and I didn’t have the confidence. I also studied acting and booked quite a few acting gigs. But after one really bad experience – I left acting and the business for good, swearing that it wasn’t for me and decided to become a scientist – as far removed as possible

But within a year of college, I took up writing – poems, short stories, and journalism. I kept telling myself that this was a hobby and I wasn’t an artist, dammit. Even when I wrote my second screenplay, I was still telling myself the same thing. I was in complete denial. But now, I would have to say that this was truly inevitable. Though I tried very hard at other things, none of them stuck. It’s quite a relief for me to not fight it anymore. I’m truly at peace with it. I wanted so badly to do something different than my parents. I was such a rebel. But I realized at some point that I can be different than them, but still make pictures. And now I’m so proud of their accomplishments where as when I was younger, I was intimidated. I am so thankful for everything they taught me about film-making even though when I was younger I often would roll my eyes at them when they would try to teach me something. My mother knew so very much about every aspect of film-making it still boggles my mind.

As far as directing, it was much easier for me to be a writer than to admit I wanted to be a film director. After directing some theater, I actually did the short to make sure that what I really wanted to do. And, by the second day I was so sure and so comfortable being a director it was unreal. It was a true “ahh” moment. It also felt so real and so perfect for my personality. I really feel at home on a movie set – probably because I spent more time with my parents on movie sets than I did at home. Sad as that may sound, it’s true. When I see lights and cable laid across the ground it actually reminds me of the good parts of my childhood every time. And we all know how that feels when we see something from our childhood that just makes us feel comfortable. Well, that’s how it feels like for me on a movie set.

Final question – the film ends on an open-ended note of confusion, but hope too. What do you think that says about you, as a writer?

AB: Every opportunity in life brings another challenge, not necessarily an obstacle, but another choice. So Brodie-Sangster’s character, Samuel, is not quite sure where he’s going to go next. But I do have him leave the house so the audience would know he’s not going to stay “in there” figuratively or physically. I think that traumatic events are so confusing. I’ve had a few bad ones, and some of them were at a pretty young age. But if you experience tragedy, you also have to have hope that things will improve otherwise you would literally die from grief. You actually learn that things get better after going through something difficult for the first time. In other words, you learn to have “hope” that things will get better with time and space from the actual event.

So I think as a writer I will always want to leave my audience with some hope, but also with the understanding that life can be pretty confusing with its fair share of ups and downs. And when we are first confronted with something I think there is always a time where we are confused by it or don’t quite understand what is happening to us or the people around us.

~~~

Thank you, Antonia Bogdanovich, for giving us so much background on your wonderful film!

For those of you who are interested in seeing My Left Hand Man at the festival, please click here for more information.  The screening will be held January 28th starting at 7:00pm and Antonia will be making an appearance so if you read something here that you’d like to know more about, or if something about the film brings up your own questions – get yourself over there and ask away!

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I left a screening late last night of “I’m Still Here” disturbed, alarmed, and literally unable to sleep afterward.  The ‘documentary film’ directed by Casey Affleck centers around the retirement of actor and brother in law Joaquin Phoenix, and his decision to descend into a downward spiral into the world of hip hop. After two years of speculation, the film ultimately was not real, and more along the lines of films like “Don’t Look Back” and “This is Spinal Tap”. However, I am not sure where that leaves us.

It debuted this month at the Toronto Film Festival to scathing reviews, mostly questioning “Is this real or not”? and touching base on the disturbing images caught on camera in the 90 minute film.  As a long time fan of Phoenix’s work, I was really shocked and saddened that he planned to retire after Two Lovers.  Being as dedicated as possible to his craft though, he has spent the last two years taking us ALL on an original, mind blowing experimental ride. And by all of us, I mean -David Letterman, Ben Stiller, P Diddy, Edward James Olmos, etc. Affleck has yet to let the audience know which parts were real and which weren’t.  The drug snorting? The hookers? The home videos of Joaquin with his family in Panama?  But I suppose this is the ultimate message of the film. Documentary, performance art-whichever way you see it.  I’ve never seen anything like it.

I suppose in the end, that may just be the beauty of this whole experimental mockumentary. Also a disturbing and heartbreaking lesson on the quick rise and fall of fame, the media, and how cruel Hollywood can be.  If this is all truly a hoax, then this is definitely the best performance I have ever seen, because Phoenix as ‘JP’ followed me straight out of the theater, and I sincerely hope the film, and he get recognized for that.  I recommend  ”I’m Still Here” for those who can come with an open mind, and want to see first hand a story -true or false- about the ultimate disintegration of fame.

