Tampilkan postingan dengan label Dustin Hoffman. Tampilkan semua postingan
Tampilkan postingan dengan label Dustin Hoffman. Tampilkan semua postingan

Post GRADUATE Studies







This Friday, director Mike Nichols' latest film, CHARLIE WILSON'S WAR, is getting a full release but it's another Nichols' movie released 40 years ago to the day (Dec. 21st, 1967) that I'm blogging about here - THE GRADUATE.



That's right, the much beloved classic that starred a young then unknown Dustin Hoffman as Benjamin Braddock, a college graduate who's worried about his future. Braddock's affair with Mrs. Robinson (Anne Bancroft), his courtship of her daughter Elaine (Katherine Ross), and the famous wedding crashing climax are all the stuff of legend so let's celebrate its 40th anniversary with this deluxe post. 



There are Spoliers here so if you have not seen THE GRADUATE go immediately get a copy and watch it then get back to me. Everybody else should know the cast, the plot, and remember its widely quoted dialogue (even the currently playing I'M NOT THERE quotes the "good evening Mr. Gladstone" line) as well as the Simon & Garfunkel soundtrack but here's some things that you may not know: 



5 Fun Facts About THE GRADUATE:




1. Paul Simon's soundtrack submission was originally called "Mrs. Roosevelt" - According to Wikipedia Simon played the director a bit of a new composition and said "'It's a song about times past — about Mrs. Roosevelt and Joe DiMaggio and stuff.' Nichols advised Simon, 'It's now about Mrs. Robinson, not Mrs. Roosevelt.'" 



2. It was Richard Dreyfus's first movie - Albeit a brief appearance but he's visible over landlord Norman Fell's (yep, he was also the landlord on Three's Company) shoulder in the boarding house scene. Dreyfus's only line: "Shall I call the cops? I'll call the cops."




3. The could have beens - Imagine alternate universe versions in which Benjamin is played by either Robert Redford, Charles Grodin (who both tested for the part) or Warren Beatty (who did BONNIE AND CLYDE instead) with Natalie Wood or Sally Field in the role of Elaine. Pretty much impossible to picture, huh? Also consider that Marilyn Monroe was originally slated to play Mrs. Robinson and that the part was also offered to Doris Day and you really get a Bizarro world thing going. Thank goodness the stars aligned casting-wise because if it went any of those directions I don't think I would be blogging about it today. 




4. The leg in the poster isn't Anne Bancroft's - it's Linda Gray's. Gray, the Dallas TV star, later played Mrs. Robinson on stage in the West End and Broadway play adaptations. 




5. Benjamin is driving in the wrong direction - In Dustin Hoffman's DVD commentary * he says "I remember after the film opening, for years, people coming up and saying 'you know you're going the wrong way?' " It's true Benjamin is driving his Alfa Romeo west on the upper deck of the San Francisco Bay Bridge though he's supposed to be on his way to Berkeley, which is to the east. On a separate commentary track Nichols tells Steven Soderbergh: "If you went to Berkeley you wouldn't be visible to a helicopter - you'd be on the lower level - I said screw it, you know? What are they going to do to us?". 




* The new 40th anniversary DVD set has a recently recorded and very entertaining commentary with Dustin Hoffman and Katherine Ross. Hoffman does most of the talking - even when he confesses to Ross that he had a crush on her back in the day she has little to say.





I recently re-read the 1962 Charles Webb novel of THE GRADUATE (that's my own personal yellowed beat-up paperback pictured on the left) and was surprised at how close an adaptation the movie was. Only a few notable differences - Benjamin shortly after coming home to Pasenda takes a hitchhiking trip for a few weeks and claims to his father upon his return that he helped fight a large forest fire, washed dishes, and spent time with prostitutes. Since Benjamin twists the truth throughout the whole story we are not sure whether to believe him but it's a telling footnote. Also the iconic line "plastics" is not in the original text. However, "Mrs. Robinson, you are trying to seduce me" is. 



There has been much talk of a sequel - Buck Henry's (playing himself - he was the original co-screenwriter of THE GRADUATE) pitch to studio exec. Tim Robbins in THE PLAYER (Dir. Robert Altman, 1992) of course comes to mind: ‘‘Okay, here it is: The Graduate, Part II! Ben and Elaine are married still, living in a big old spooky house in Northern California somewhere. Mrs. Robinson, her aging mother, lives with them. She’s had a stroke. And they’ve got a daughter in college — Julia Roberts, maybe. It’ll be dark and weird and funny — with a stroke.’’

In 2004 Nikki Finke in LA Weekly resonded angrily when she came upon a report of a sequel being produced with Kevin Costner, Jennifer Aniston, and Shirley MacLaine. 








The resulting film RUMOR HAS IT... (Dir. Rob Reiner, 2005) turned out not to be a sequel but a regular ole rom com with the premise that a woman (Aniston) with the same Pasenda background discovers that her family was the inspiration for the characters in the book and movie. 



Costner plays Beau Burroughs (get it?) and MacLlaine is the boozy cynical Mrs. Richelieu (of course you get it) and the whole affair is lame and badly written (they should've gotten Buck Henry to do a re-write) adding nothing to THE GRADUATE legacy. Looks like it has finally quashed the possibility of a sequel and uh, that the fact that one of the pivotal principles is no longer with us - the late great Anne Bancroft (1931-2005).





Okay! So once more Happy Birthday THE GRADUATE! Yet again, Benjamin and Elaine board the bus that drives off into the sunset and we all sigh.




More later...

STRANGER THAN FICTION & Charlie Kaufman's Curse



“Dramatic irony - it’ll fuck you every time.” 



