Tag Archives: American Psycho

Wednesday Round-Up: Mary Harron Has Brought Us the Lives of Valerie Solanas, Bettie Page, and … Anna Nicole Smith?

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Mary Harron has one of modern cinema’s more unique, and uniquely cool, backgrounds. Though born in Canada she grew up in England, was an early contributor for the iconic Punk magazine and wrote for publications like The Guardian, and then moved into directing with the 1996 masterpiece (in my eyes) “I Shot Andy Warhol.” That film, the story of would-be Warhol assassin Valerie Solanas, is one of the finest films ever made about the Pop Art icon and the Factory scene.

She followed “Warhol” with an almost shocking departure: Bret Easton Ellis’s “American Psycho.” Filmmakers like Oliver Stone and David Cronenberg had attempted and failed to bring Patrick Bateman to the screen, but Harron succeeded by giving the film the satirical spin it needed. She also helped make Christian Bale a star.

“The Notorious Bettie Page” came next, and it was handsome but rather dull version of the pin-up icon’s life. Her last feature, the 2011 vampire film “The Moth Diaries,” cmae and went without a trace.

So there has been a bit of a downward trajectory from her first film on. Still, I’m not sure anyone saw her next project coming: Lifetime’s recently-aired biopic “The Anna Nicole Story.”

I have not watched it — although I did set the DVR to record a re-airing — but it is hard to feel much other than unease at the prospect of so talented a filmmaker taking on so garish a subject. But Film.com’s Matt Patches has made the film sound much more sensible, and even unmissable:

“At first glance, Harron’s Anne Nicole Smith biopic looks like the usual Lifetime schlocky melodrama full of drug abuse, soft core sex, and ridiculous twists (‘SHE WAS AMISH?!’). The iconography of Smith’s life lends itself to the Lifetime aesthetic — as evidenced in the trailer, quick cutting, camera sound effects, and a moody pop song easily turn Anne Nicole Smith’s life story into drama worthy of ‘Liz & Dick.’

“‘The Anna Nicole Story’ could have been another movie off the network’s conveyor belt. No one who tuned in would have batted an eye (and, perhaps, the movie would have more buzz) if it was a campy, exploitive interpretation of Nicole’s life. Yet with Harron, Lifetime finds a credible and sensitive filmmaker, able to elevate the material and mine its dramatic potential. They may not be HBO or AMC or Sundance or FX, but with ‘Anna Nicole,’ Lifetime realizes the potential of their brand. Deal in celebrity-driven tearjerkers, but make them good. With movie studios dropping the ball, there’s a window of opportunity for television and even unlikely brands like Lifetime are seizing it.”

Patches even sees the film as a cousin of Harron’s “Notorious Bettie Page,” as Harron again “examines the seductive qualities of fame on a woman at her lowest point.” I still find it odd to see Mary Harron at the helm of a Lifetime movie — especially THIS Lifetime movie. But Patches has succeeded in making me approach it with an open mind.

Meanwhile, here is Harron on why she made the film:

“Lifetime brought it to me and at first I was like, “Lifetime… hmm.” But I read the script and I’m always interested in doing women’s stories. What drew me to the Anna Nicole story was that the script was very sympathetic to her, because so much of the tabloid coverage of her was so sneering. I’m interested in beauty queens, and Anna Nicole is a kind of a Marilyn Monroe/Bettie Page for the 90s, and for the modern age of tabloids and reality TV. It is a tragic story and a lot of the outlines for those beauty queen stories are the same. They’re flying too close to the sun. I’m interested in these outsider people that society looks down on. I find them sympathetic and I find them interesting and I think that for all of Anna’s many faults as a mother and all the rest, she was a sweet person who was looking for happiness.”

The rest of this week’s round-up is Anna Nicole-free:

  • Sigh. The Stanley Kubrick exhibit recently ended its seven-month run at the Los Angeles County Museum of Art, and this video makes me depressed about how great it looked. Tour, please?
  • Here is a super-comprehensive site devoted to Cronenberg’s “The Fly.”
  • Lars Von Trier’s “Nymphomaniac” will not open for some time, but the director gave a few, ahem, tastes of what to expect this week: Here is the film’s “first chapter,” as well as the first released footage.
  • The AV Club asks an interesting question: “Does ‘Before Midnight’ dodge the hardest part of relationships?”
  • Channing Tatum takes a hit with the opening weekend failure of “White House Down.”
  • And finally, two more bits from The Guardian: First, a gleeful takedown of the Google-adoring flop “The Internship,” and a wonderfully moving piece about autism written by “Cloud Atlas” author David Mitchell.