Check out the trailer:

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I don’t ordinarily feature films in the ‘De Profil’ section on THM, but I figured this is a grand exception.  As I walked past the Aneglika today in Manhattan, I saw a film poster for “The Concert” starring a wonderful French actress named Melanie Laurent. I decided to check it out, and was blown away by this amazing, little film that came out of nowhere!

“Le Concert” is about Russian conductor who is demoted to janitor under the Communist Party for his support of Jewish musicians. Years later, he intercepts an invitation from the Bolshoi Orchestra to play in Paris and uses the opportunity to reassemble his old orchestra-30 years prior- and finish the concert that was interrupted by the Communist authorities all those years before.

A classic triumph of the underdog tale– beautiful classical music and incredible acting. After the finale, I was reduced to what I like to call- ‘feel good tears’.

I must say this a gem, and completely unexpected. I highly reccomend you to see it, if you are in the area. You won’t leave dissapointed.

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It was great to see the crowd for this film at my local cinema last night. Yes, the reviews for this look like they are all over the map. But let it be said that without this fantastic casting (Julianne Moore, Liam Neeson and Amanda Seyfried-a powerful erotic, sexual trio), the glorious cinematography and the wildly gorgeous sound track, it might be all of what these uninspired critics are writing.  The film stays true to the original plot: a doctor thinks her husband is cheating so she hires a young beautiful prostitute named Chloe (a surprisingly excellent Amanda Seyfried) to seduce him, with an outcome that will make your mind spin, in pure Hitchcock form.

We live only a few miles from Canada by air but it might as well be Istanbul in the hands of this director (Atom Egoyan). Magically, the city of Toronto in winter is like another world, with a sleek modern feel that is alluring and cold and sad all at the same time. This is the perfect setting for a movie rich in the cloaked emotion of the upper class, lost in a deep, depressing freeze. Watching the film on a spring day in New York makes it seem even more unreal and foreign. In this landscape of ice, we see the characters emerge as modern people lost, alienated, hungry for love or even just a human touch. This is a movie of antithesis, and startling allusions of the duality between trust and fear, openness and truth and the hard fact of emotional illusion and mirror-like dreams. This film is a remake of the 2003 Anne Fontaine French film “Nathalie” and stays true to  the deep wave of surrealist magic still washing on the shore of French thought and culture. Yes, the ending is rather obvious (by some standards), but it won’t  crush your response. For those of you wide awake enough to enjoy this, you will be rewarded in ways that American directors rarely seem to reach. What I say is bravo! I believe that for these moments, such dreams are very real, and often have life-altering consequences. To feel such loneliness in a marriage, and within your sexual self, to long for a touch of someone-anyone-in this case, could have devastating consequences if taken too far.

Chloe is now playing at the Brooklyn Heights Cinema in Brooklyn, New York.

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Once upon a time, in Nazi occupied France…

is the tag line of Quentin Tarantino’s latest masterpiece, which debuted last year at the 62nd Annual Cannes Film Festival. The film goes by the name “Inglourious Basterds” and its title addresses the many cast of characters in this film who are out for some good Jewish revenge – the main reoccuring theme of this film.

It is no secret that this film was, by far, my favorite film of 2009 and that I am rooting for it to sweep up every Academy Award it’s nominated for this year, including Best Picture, Best Supporting Actor, Best Cinematography, Directing, Film Editing, Sound Editing, Sound Mixing, and Best Original Screenplay.

The film opens up with a French farmer and his family in the countryside, as the SS German command pulls up to interrogate Monsieur LaPadite, the dairy farmer,  regarding a missing Jewish family, which is believed to be hiding in the area (or under LaPadite’s floorboards). From here, in this brilliant opening scene-we meet a Tarantino handpicked Austrian unknown by the name of Christoph Waltz who brilliantly steps onto the screen as the evil SS Officer ‘Hans Landa’. From the moment we set our eyes on him, we realize that a. he terrifies us, and b. Tarantino certainly knows how to pick up an actor out of obscurity and turn them into something truly brilliant.

