Nicole Kidman has departed from her role starring in the next, presently untitled, Woody Allen project.
She was due to star alongside Antonio Banderas, Anthony Hopkins, Josh Brolin, Naomi Watts and Freida Pinto with shooting reportedly due to commence in the summer in Allen’s most frequent new city muse, London.
Variety says nothing has yet been said as to who will replace Kidman in the role.
It seems like an interesting move for an actress who seems to be struggling somewhat to maintain any kind of box-office power. Australia was a complete flop and, prior to this, she was in the debacle that is The Golden Compass, the mean-spirited and somewhat irratating Margot at the Wedding and the truly terrible The Invasion.
Allen, on the other hand, seems in upward swing. Vicky Cristina Barcelona was his most universally liked work since Sweet and Lowdown and Whatever Works, starring Larry David and Evan Rachel Wood, looks an even stronger creation.
I suppose we’ll see if Kidman can manage to find something to suit her talents in the future, rather than continuing this stream of dreck.
Following the move by Amanda Seyfried to drop out of Zack Snyder’s Sucker Punch, it appears a replacement has been found.
Emily Browning, most recently in The Uninvited and previous in Lemony Snicket’s A Series of Unfortunate Events, is being rumoured as the replacement for Seyfried in the role of Baby Doll, the inmate of a mental asylum who lives inside a fantasy world in which she imagines escaping alongside her fellow inmates.
I know literally nothing about her as an actress but, given the rest of the casting, she does fit the attractive, young starlet category Synder appears to be seeking.
Nicole Kidman has reportedly joined the cast of Woody Allen’s latest, as-yet-untitled project set for 2010. She joins the likes of Josh Brolin, Anthony Hopkins, Antonio Banderas, Naomi Watts and rising Slumdog-star Freida Pinto.
Little is known about the project thus far, just that it’s set in London and that Woody still has the juice to attract a pretty darn special cast to his work.
I haven’t been entirely kind to his last few works, in fact I would suggest he hasn’t done anything truly good since 1999’s Sweet and Lowdown, an underrated work if ever I saw one. The likes of Match Point and Vicky Cristina Barcelona seems to have grabbed praise, but I’m of the school of thought that this is mostly based on happiness from fans that they aren’t as awful as Scoop, Anything Else or the truly, truly terrible Hollywood Ending.
His upcoming project for this year is Whatever Works, headed by Evan Rachel Wood and Larry David.
Kevin Smith is to launch outside of his comfort zone (no View Askew, no Scott Mosier producing) to direct A Couple of Cops, a buddy movie to star Bruce Willis and Tracy Morgan. Could provide an interesting view on how Smith is developing as a director and possibly give the world another really good buddy movie which, on premise, seems closely in the vein of late-80s Shane Black-style stuff.
Zack Snyder is forming an all-girl cast for Sucker Punch, about girls in a mental asylum who fantasises about escaping with all her inmates. Likely to star the likes of Amanda Seyfried, Vanessa Hudgens, Abbie Cornish, Evan Rachel Wood and Emma Stone. Doesn’t specifically make me too excited but I would be interested to see what Snyder does next because he handled the entire Watchmen saga, the build-up and movie, with aplomb.
Megan Fox has begun to take up some new offers which are likely to offer very little new to her current persona. Fox has reportedly joined the cast of Jonah Hex alongside Josh Brolin and will star in Fathom, an adaptation of the comic series. Cinematical reports that Fox has been a fan of the comic series for some time and is helping to bring it to the screen, likely making her the dream girl for many, many JoBlo readers around the world. Maybe however she should get a little praise for understanding that she has limits and using her talents in the most lucrative way possible. Hats off to Ms Fox.
Leonardo DiCaprio is to team with Christopher Nolan on the latter’s post-Dark Knight project, Inception. the film has been described as a science fiction piece ‘set in the architecture of the mind’ and was also written by Nolan. You’d have to suggest that this won’t garner anything near the level of business Dark Knight did but it’s good to see Nolan is nourishing his filmmaking skills elsewhere, something that would have been advisable to Sam Raimi back in the day and would most likely have provided the world with better Spiderman sequels.
Talk is rife on what the next Danny Boyle movie will be. Reports emerged early in the week, very speculative, that he could direct the next James Bond. Later however, it seems he is closing in on doing a remake of My Fair Lady, putting of another project called Hanna, about a teenage assassin.
Also in the news: Jim Jarmusch’s Limits of Control has a trailer; Mickey Rourke, Vince Cassell and Alice Braga will star in an adaptation of Paulo Coehlo’s 11 Minutes; A viewpoint from Slate on how a Tarantino Watchmen would look; Barry Sonnenfeld will direct an adaptation of Korean film Scandal Makers; Keira Knightley is to star in Never Let Me Go, an adaptation of Kazuo Ishiguro’s amazing novel, which you should probably read instead now Knightley has signed up; A three minute clip of The Boat that Rocked has turned up; Ed Zwick is to direct In the Heart of the Sea by Nathan Philbrick; Ridley Scott has talked a little more about his Monopoly movie.
Starring: Mickey Rourke, Marisa Tomei, Evan Rachel Wood, Todd Barry, Mark Margolis, Judah Friedlander
Director: Darren Aronofsky
Writer: Robert Siegel
Two great thrills for the movie buff are herein. 1) Witnessing the perfect synergy between actor and character, when the real blends with the reel and the voyeuristic pleasure of witnessing a real person accessing darker parts of their soul for our entertainment. 2) Watching a visionary, visually intense director switch into making a near-genre piece on which they are able to impose their own style and filmmaking values, e.g. David Lynch with The Straight Story.