Photo credit: Patrick Eccelsine

Wednesday Round-Up: Defending “Marie Antoinette,” Debating “Man of Steel,” and Keeping Up With Patrick Bateman

Marie Antoinette

The middle of the week means it is time for my usual round-up of some of the articles I’ve been digging this week, including a handy list of “movies to see” at the mid-point of 2013. I’ve seen my share, but I have plenty of catching up to do …

First: I’m not sure what it is about Sofia Coppola’s films that seems to garner such strong reactions. I’ve met few folks who are in the middle about her work — it’s a love/hate thing, it seems. Her latest, “The Bling Ring,” starring Emma Watson, appears to open Friday in Buffalo (there is some confusion, but it is listed on Fandango), and it seems to be as glossy and surface-oriented as the rest of her films. But I have actually liked that about them. “Marie Antoinette” seems to be the most love-it-or-hate-it of the Coppola filmography, and on the occasion of “Bling”‘s release, New York Magazine’s Vulture website is mounting a spirited defense.

As author Amanda Dobbins puts it:

To be fair, not everyone hated Sofia Coppola’s “Marie Antoinette.” New York’s David Edelstein called it “one of the most immediate, personal costume dramas ever made”; 55 percent of the critics on Rotten Tomatoes sided with him, to varying degrees. But seven years later, “Marie Antoinette,” loosely based on the best-selling Antonia Fraser biography, is probably Coppola’s least-loved film. It’s the one that got booed at Cannes (though of course it did, Cannes is in France); it is the one that didn’t live up to “Lost in Translation.” And if you are anti-Sofia, then it is probably the most obvious example of her worst tendencies: style over substance, minimal plot, overprivileged young women who refuse to speak in full sentences or really at all.

But I think I’m with Ms. Dobbins here: “I happen to love ‘Marie Antoinette’; it’s probably my second favorite of Coppola’s films, right behind ‘Lost in Translation.’ And while I understand some of the criticisms (specifically the part about no one using words, ever), most of its so-called weaknesses — even that famous pair of Chuck Taylors — are the reasons I enjoy it. For all its historical trappings, ‘Marie Antoinette’ is just a painfully hip period film about how annoying and fun and terrifying it is to be a teenage girl. It is a high-school movie transplanted to Versailles.”

And the rest:

  • Speaking of Sofia Coppola, Movie City News has posted her debut short from 1998, “Lick the Star.”
  • Bret Easton Ellis himself said “Keeping Up With the Kardashians” “star” Scott Disick would be an ideal Patrick Bateman in an “American Psycho” remake, but it took Kanye West to make it so.
  • I finally saw “Man of Steel” last night, and I’ll share some thoughts soon. (Let’s say I enjoyed it, with reservations.) The Playlist offers a solid breakdown of the best and worst of Zack Snyder’s Superman epic, and there are lots of good points here.
  • Roger Ebert’s birthday was yesterday, and his website offered up a nice list of films for which his review “made the difference,” including “Hoop Dreams” and “Dark Skies.”
  • Pitchfork’s new movie website, The Dissolve, has not launched yet, but its Tumblr site has, and the great Scott Tobias has posted the aforementioned “movies to see” so far in 2013 list, along with DVD and Blu-ray release dates for some.
  • Now the Rob Ford scandal is impacting the Toronto International Film Festival.
  • Will Brad Pitt’s “World War Z” flop? This writer seems to think so, and offers some convincing reasons why.
  • Yet another trailer for Nicholas Winding Refn’s “Only God Forgives,” starring Ryan Gosling.
  • Interestingly, after a mixed — well, mostly negative — response at Cannes, the filmmanaged to beat “Stories We Tell” and “The Act of Killing” for top honors at the Sydney Film Festival.
  • Lastly, Joss Whedon’s “Much Ado About Nothing” is finally set to open in Buffalo this weekend. Here is a nice Guardian interview about that film, “The Avengers,” his career, and more.

 

Photo Credit: Sofia Coppola
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