Last night I watched the last in the series of Paul Merton’s Birth of Hollywood on BBC 2. I actually watched it on TV! You can watch it here on iPlayer:
I really enjoyed it and will be trying to see the first two episodes somehow. This episode chronicled the death of silent cinema, which Merton shows to be at the height of its creative powers when the technology for talkies arrived. Silent films starred ingenious performers, and were shot in inventive, imaginative and inspiring ways. They could afford to make classic escapism for the masses as well as experimental pictures, which also more often than not turned into hits by capturing the public’s lust for the cinema in new ways.
Talkies, Merton argues, brought the quality and the standards crashing back to basic levels. Yes audiences could hear the tinny voices of their beloved stars but they lost much of the magic of cinema when it was silent. They lost the live musical performances accompanying the pictures in theatres. They lost the moving camera angles, zooming in and out to visually dazzle and excite. They lost the cults of intoxicating mystery that grew up around actors, as soon as they heard their ordinary or often foreign accented voices. Instead there was wooden dialogue in front of static cameras. Imaginations were stifled and limited.
It’s impossible not to compare the arrival of the talkies with that of 3D films in the 21st century. In my view it’s obvious that the shift is not so dramatic. Sound is a far bigger leap forward than three dimensions. This seems an odd thing to say; when in theory 3D should mean the action literally happening in front of you. But we know the reality of 3D is mostly gimmicky after seeing the offers of studios in cinemas.
This might suggest that greater efforts are needed to improve the technology, so it’s truly as transformative an experience as listening to sound for the first time in a movie theatre. However Merton’s documentary focuses on the ability of good storytellers to adapt. Irving Thalberg, who died in his 30s, was the extraordinary man at the centre of last night’s episode.
A German immigrant, Thalberg grew up in New York, after being born with a weak heart. He spent long periods of his childhood mollycoddled and stuck in bed through illness. During this time he read classic literature, plays and autobiographies. And followed the fortunes of the film business.
Then he got his big break and headed to Hollywood as a secretary to the head of Universal Studios. He was unexpectedly promoted to Head of Production, because of the qualities he showed his employer, where he established a reputation in his early twenties, before moving to MGM in the same role. His influence transformed MGM‘s studios into a vast dream factory with all manner of storytelling resources on site. He handpicked films for suitable directors, mixing traditional stories with bolder projects. He ensured that before release all his films were screened to members of the public, which led to scenes being re-shot frequently. A modest man, his name never appeared on any posters.
Thalberg’s MGM was at the top of its game when talkies arrived, courtesy of rivals Warner Brothers. But before his death Thalberg oversaw a successful transition to sound, with that same focus on good storytelling. As a producer he called the shots, made decisions in the company’s financial interests, but never compromised a good story.
3D audiences have been declining and champions of the technology pin their hopes on Michael Bay’s third Transformers movie, Dark of the Moon. In press previews the 3D is said to be cutting edge, mind blowing and the best yet. But as this Guardian writer, Ben Child, points out, Bay’s films are so loud and bombastic that they simply become tedious. And the only real hope for 3D is that someone, a great individual of Thalberg’s ilk, can steer a truly great and inventive film project to fruition. One that makes the best of 3D‘s unique assets but one that, above all, tells an unbelievably good story.
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Longstanding big names Aaron Eckhart and Sean Bean are to add clout to the cast of a modern retelling of children’s classic Peter Pan. They’ve both joined a project to be directed by Ben Hibon, with the working title Pan, which is set to turn the traditional fantasy tale of Neverland on its head.
Evil pirate Hook will be transformed into a troubled, disturbed and obsessed police detective searching for a childlike kidnapper with a knack for both snatching and dispatching little ones. Hapless sidekick Smee is a chief detective and Hook’s only friend on the force, with innocent Wendy a traumatised survivor keen to help find the criminal.
The role of Wendy will be played by AnnaSophia Robb (Race to Witch Mountain/Jumper). Eckhart will take the key role of Hook and Bean that of sympathetic Smee. Director Hibon, who masterminded the creation of the universally praised animation sequence in Harry Potter and The Deathly Hallows: Part 1, will be tasked with bringing an interesting idea to life, that’s been simmering in the development stages for a long time. According to Empire Magazine the film, once the property of New Line, is being promoted at Cannes by Essential Entertainment with October the target for the start of principal photography.
It might be important for those behind Pan to get their skates on, given that Peter Pan Begins with Channing Tatum is also in the pipeline. This would be a reinterpreted origin story for J.M Barrie’s character, with Hook rumoured to be Pan’s brother. I know which vision of the iconic story I’d rather see successfully realised.
Hibon’s concise storytelling ability and visual flair are evident from his brief touches to the Harry Potter franchise, so he could have exactly the right capabilities to pull off a tantalising and ambitious concept. Eckhart has played a determined and stressed lawman before in global phenomenon The Dark Knight and certainly has the acting chops to be a good, well meaning Hook. The dependency of the film on Robb’s role as Wendy will be interesting, given her less inspiring CV.