As Tarantino divides this film into 5 chapters,we pick up from there, where we ultimately meet the film’s leading heroine-who is the only survivor in the massacre of her family: French-Jewish ‘Shoshanna Dreyfuss’ (played by the EXQUISTIE Melanie Laurent-again, a Tarantino pick). We fast forward to her 4 years later in Paris, as a cinema owner; survivor-living under false papers, and with a secret and need for vengeance. During this sequence of events, we meet a young Nazi War Hero who ironically pursues Shoshanna at her theatre (played by Germany’s excellent Daniel Bruhl), and a group of American-Jewish soldiers,led by Lt. Aldo Raine (Brad Pitt) who are in France to do “one thing, and one thing only – kill Nazis”. The brilliance of the Basterds is the fact Tarantino unwittingly changes history with them. He puts the underdog out: and not mindlessly, puts them ahead- out for revenge and well…Nazi scalps. Ironic?

As the film progresses we learn that The War Hero has a film premiere, financed by Joseph Goebbles, and they want it shown in Shoshanna’s cinema in Paris. What the Germans do not understand is that there is a subplot of British secret service officials, with the help of the German actress Bridget Von Hammersmark (German-American beauty Diane Kruger), to pull an “Operation Kino” and set fire while locking inside every single Nazi in attendance.

However, Shoshanna Dreyfuss, who never crosses paths with The any of the other “Basterds” has a plan of her own with her beloved black projectionist boyfriend Marcel (Jacky Ido). She too, will also allow the German High Command to her cinema, and sacrifice everything to end the war, by burning it down with everyone locked inside-seeking out the revenge that she longs for.

More so, the highlights of the film are mainly the brilliant, large cast. Lead by Waltz, Laurent, Pitt, and Kruger, the supporting cast is equally as emotional, affective, and/or terrifying. The excuciating opening scene at the dairy farm, is matched by a middle central piece of the film when undercover Basterds meet (Michael Fassbender, Diane Kruger, Til Schweiger) to discuss “Operation Kino”, and are met with a very suspicious and intimidating Gestapo Officer Mahor Hellstrom (played by the INCREDIBLE, haunting German actor August Diehl). This tedious, and central scene to the film is a game of Schnapps, and underlying truths, and the cover is ultimately blown-not by a dead giveaway, but by Hellstrom’s talent to spot the “non German” hand gesture of the number “3″. As a result of this, much like Cinderella’s story- our favorite antagonist, Hans Landa, will seek out Bridget Von Hammersmark like a Cinderella who has lost her slipper. “Well, if the shoe fits, right”?

This takes us ultimately to Chapter 5- “Operation Kino”. Undoubtedly, the most touching, wonderful, and the heart wrenching finale of this film. This scene draws Shoshanna, the Basterds, the entire German High Command-including Goebbles, Landa, and yes-Hitler-into this event- in one room for what else? A glorious German propaganda film premiere. Dressed in all red, we see Shoshanna and Marcel prepare to end the war, on their terms, preparing their plan and death to the wonderfully matched, ironic theme song “Cat People (Putting out Fire)” by David Bowie. Shoshanna is a Jewish hero, a martyr even. Especially when applying her warrior makeup to a fitting, foreshadowing song in the background. We almost forget she is just a teenage Jew in hiding, who has carried this secret for 4 years. Laurent truly breaks our heart. Ultimately, Tarantino projects the power of what a film screen can project, but having Shoshanna lock in every single Nazi, and project on her cinema screen a film of herself. “A message for Germany” she delivers, and boldy asks the audience to look deep into her eyes as she says they are going to die. And why? Because she “is the face of Jewish vengeance”. What a powerful scene, as we see the reversal effect on the idea of revenge, as the cinema burns down into flames.

The plot seems far fetched, sure. It seems “plausible, but not really”. And it obviously did not happen. But the fact that Tarantino uses these characters to show a deeper meaning-that of humanity, war, and the power of cinema is an achievement of its own. So much so, that the film just works. Within the many intertwining almost-themes of “Inglourious Basterds” , revenge and ultimately the downfall of revenge and how it breeds to no good is a final verdict of the film. The war does end, on this night in Paris, but not everyone wins, and not without consequences. That is the beauty of Tarantino and his work. His detailed camera work, rich colors of emotions, editing, casting, and song choices make this film a must see.

During the final shot of a literal point of view angle, Lt Aldo Raine (Pitt and his Basterd solider, BJ Novak) stare directly into the camera after capturing and “carving” Hans Landa, and state “This might just be my masterpiece”. If this echos true to reality, this indeed is Quentin Tarantino’s masterpiece.