Now out on DVD:



STRANGER THAN FICTION

(Dir. Marc Forster, 2006)







When bland by-the-book IRS auditor Harold Crick (Will Ferrell) hears a disconnected voice narrating the mundane moments of his daily routine then foretelling his death, naturally a modern movie-goer would expect a full-out Ferrell freak-out. 





Well, despite some yelling at the Heavens what we get is a questioning rational note-taking far-from-frantic Ferrell. The voice he hears belongs to Kay Eiffel (Emma Thompson) a frazzled chain-smoking acclaimed author suffering writer’s block on how to kill off her latest main character that she is unaware actually exists. As a prisoner of an enforced narrative Ferrell enlists Literary professor Dr. Jules Hibbert’s (Dustin Hoffman) help. Hibbert breaks it down to purely a question of whether Crick is a character in a comedy or tragedy. 





At its core it’s a wake up and realize that you’re alive movie with Crick coming out of his self-created shell to declare his love for abrasive tattooed bakery shop owner Maggie Gyllenhall, shake off his dull routines, and even take up the guitar while trying to get to the heart of his daunting dilemma. 



Three years after David O. Russell’s I HEART HUCKABEES (that also featured Hoffman) was billed as an “existential comedy,” and accused of ripping off the work of screenwriter Charlie Kaufman (see below), STRANGER THAN FICTION pushes the existential envelope and the Kaufmanesque approach a little further. 





It’s not a case of “life imitating art” or vice versa – it’s more like life challenging art to a duel but eventually agreeing to a stalemate. The look of the film is fitting - white-washed bare backgrounds of Ferrell’s sterile hotel room-looking apartment and his fluorescent lit workplace with cubicles and filing cabinets reaching back to infinity are contrasted with the clutter of Gyllenhall’s punk bakery and Hoffman’s wood-grain ragged book-filled university office. 





Spoon songs fill the soundtrack with the welcome exception of Wreckless Eric’s “Whole Wide World,” which Ferrell woos Gyllenhall with as the first song he learns on the guitar. 





The supporting cast is spot-on as well – Queen Latifah as Thompson’s assistant, Tony Hale (Arrested Development - TV-series 2003-2006), Linda Hunt, and an almost unrecognizable Tom Hulce (AMADEUS, ANIMAL HOUSE, PARENTHOOD) as Ferrell’s chubby bearded touchy-feely office counselor. STRANGER THAN FICTION is a fine film but one that never really gets airborne. 





It’s highly likable even as it lumbers in a state of subdued surrealism but maybe, just maybe it should have freaked out a bit.







KAUFMAN’S CURSE: Nearly every review of STRANGER THAN FICTION calls attention to the influence of writer, producer, and soon to be director Charlie Kaufman who apparently is widely acknowledged as modern cinema’s reigning meta-movie master for his films BEING JOHN MALKOVICH, ADAPTATION, and ETERNAL SUNSHINE OF THE SPOTLESS MIND


One particular phrase really stands out : “Charlie Kaufman Lite” – Richard Corliss (TIME Magazine) 





“Zach Helm's Kaufman Lite script...” - Owen Gleiberman (Entertainment Weekly) “A cutesy, Charlie Kaufman-lite exercise in magic unrealism.” - Peter Canavese (GROUCHO Reviews) 





“Charlie Kaufman-lite but enjoyable nevertheless” – Bina007 Movie Reviews Also in the same vein : “a charming though problematic meta-movie in Charlie Kaufman mode” – Scott Tobias (Onion AV Club) 





“Zach Helm's screenplay has flagrant Charlie Kaufman ("Being John Malkovich," "Adaptation") overtones rocketing out of it that are impossible to ignore.” – Brian Ordoff (FilmJerk.com) 





“Owes a considerable debt to the dual-reality-plane excursions of Charlie Kaufman” - Michael Phillips (Chicago Tribune)





“Finally, a Charlie Kaufman movie for people who are too stupid to understand Charlie Kaufman movies.” - Sean Burns (Philadelphia Weekly) Congratulations Charlie Kaufman! You are now officially critical short-hand.



More later...



I ♥ HUCKABEES = WTF?


Now playing at an art house near you:







(Dir. David O. Russell, 2004)









This is the ultimate WTF? movie. It's been a few days since I've seen it and I'm still trying to process. Many critics don't even try to describe the plot or premise, but I'd just say it's about a poet activist (Jason Schartzman) who hires a married couple played by Dustin Hoffman and Lily Tomlin who bill themselves as existential detectives to sort out problems with his soul.





Oh yeah, there's an overly slick spokesperson (Jude Law) for a Target/Wall Mart type chain and his flighty model wife (Naomi Watts), as well as Mark Wahlberg as a fireman who hates petroleum so much that he rides his bike to fight fires. That's as good as I can do.





The characters all run around spouting lines like "There's no such thing as nothing," and "Nobody sits like this rock sits. You rock rock. The rock just sits and is. You show us how to just sit here and that's what we need."





Some of this is fun, some of it is strained, some of it is just purely baffling. I mean at the end I was more confused than I was by the MATRIX sequels. I mean, now what am I see supposed to be reality and what isn't?





It also doesn't help that HUCKABEES seems stitched together from other movie's styles. The soundtrack by Jon Brion and the color scheme recall the work of Paul Thomas Anderson (MAGNOLIA, PUNCH DRUNK LOVE). The other Anderson, Wes Anderson, comes to mind of course from the casting of Schwartzman (RUSHMORE) and the eccentrically quirky tone.





Also, the screenplay appears to be heavily suggested by the work of Charlie Kaufman (ADAPTATION, ETERNAL SUNSHINE OF THE SPOTLESS MIND). So did I like it? I didn't hate it. That's the best I can do.





More later...


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