Warner Brothers is trying to sign Leonardo DiCaprio up for a biopic on Woodrow Wilson. Why do we need a biopic on Woodrow Wilson? I have no idea. Maybe it will center on Wilson holding a screening of Birth of a Nation in the White House. More likely it will center Wilson and the Versailles Treaty and neoconservatives will be excited. The AV Club brings the proper snark:
It’s likely the film will also cover some aspect of Wilson’s post-presidency, as he spent the rest of his life pushing the victorious Allies to form a League of Nations, only to see the U.S. Senate reject membership. It’s probably less likely that the film will spend a lot of time on Wilson’s history as a white supremacist who re-segregated most federal institutions for the first time since Reconstruction, and either demoted or fired as many African-American government employees as he could.
It seems to me that one of the tragedies of film in the last twenty years was Robert DeNiro deciding he still wanted to work a lot but he had no desire to try or push himself in his work. One could argue it’s the same for Pacino, but not only does DeNiro have a deeper catalog of great films than Pacino but I feel he’s just a better actor (although obviously Pacino’s top 5 films stack up with anyone’s in film history so you may disagree).
…..One piece of evidence here to DeNiro really not trying. Scorsese wanted to cast him as Bill the Butcher in Gangs of New York but DeNiro didn’t want to have to travel to Italy where the film was shot. While I guess I understand that, it’s pretty clear that he has no problem passing up roles for easy paychecks.
Martin Scorsese gave a great talk for the 2013 Jefferson Lecture in the Humanities. It’s reprinted in the New York Review of Books and is on the importance of preserving our language of film in a culture that values little but the weekly game of box office numbers. A snippet:
So not only do we have to preserve everything, but most importantly, we can’t afford to let ourselves be guided by contemporary cultural standards—particularly now. There was a time when the average person wasn’t even aware of box office grosses. But since the 1980s, it’s become a kind of sport—and really, a form of judgment. It culturally trivializes film.
And for young people today, that’s what they know. Who made the most money? Who was the most popular? Who is the most popular now, as opposed to last year, or last month, or last week? Now, the cycles of popularity are down to a matter of hours, minutes, seconds, and the work that’s been created out of seriousness and real passion is lumped together with the work that hasn’t.
We have to remember: we may think we know what’s going to last and what isn’t. We may feel absolutely sure of ourselves, but we really don’t know, we can’t know. We have to remember Vertigo, and the Civil War plates, and that Sumerian tablet. And we also have to remember that Moby-Dick sold very few copies when it was printed in 1851, that many of the copies that weren’t sold were destroyed in a warehouse fire, that it was dismissed by many, and that Herman Melville’s greatest novel, one of the greatest works in literature, was only reclaimed in the 1920s.
Just as we’ve learned to take pride in our poets and writers, in jazz and the blues, we need to take pride in our cinema, our great American art form. Granted, we weren’t the only ones who invented the movies. We certainly weren’t the only ones who made great films in the twentieth century, but to a large extent the art of cinema and its development have been linked to us, to our country. That’s a big responsibility. And we need to say to ourselves that the moment has come when we have to treat every last moving image as reverently and respectfully as the oldest book in the Library of Congress.
What’s more, he referenced one of my favorite films of all time, Edison’s boxing cats. Because of that, I will once again embed it. Maybe we should get Scorsese to write a guest post here about it.
As you probably heard, Karen Black died. A key actress to so many major films of the 70s, she succumbed to cancer. She could have had a dignified end of life. Or maybe even defeated her cancer. Instead, she lived in the United States, where our disastrous health care system (even after the significant improvements of Obamacare) forced Black and her husband to crowdsource her cancer treatments after they used up all their savings.
At least Black had the name to do this. How many thousands of people just die because they don’t have the ability to put up even a basic fight against illness?
I did a long-form film review for Radical History Review on films dealing with the global water crisis. The abstract and link is here; any of you with access to a university library should be able to get it. Others I’m not sure. But this is almost like academic knowledge has some timeliness and accessibility!
May your Saturday night be like Harold Lloyd standing on his head, risking his life for a stunt.
An outstanding obituary of the great Dennis Farina by Alex Pappademas. Farina is one of those people who had a fairly minor career in the big scheme of things, but who affected so many people and who everyone loves and misses dearly upon their death.
Because we all need to see Connie Stevens chase William Smith through the streets of Seattle in 1976 for 6 minutes on a dune buggy.
Although I could do without the big sweeping Hollywood music in the trailer, Steve McQueen’s adaptation of Solomon Northup’s slave narrative 12 Years a Slave looks to be incredibly promising. Given the deep attention to physical detail in McQueen’s films and the fact that there really are so few good movies that deal with slavery in any serious way, I am more excited about this than any film in the last year.