**Now showing at the Landmark Sunshine Theaters in Manhattan.

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Brosnan and McGregor

“The Ghost Writer” is the latest film by Polish-French genius director Roman Polanski. It is a sleek, stylish, and smart political thriller that has channeled Hitchcock in ways that no one has done, since…well-Hitchcock himself. Like the master, Polanski sets his tone through ominous music, and bases this on a central character-an innocent who struggles to find truth, and gain control of a living nightmare.

The film begins with Ewan McGregor as “The Ghost” (a name is never revealed) who has just landed a jackpot payday when he is tagged to finish the memoirs of the former Prime Minister of Britain, Adam Lang (played by a witty Pierce Brosnan). After being shipped over the pond for the following month, he quickly finds himself isolated on a small island with Lang, the angry wife (spicy Olivia Williams), and the head of Lang’s personal affairs and also his mistress Amelia (Kim Cattrall-who is refreshingly not Samantha Jones in this). Soon after it is revelaved that Lang is now accused of illegal rendition of British prisoners, by the CIA. No one is on this man’s side- why should they be? But The Ghost is still here to pen his memoirs, as his only allie. As more mystery is built up as the film runs, The Ghost wonders “what have I gotten myself into here”? and begins to fit together pieces of a puzzle left behind by the previous writer, Mike, who washed up dead on the beach shoreline two weeks earlier. This leads The Ghost on a personal hunt and mission, intentionally leading him in the wrong direction.

What is so great about this film is the tedious work and planned out thoughts of Polanski himself. Not to mention a stealth cast who sets the bar to the highest. In addition to an incredible McGregor, a sharp Brosnan, and two female supporters who take us by storm (Williams and Cattrall) , he surprises us with many notable cameos throughout the film. Including 94 year old veteren actor Eli Wallach, Timothy Hutton, James Belushi, Polanski’s daughter Morgane as a hotel clerk, and a brilliant Tom Wilkinson- as a man with ‘some sort of ties’ to Lang and this whole ‘secret’- but we the viewers, do not know what.

It should also be noted that Polanski in fact edited the film in prison, and in reflection of that-the film shows it. It is dark, grey, and holds intruige, and sadness. The climax is a Hitchcock-ian twist, that is excellent, well executed, and shocking. The jabs at the US political system, scandals like Haliburton and even Tony Blair are also reflected in the director’s vision-which mark him as nothing short of genius.  Last month he was awarded the Best Director Silver Bear (Silberner Bär) at the Berlinale Film Festival, in Berlin as well.

I might also add that Clint Eastwood cast the veteran Eli Wallach as a cameo in his 2003 comeback director film ‘Mystic River’. A sort of a good luck charm Wallach seems to carry, he is also featured here. Let’s hope it brings a new light to this director, and hopefully a fresh start and new revival of a magical career for Roman Polanski.

The Ghost Writer is now playing in NY and LA, and will expand to more theaters this Friday.

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“I gave God a chance to kill me…”

The White Ribbon is the latest film by Austrian born director Michael Haneke. Those who are familiar with Haneke know that he is a fan of long, detailed shots (Cache), and violence (Funny Games) to express and communicate to his audience. But his latest film Das Weisse Band (The White Ribbon) which is nominated this year for Best Foreign Film at the Oscars steers us in a ultimately different direction: to that of a pre-World War 1 black and white Germany … stimulating a breeding ground for hate, fascism, and events to come later in this country.
But the true theme of The White Ribbon is simply evil. A brilliantly put together careful and cautious analysis of pure evil.

The film takes place shortly before WW1, and showcases a large cast of adults and children who live in a tiny village in North Germany. Strange events begin to happen in this village; a series of violent, mysterious actions and it has the villagers wondering why, and even more … WHO? Narrating the story is our “do gooder” local school teacher, now grown and elderly-as he lays out a description and narrative of the events that happened in this time and era. We do not know WHY, HOW, or WHO-no one does-and don’t expect to get an answer in the end.

In fact, I was extremely underwhelmed by the ending. I knew once the credits had rolled I missed something. I knew it was powerful, visually speaking of course, but I could not shake the feeling of these images-these stories of the children and the adults, and the secrets of their families. I wanted an answer, and the brilliance of this film lies in the 2 hours or so you will spend reworking the film in your head AFTER it ends as you look back on the simple, violent events and try to draw a conclusion or an answer of some sort. Something unnerved me, something was definitely in the air in this film-and it was meant to be felt- in the aftermath. Much like the suggestion and underlying tone of these manipulative, neglected children who will grow up to be the fascist adults in Nazi Germany. They come from a breeding ground where adults can sin, and children can get away with anything.  The symbol of the white ribbon is tied around their arm-worn as a punishment for actions-only to be taken off once they are deemed “pure again”.