Let’s hope this is a clever new slant on the fairytale that does get the backing it needs to grow up and leave Neverland for theatres.
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Urgghhhh…not England again! Just as we were all getting into the swing of the new Premiership season we’re forced to collectively confront the endless failings of our national side and look to the future again. The next chance of that elusive trophy will come at Euro 2012, a year in which we will at least be able to retreat to the splendour and pride of hosting the Olympic Games, should England fail to perform at the tournament proper, or as last time under Steve McClaren, fail to qualify for the European Championships at all.
The prospect of Capello leading a depressingly familiar looking side out at Wembley against mundane opponents like Bulgaria tomorrow is by no means a tantalising one. Personally I think the public shall struggle to ever fully get behind an England team under the guidance of Capello again, following his exposure at the World Cup as an underprepared, inexperienced international manager as opposed to the strict messiah he grew to become in the optimistic qualifying campaign. The only way Capello can begin to win back the hearts and minds of the fans is with a youthful overhaul of his squad, and his selections since the World Cup have fallen short in terms of ambition and a fresh approach. He has even sent mixed messages over David Beckham’s future, so that he at first retires him and then leaves the door open for a more than ceremonial return. Since the World Cup many commentators have pounced on Capello’s communication failures, calling for if not an English manager then one with a firm grasp of the language. Players like Paul Robinson backed up these criticisms with evidence, choosing to end their international careers rather than continually endure the confusing limbo of Capello’s squad selections. And then there has been the success of Capello’s omissions from the World Cup squad: Theo Walcott’s pace and promise in the Arsenal side, Paul Scholes’ masterful domination of midfield, and his assertion that Capello simply left it too late and didn’t seem to want his return to the national side enough.
The progressive choices in Capello’s squad appear to be forced upon him as well, so there appears to be no evidence of a genuine effort on his part to rejuvenate the team. Up front there is no place for Newcastle’s hat-trick hero Andy Carroll, despite the media hype and recent good form that Capello previously promised would be rewarded. The strikers are the same bland mixture then of an underachieving Carlton Cole, Darren Bent, an injured Defoe and not scoring Rooney. In midfield too old faces shall probably win out, even with promising performances from young stars like Johnson and Walcott. Might now be the time to shift Walcott back up front alongside Rooney? Such a move probably won’t be followed by Capello and yet he is not seeking the long term target man partner for Rooney in Carroll either. In defence we are about to be offered a glimpse of an uncertain future, with Rio Ferdinand now probably a permanent crock well beyond his prime and Terry too entering his twilight years. The likes of Dawson, Upson and Jagielka do not scream world class defender: none of them ply their trade at a top club and even the promising Gary Cahill would need to improve in leaps and bounds.
Between the sticks though England are looking healthier. Again the retirements of James and Robinson forced the future on Capello rather than him embracing it with a continental kiss, Italian flair and setting it boldly beside the fire to be nurtured. Capello’s indecision when it came to the goalkeeper contributed to Robert Green’s blunder at the World Cup, as the entire nation was left in limbo as to who was number one. Remarkably though circumstances have contrived to purge the position so that by 2012 England shall have hopefully be in the position of having two world class goalkeepers, rather than none.
The fight of course is between Ben Foster and Joe Hart. However this is not to dismiss the other candidates, such as Scott Carson who has rebuilt his career following England failure at West Brom, David Stockdale of Fulham who has impressed stepping in for the mighty Schwarzer in the season openers and young Scott Loach of Watford, who replaces Carson in the squad for Bulgaria’s visit because of a family bereavement. These keepers will all provide beneficial competition but it is Foster or Hart who shall emerge as the next England number one and hopefully both will develop into fine keepers to give the squad depth.
Foster was of course the next Manchester United keeper a year ago. He has in many ways traded fortunes with Hart, who a year ago was going out on loan to Foster’s current club Birmingham. At Birmingham Hart forged a reputation for himself and has returned to Manchester City, despite all the mega money signings, to claim the first team spot ahead of the impressive, reliable and experienced Shay Given, who is wanted by a number of other Premiership teams, including Arsenal, as first choice keeper. This is a remarkable achievement for Hart and he deserves his shot at making the England shirt his own now, along with some patience and time from his manager to do so. Undoubtedly he is in a better position than Foster, playing at a club with the fresh expectation, classy talent and lofty aims of Man City. However there’s a long way to go until 2012 and it would be foolish to rule Foster out. Despite being comprehensively beaten by a cool, well placed Kevin Davies penalty at the weekend he is the sort of goalie you always fancy to stop a spot-kick. Despite some blunders with his feet in big games for Utd last season he is better than most keepers with the ball and is capable of excellent, precise distribution. Despite failing to claim the Utd jersey for himself expectations were placed on him not without reason and I share the view of some that Fergie was premature to get rid of him this summer for the modest sum of £6million, when he still might have proved to be an excellent replacement for Van Der Sar.
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