CHUCK LORRE BEHIND 8-PART "REBOOT"; TOM WOLFE JUST FOUND OUT FROM COLUMNIST
On Friday, The Hollywood Reporter's Lesley Goldberg and Kate Stanhope reported an exclusive that Chuck Lorre is developing an 8-part event mini-series adaptation of Tom Wolfe's The Bonfire Of The Vanities. Lorre is "under a rich overall deal" with Warner Bros. Television, according to Goldberg and Stanhope, where the project stems from. It had been shopped to cable and streaming outlets, and has now been picked up for development by Amazon.
According to the report, which attempts to attach the buzzword "reboot" to the project, "Margaret Nagle (Boardwalk Empire, Red Band Society) is set to pen the script and exec produce alongside Lorre. Author and political reporter David Corn will serve as a consultant. Amazon Studios, WBTV and Chuck Lorre Productions are the producers on it."
Meanwhile, according to Showbiz 411's Roger Friedman, Wolfe himself knew nothing of the new project until Friedman called him up to ask him about it. "I guess he’s calling his agents on Monday," Friedman surmises.
THE FILM STAGE: DE PALMA'S 'BONFIRE' DESERVES MORE RECOGNITION
Last month, The Film Stage's Jonah Jeng wrote an essay in defense of Brian De Palma's 1990 feature adaptation of Wolfe's book. "De Palma’s confident, hilarious polemic is a formidable achievement, hitting places that hurt in 1990 and, sadly, continue to hurt today," Jeng states. "That the film feels like it was made for the 2016 moment is a depressing testament to the state of race relations in America, but it is also precisely this continued relevancy that makes Bonfire necessary viewing."
A bit later in the essay, Jeng discusses how De Palma's style fits with the absurdity on display in the film:
"Some satire is subtle in its magnifications of reality. The Bonfire of the Vanities takes a different, more boisterous route, fitting De Palma’s florid directorial tendencies like a glove. Scenes turn to farce to convey the moral absurdity of the characters’ actions, whether in Abe’s wild gesticulations or in the way we are introduced to the Reverend via a very Spike Lee-esque, low-angle shot that imparts onto him the exaggeratedly looming presence of a cartoon villain. De Palma’s cinematographic stylizations, so generative of suspense in Sisters and operatic in Scarface, here serve a different but no less meaningful purpose. The camerawork is sometimes highly precise in its satirical function, such as when a dolly zoom is used to parody the experience of white fear. At other points, the cinematography creates the more abstract impression that the camera is emulating this film’s plot-level zaniness. Often, De Palma appears to be channeling the story’s ludicrous energy by way of his trademark visual acrobatics — weird camera angles, split diopter shots, long takes, etc. — which, in turn, intensify the energy that gave rise to them."