This film is a masterpiece, and no wonder it won this years coveted ‘Palme d’Or’ at the Cannes Film Festival. It carries a simple message-of a time, a place, and these people. It foreshadows events later to come, and it rattles you. It will shake you, and it will move you, and ultimately its message will take hold of you and not let go.

The White Ribbon is now playing exclusively at Brooklyn Heights Cinema, in Brooklyn, NY.

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Poster Officiel

So, it was announced as of April 2009, that Guillaume Canet’s incredible French thriller “Ne le dis à Personne” (or, Tell No One, en anglais) will receive the ultimate Hollywood retouch … an English language remake.  Not much was heard after that announcement, but now according to Variety magazine  Miramax and Focus Features will be taking this on.

Tell No One was an excellent film, and a HUGE success in its native France. Coming from the hands and mind of its director -French actor turned director Guillaume Canet- it was well received, reviewed, and loved by audiences across France … including myself.

It is a complex thriller and mystery based on the novel by Harlan Coben, and follows a pediatrician who’s spent several years grieving the death of his wife when he suddenly discovers she might still be alive. Seven years after her “death” he receives a text message on his phone … from her.

France’s finest blend of actors including François Cluzet, Marie-Josée Croze, André Dussollier, English-French transplant Kristin Scott Thomas and François Berléand all shine in this. Cannot expect anything less from veteran actors that are so unknown overseas.

No word has been set on who will be cast in this version. Let’s hope Hollywood does what is right, and tries to fill their shoes, and this unique screen gem in a tactful and proper manner. Then, I’d love to see an English version, so Americans can get a feel for how original and exciting this film was.

In the meantime, check out the trailer or see the original “Ne le dis a personne” on DVD.

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Tea, Anyone? (Photo courtesy of Screenrant.com)

I’m very excited about Tim Burton’s new take on Alice In Wonderland. I honestly can’t think of anyone else who could bring the tale to the screen and give it that surreal (read: trippy) quality that it properly deserves. The cast is amazing and includes Johnny Depp, Helena Bonham Carter, Mia Wasikowska, Stephen Fry, Crispin Glover, Anne Hathaway,  Christopher Lee, Matt Lucas, Alan Rickman, and Michael Sheen. I’m about as excited to see Rickman as the Caterpillar as I am Depp as The Mad Hatter! (“Whoooo Are Yooooou?” lol)

What is also delightful is that with the interest in the film, people are descending upon bookstores to pick up the works of Lewis Carroll and familiarize themselves with the lovely stories of Alice and her Adventures in Wonderland and Through the Looking Glass (since the movie seems to be not a remake of Alice in Wonderland, but a mix of both tales?). This crossover interest in literature happens with most films; I work for a bookseller, and we always tie in big films/events with the books available (and sometimes create new titles) to go with them.  Of course, it doesn’t always work; I spoke to a book Buyer who said “It’s really hit or miss. I find these things are a blip on the screen unless the book is already established on its own.”

The new Alice in Wonderland leatherbound book published by Barnes & Noble

Well, Lewis Carroll’s works are well-established; I have a leatherbound volume given to me by my sister about twenty-five years ago. And now, Barnes & Noble has updated its leatherbound edition of Carroll’s works in the title: Alice’s Adventures in Wonderland & Other Stories (9781435122949) that is a re-packaging of Lewis Carroll’s complete works, but has lovely engraving in pink, gold, and black, with the classic illustrations on the inside. The book is published by Barnes & Noble’s Merchandising department – so you won’t find it at Amazon, unless someone bought one at B&N and then sold it there.

Looks lovely for any collection.

That said, some of you who are used to the standard maroon/gold leatherbound that has been sold for years by B&N may want to hit the stores to scoop up the remaining copies; this new version is hitting warehouses and is now the new (read: only) leatherbound version available on the website.

What are your thoughts on the new leatherbound Alice? I’d like to know what people think about it as well as book/movie tie-ins in general. Does one effect your other when it comes to reading?

The movie Alice In Wonderland directed by Tim Burton comes out March 5th.

(Thanks to Screenrant.com for movie info.)