The Wrestler provides this through both an astounding, physical and committed performance by Mickey Rourke, allowing his audience to understand the parallels between himself and his character and to look clean into his soul and empathise/sympathise with his pain. Then we have Aronofsky, coming off the challenging, often beautiful The Fountain, who employs Cassavetes-esque neo-realist filmmaking techniques in telling a relatively straightforward story. It should be a sports movie, but it falls more into becoming a theatre film, an exploration of art and performance and the overwhelming need to achieve. In that sense, it falls more in line with Pi and oddly The Fountain, the latter in our watching of Rourke’s Randy ‘The Ram’ Robinson fighting to remain a star, obsessively seeking acceptance and love in comparison to the obsession of Hugh Jackman’s character in the real-world portions of the film when he is fighting obsessively for something he loves.
The film ostensibly follows the life of pro-wrestler Randy, spending his time wrestling in town halls and strip clubs and unable to pay the rent on his trailer home. Randy then suffers a heart-attack after a particularly fierce hardcore bout, medically ending his career as a wrestler. After this life-altering experience, Randy switches his focus to try and pursue a romantic relationship with aging stripper Cassidy, played with grace and complexity by Marisa Tomei, and his estranged daughter Stephanie, played by Evan Rachel Wood with a great line in teenage anger and tears but little behind the façade.
Randy is an eternal entertainer, consistently looking for love and acceptance from those around him. In the film’s most joyous moments, we watch him perform for customers behind a deli counter, dishing out one-liner alongside egg salads and side of ham. The scene is indicative of so many sequences in the film when Randy is outside of the wrestling arena. During a recent interview with Aronofsky, Elvis Mitchell pointed out the ceilings and lighting often being low and encroaching, giving the sense that Randy is too big for many of the rooms in which he stands. When he is backstage before a bout, those around him ingratiate not only with their admiration for Randy as a competitor, but also with their physical size. He no longer looks hulking or out of place, which can also be attributed to his hair and general features.
Much of the brilliance of the film needs to be attributed to Rourke and Aronofsky. The script, by Robert Siegel, employs a number of basic sports movie traits and clichés, even through the driving portion of the narrative by which Randy has a major medical scare and then must re-evaluate his life, only to once more come back to the fray for one last fight. Some of the dialogue too seems straight out of the handbook but, together with Tomei, the conviction of the actors and nuance of the director mean this never gets in the way.
Marisa Tomei’s transformation of the stripper-with-a-heart-of-gold character into a complex portrait of a woman who, like Rourke, cannot give up the performing and adoration of the crowd is particularly impressive. A key difference in their thematic relationship comes during a scene in which she spends a day with him, coming to meet with in broad daylight with very little make up on yet he remain primped and proper and not too far removed from his persona. It’s a key issue for him that he is unable to separate his two lives. When at home, he plays a wrestling computer game against some kids, playing as himself. In scenes at a bar later on, he is happy to play up the wrestling persona in order to have sex with one of a number of groupies who arise. He is unable to separate his real life from his wrestling persona in the way that Tomei’s character manages to separate Cassidy, the stripper, from Pam, the mother. It’s an outstanding performance from Tomei which, along with her great turn a few years back in In the Bedroom, should put any perceptions relating to My Cousin Vinny behind her.
Rourke is though, worthy of all the plaudits. He is accessing parts of his soul that few actors can. The volatility and self-destructive nature exhibiting constantly by Randy throughout must have chimed with Rourke himself. As much as anything, it proves him amongst the finest actors America has ever produced. He was always great during his hey day in works like Diner and Angel Heart, but this is quite different. He captures heart and soul both during his time as the entertainer and wrestler, and during the quiet moments with Wood and Tomei. He is gentle and sweet but destructive and hurtful. The exchange between he and Tomei when the two argue fiercely over what kind of connection they have is painful to witness but not once does it fall beyond the realm of being believable. It’s a performance which, through capturing those quiet intimacies and the grandstanding emotional weight, could and should win him an Oscar.
Aronofsky probably won’t win anything but he really should. This is toned down ten-fold from the hyper-frenetic editing of Requiem for a Dream or from the quasi-biblical imagery of The Fountain. He is pulls back his camera, allowing the audience to just witness the character rather than be placed within the protagonist’s mind. He allows the performance from Rourke to impress from the third person, never allowing it all to become too wrapped up in providing answers as to who is right or wrong in any of the situation, or enough information to prevent the ending’s enigmatic probing. The final shot of the film is indeed his finest achievement thus far. Building to it beautifully, the final ten minutes or so become completely transcendent, moving beyond basic filmmaking to find humanity beyond the tears you will almost certainly shed. Much also must go in praise to Maryse Alberti, well-known as a documentary cinematographer who here not only shows the wrestling bouts with visceral detail, but knows and understands how to present a character and place rather than create one. It’s cinematography that, like Aronofsky’s direction, is not showy enough to win Oscars but its just the kind of subtle understanding that they should concentrate on.
While the script may not live up to the whole piece, the film remains borderline perfect for me. I would suggest that while the dialogue is somewhat corny and the narrative itself clichéd, the beats of the story work very well in creating a nice structure to the film. Nothing happens which seems out of place or overly-convoluted. Add to this the best performance from a leading actor this side of the millennium, a sterling supporting turn from Tomei, gorgeous and brutal photography from Maryse Alberti and understated direction from Aronofsky, I think you have one of the year’s most satisfying movie experiences.