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Exclusive Passion
Interviews:
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Manu Yáñez, a film critic from Barcelona who writes for Fotogramas, posted his finalized list of top ten films from 2012 today on Twitter. While Brian De Palma's Passion will not be officially released until the spring of 2013, it made Yáñez' list at number 3, right in between the latest works from David Cronenberg and Kathryn Bigelow. Richard Linklater's Bernie tops the list at number one. On his Twitter page, Yáñez wrote a tweet for each title, each tweet beginning with the word "because." For Passion, he wrote, "Because mi amigo Brian goes about his business: think of the cinema doing cinema. More loose, more free."1. Bernie (Richard Linklater)
2. Cosmopolis (David Cronenberg)
3. Passion (Brian De Palma)
4. Zero Dark Thirty (Kathryn Bigelow)
5. Ensayo final para utopía (Andrés Duque)
6. The Master (Paul Thomas Anderson)
7. Bleak Night (Yoon Sung-hyun)
8. Like Someone in Love (Abbas Kiarostami)
9. Enero 2012 (O la apoteosis de Isabel la Católica) (Colectivo Los Hijos)
10. Spring Breakers (Harmony Korine)
Charles During, who appeared in three Brian De Palma films, passed away on Christmas Eve of natural causes, according to The Hollywood Reporter. He was 89. Durning was a World War II veteran who was part of the D-Day invasion, and received a Silver Star and three Purple Hearts, the Hollywood Reporter article states.Rutanya Alda appeared in both Hi, Mom! and The Fury. A year after the latter, Durning and Alda both appeared in the cult movie When A Stranger Calls (and Durning later reprised his role in the 1993 made-for-TV sequel). In 1986, Durning appeared in Cassavetes' Big Trouble (Cassavetes would take acting jobs in films such as De Palma's The Fury in order to help finance his own independent features). That same year, Durning appeared in Tough Guys, which starred Kirk Douglas, the big name star of The Fury.
Just prior to the incident on the stairs in The Fury, Durning's character tells Gillian that at her age, his one great ambition was to be Fred Astaire. In fact, Durning was once a dance instructor at the Fred Astaire Dance Studios, where he met his first wife, Carol, a fellow dance instructor. Their daughter Jeanine Durning is a New York-based choreographer and modern dancer.
Durning is perhaps best known for his roles in George Roy Hill's The Sting and in Sydney Pollack's Tootsie, but he was nominated for supporting actor Oscars two years in a row: in 1983, for his role in The Best Little Whorehouse In Texas (for which Durning sang and danced), and, in 1984, for his role in To Be Or Not To Be. Durning also appeared in two Coen Brothers films, The Hudsucker Proxy and O Brother, Where Art Thou?, as well as a film by Billy Wilder, The Front Page. Durning was also a friend of Burt Reynolds, and collaborated with him on several projects.
A couple of years ago, Kritzerland released a two-disc limited edition of Pino Donaggio's soundtrack from Brian De Palma's Carrie, which sold out rather quickly. Now, the company is releasing a one-disc edition, limited to 1000 copies. The second disc on the previous edition consisted of the original LP release from 1976. Since the first disc featured new remixes of the entire score from Carrie, plus instrumental versions of the two songs Donaggio had provided music for, the new release consists of only that disc. And what more is needed, really?
The Guardian's Xan Brooks interviewed Ludivine Sagnier about her career and her work on Alain Corneau's Love Crime. Here is the passage in which they discuss that film, and Brian De Palma's remake of it:Sagnier explains that she actually shot Love Crime three years ago and that her memory of it is coloured by the subsequent death of its director, Alain Corneau. "I mean, I do like the movie," she stresses. "But for me it's tainted by frustration and so much pain, because he died on the very week it got released in France." Corneau, she now realises, was suffering from lung cancer while the picture was being shot. In hindsight this explains a lot.
"In France we have a saying: 'He never put his arms down.' Forward, forward, never stop, which was very difficult for me and Kristin. He was like a little boy playing with iron soldiers and we were the soldiers. He wouldn't talk, wouldn't listen, and we had to do exactly what he wanted. It was like he only had so much energy to spare. He must have known he did not have much time left."
The film, she adds, has just been remade by Brian De Palma, as Passion. She's eager to see it; she wants to know if the sexual undercurrent has been brought to the fore.
What if the new version is better than hers? Wouldn't that make her mad? She gives an airy shrug. "I would not be surprised."
Deadline's Mike Fleming Jr. posted the other day that Paul Williams has just signed on to write lyrics for a stage musical version of Guillermo del Toro's Pan's Labyrinth, which del Toro has been quietly working on for four years. The music is being written by Gustavo Santaolalla. "I admire and love Gustavo and Paul wrote the perfect album in Phantom Of The Paradise, which I have loved for decades," del Toro told Fleming. In 2010, Harry Knowles wrote about how one night, del Toro had spent "hours" telling Knowles why he wanted to remake Phantom Of The Paradise, which is one of his very favorite films.Since 2009, Williams has been working with Brian De Palma and Edward R. Pressman on a stage version of Phantom Of The Paradise, something they have taken stabs at off and on for years. De Palma and Williams had tried to get a stage version going in 1987, and in 2003, Antonio Banderas discussed the possibility of taking on the title character for a stage version. For now, however, we have the incredible film from 1974. And, of course, the Baltimore Rock Opera Society.
Sorry about catching word of this too late (the screening is happening as I write this), but I had to note that Brian De Palma's Femme Fatale is screening tonight at New York's Museum Of The Moving Image, as part of the series "The Cinema and its Doubles." I especially like the quote at the Moving Image site from Jonathan Rosenbaum, which I don't recall ever reading before. According to the site, Rosenbaum called Femme Fatale "a synthesis of every previous Brian De Palma film... I enjoyed every minute of it, maybe because De Palma took such obvious pleasure in putting it together."
Latino Review's El Mayimbe took the "keeping under wraps" part of that paragraph as a challenge, and claims to have discovered, via unnamed sources, that the new Tony "is actually Mexican and the remake takes place in the world of drug cartels." We shall see.