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New York City in the summer can be brutal … hotter than hot and crammed full of people. While a lot of people spend their time doing the “Yay! Summer” chant, I spend June through September finding ways to avoid the whole thing.

These last few weeks have been in the high 80s, the low 90s, I can’t remember exactly — the heat runs it all together for me. So what better way to forget your troubles than in a darkened movie theatre?

While I’ve always been okay with science fiction, fantasy, and graphic novels turned into movies, it was more of a take it or leave it thing before meeting Stephen. Had it not been for him, I’d never have seen a movie like GhostRider or Fantastic 4 or X-Men. Some I’ve liked more than I expected to, some I’ve suffered through, but all have lead to good conversations afterwards since Stephen is such a fan of the dark vs. light concept.

On Friday night after work we were able to catch Hellboy 2 which was a movie I was definitely looking forward to, having been such a fan of the first Hellboy.

I’m not sure I’ve every been more attracted to a guy in makeup and yet less attracted to him out of it, as I’ve been to Ron Perlman who, over the years, has thrilled me with his alter egos. I was glued to the TV for every episode that ever aired of Beauty and the Beast, and if I were a 16 year old girl and torn-out magazine pictures were still acceptable wall covering, I’d have Hellboy plastered all over my room.

Oh wait … now that I think of it, I DID have my 16 year old walls papered with guys in makeup — Boy George, Dustin Hoffman as Tootsie, and pictures I’d drawn of George Hearn in full drag from La Cage Aux Folles.

So I guess I HAVE been more attracted to guys in makeup and less attracted to them out of it before. But that’s another issue altogether …

Anyway, Stephen and I decided to go see Hellboy 2 and this movie did NOT disappoint. It was like the original Hellboy, dialed up to 11 … it was everything Pan’s Labyrinth should have been but wasn’t. (Just sayin’ … all the trailers for Labyrinth would have you believe that the entire movie took place in “Hey, I’ve got eyes in the palms of my hands” land … when really 95% of it took place in “Hey … my new dad’s really brutal and someone’s gonna get his face slashed, Joker Style” land). So Hellboy 2 finally scratched that itch that started all those years ago. The only thing more exciting than the announcement that Guillermo del Toro will be teaming with Peter Jackson for The Hobbit would be an announcement that Guillermo del Toro would be teaming with Tarsem for some outrageous, can’t-even-imagine-how-great-it-would-be film extravaganza. Well, I’ll continue to hope.

On our way out of the theatre we did something that we don’t do very often … ducked into another movie to commit a misdemeanor. I mean, free second movie. Look, it’s not my fault they scheduled Hancock to start 5 minutes after Hellboy got out! So, in we went and settled in for a sweet science fiction double feature.

Maybe I only saw the similarities because I saw them back to back, but besides both being eponymous titles that start with “H” these films were striking most of the same chords — granted one had a few more characters with faces made out of finials and cathedrals and men made of odd shaped rocks or men with eyes in their wings and eyes in their shoes (I would assume), but other than that there was basically a lot of similar plot points. Misunderstood main guy is just trying to do some good but everyone gangs up on him and yells at him (usually right after he’s saved someone). Both grapple with their identity, think of giving it all up, then rally in the face of the woman they love. Both have, like, LITERALLY the fate of the entire world in their own hands at one point … and both have the love of their lives choose to save them over saving the world. Oh! Movie Love at it’s best!

Stephen read a review somewhere that Hancock was a cheap knock-off of an old movie The Return of Captain Invincible. WHICH IT WAS NOT. I happen to know this because Stephen Netflixed Captain Invincible and I suffered through the first 20 minutes of it before shouting “STOP!” and hitting eject. Okay, so Hancock and Captain Invincible are both bummy guys with great powers. I’m sure they both smell a bit. And I’m sure they both have a hard time applying for a bank loan. Past that, the similarity ends. Captain Invincible made (the otherwise talented) Alan Arkin look completely foolish, not just here and there but in every scene. And I, Luvviepuffaroo, the biggest fan of the Broadway Musical Movie in the history of Broadway Musical Movies was absolutely pushed to the point of nausea when Captain Invincible proved to be not only a badly made science fiction move but also a strangely choreographed musical. It was all very weird and creepy. Stephen, who wasn’t as bothered by it as I was (and tends to see things through to the end), watched the whole thing but said it never got any better.

Anyway, both Hellboy 2 and Hancock were very satisfying movies and ultimately made the perfect double feature on a hot summer night.

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