Cannes at Home: Day 7 – Long Live the New Flesh!

by Cláudio Alves

I can't wait to plunge into the enigmas of THE SHROUDS.

Another day, another lackluster reception to a highly anticipated Cannes title. Ali Abbasi's Donald Trump film, The Apprentice, seems neither thrilling nor especially deep, with various comparisons to Wikipedia entries throughout naysayer's reviews. At least, its cast got general praise, with highest honors to Jeremy Strong as Roy Cohn. Then again, it did receive one of the festival's longest standing ovations yet, so make of that what you will. On a more somber note, David Cronenberg's The Shrouds is being described as the director's most transparent movie, laying bare the grief of an artist dealing with his wife's passing. In a recent interview, the Canadian master described cinema as a cemetery, and it seems his latest work follows that idea to literal ends.

For the Cannes at Home odyssey, let's examine two horrors from the directors' past - Abbasi's Shelley and Cronenberg's Videodrome, where a very different vision of death awaits…

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Showbiz History: Harvey Milk elected and Moonlight and La La Land both win... no take backs

6 random things that happened on this day, January 8th, in showbiz history

1941 William Randolph Hearts forbids any of his papers for running advertisements for Citizen Kane (not in theaters till later that year), after Hedda Hopper informs him of the film's content and treatment of Marion Davies. His anger about the film spreads to Hollywood, where he had many allies and where the arrogant young Welles had already pissed off many in power. Citizen Kane struggled at the box office and was supposedly booed at the Oscars (imagine... though it's hard to fact check that since the awards weren't televised then) but history has, of course, been kind to it. 

1942 Stephen Hawking born in Oxford, England...

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HBO’s LGBT History: Citizen Cohn (1992)

Manuel is working his way through all the LGBT-themed films & miniseries produced and distributed by HBO.

Last week we looked at one of the greatest documentaries on the AIDS crisis ever committed to film, Common Threads: Stories from the Quilt (1988), and discussed HBO’s remarkably solid Oscar track record. This week, we enter the 1990s, a time when HBO’s clout when it came to made-for-TV movies was on the rise and when its stronghold on the respective Emmy category would begin: did you know that HBO has won the Emmy for Best TV Movie all but two times since 1993? It’s clearly poised to keep the streak going with yet another LGBT property, Bessie (reviewed).

Citizen Cohn (1992) [Watch here]
Directed by: Frank Pierson
Written by: David Franzoni
Starring: James Woods, Joe Don Baker, Joseph Bologna, Ed Flanders and Lee Grant

If you look at the early HBO TV movies you notice they favored (much like Lifetime does nowadays) real-life stories that were provocative in subject matter yet packaged in rather unremarkably-shot films. While the sophistication of historical retellings like John Addams, Recount and Game Change have become banner examples of what HBO Films can produce, its earlier iterations looked more like Citizen Cohn. The film does its homework and relentlessly shows Roy Cohn for the petty, petulant bully he was, both as a member of the McCarthy committee on investigations on Communist activity and as a divorce lawyer in New York. [More...]

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Burning Questions: Can You Really Separate A Performance From The Film?

Hey everybody. Michael C. here. Growing up in the dark days before Twitter, back before I could get my Oscar gripe on 24/7, I had to focus all that emotion on Siskel and Ebert’s annual "Memo to the Academy" special. Watching year after year, one of the refrains the duo drilled into my head was that the Academy should expand their idea of what constitutes an Oscar-worthy performance. Don’t lazily jot down the names of those appearing in best picture contenders. Evaluate each performance on its own merits, apart from the film that contains it. They were adamant on the subject. 

Or at least they were, until the 1998/99 episode when Gene found the limits of Roger’s open-mindedness by suggesting James Woods receive a Best Actor nod for John Carpenter’s Vampires. After Gene went on for a bit about Woods’ talent for commanding the screen, Roger demurred, “Yeah, but if you’re gonna nominate someone for Best Actor you kinda want them to be in a little better movie, don’t you think?”

Gene wasn’t having it: “No. I want the performance. I don’t care about the movie.” 

This altercation zeroed in on a question that has always nagged at me. If even a harsh critic of stodgy thinking like Ebert has to draw the line somewhere, is the issue that cut and dry? Is it really possible to separate the performance from the film? [more]

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