For what it’s worth, Dark Horizons publishes a highly speculative “insider report” on the next Nolan Batman. Among the tidbits offered here, Liev Schreiber is up for Harvey Dent, as are Paul Bettany, Ryan Reynolds, Michael Keaton (!), and Johnny Depp for the Joker. Schreiber would be a great pick-up as Gotham’s two-faced D.A., and any of the others — well, except Reynolds, I guess — would make a solid Crown Prince of Crime, although I’m still rooting for Adrien Brody.
Month: October 2005
Frist makes a killing.
The Frist SEC probe moves along, with a subpoena forcing the Senate Majority Leader to turn over documents related to his HCA holdings. In addition, it now appears Catkiller made tens of thousands of dollars from HCA stock outside of his “blind” trust, through a partnership controlled by his brother. So much for avoiding a conflict of interest.
The Once and Future Quake.
“Earth, that living, seething, often inhospitable and not altogether intelligently designed thing, has again shrugged, and tens of thousands of Pakistanis are dead…Americans reeling from Hurricane Katrina, and warned of scores of millions of potential deaths from avian flu, have a vague feeling — never mind the disturbing rest of the news — of pervasive menace from things out of control. Too vague, according to Simon Winchester.” In light of the horrifying calamity in Pakistan this past weekend (as well as Katrina and the tsunami), George Will peruses Simon Winchester’s new book on the San Francisco earthquake of 1906.
With God on their side.
Personal plug: Bill Press’ How the Republicans Stole Christmas, which I worked on earlier this year, was released today. As I noted last April, its basic thesis is “The Religious Right are neither religious nor right” (discuss amongst yourselves), and it aims to put the lie to the fundies’ constant invocations of Jesus to justify their greed, intolerance, and hypocrisy. (And, along with being a long-time Dem campaign manager and pundit, Press also spent a decade in the seminary, so he knows of what he speaks.) Now, as they say, in bookstores everywhere.
A Tale of Two Parties.
“‘We’ve had a stunning reversal in just a few weeks…We’ve gone from a situation in which we might have a long-overdue debate on deep poverty to the possibility, perhaps even the likelihood, that low-income people will be asked to bear the costs. I would find it unimaginable if it wasn’t actually happening.'” As the Republicans fall into further disarray over such matters as Harriet Miers, the slew of indictments, and Katrina spending, it now appears that the GOP is even having trouble lining up candidates for 2006. But can the Dems capitalize on the GOP house divided? If Katrina is any indication, we’re still clearly in deep, deep trouble. For even despite all the current legal and political woes for Dubya and the sheer rapacity of Operation Offset, many on the left see the post-Katrina debate over poverty slipping away…
Skull Island Standoff.
While I prefer the teaser image below, the recently released international poster for PJ’s King Kong is definitely worth a look-see as well, if you’re in any way Kong-inclined.
Oil & Smoke.
In the movie bin, Jake Gyllenhaal welcomes the suck in the full trailer for Sam Mendes’ Jarhead (teaser noted here) , and John Turturro directs an all-star cast to song and dance in this first clip from Romance & Cigarettes.
Craig. Daniel Craig.
Welcome to the Layer Cake, 007. The London Evening Standard is reporting that Daniel Craig has been cast as the new James Bond. His name’s been floating around for awhile now and, this side of Clive Owen, I think he’s probably the best fit for the assignment. Now, if only they’d forsake the exploding pens and laser-guided paper clips for some quality, no-frills cloak-and-daggering.
Not-So-Permanent Vacation.
Bucks Mills Stipe Berry? Original drummer Bill Berry recently returned to R.E.M. for a seven-song wedding set that included “Sitting Still,” “Don’t Go Back to Rockville,” “Wolves, Lower,” “Begin the Begin,” “The One I Love,” “Permanent Vacation” and “Radio Free Europe.” Now, that’s a right nice wedding gift and no mistake.
Exhuming McCarthy.
While perhaps a bit too black-and-white in terms of the history, George Clooney’s Good Night, and Good Luck is nevertheless a somber and captivating paean to Edward R. Murrow, his televised expose of Joe McCarthy, and, by extension, the Pioneer Days of Television Journalism. (In this last regard, it’s somewhat reminiscent of the excellent Clooney-produced live TV version of Fail Safe a few years ago.) It’s also assuredly a smoother, subtler, and more accomplished bit of muckraking than, say, Tim Robbins’ recent and lamentably over-the-top Embedded. Once again displaying the surprisingly strong directorial sense he exhibited in Confessions of a Dangerous Mind, Clooney also benefits here from a smartly written script which refuses to talk down to its audience, the crisp black-and-white cinematography, and quality performances across the board. As a result, what could have been an above-average History Channel documentary is instead a powerful and intelligent work of cinema that’s easily one of the better films out this year.
Admittedly, as Jack Shafer pointed out in Slate, Good Night, and Good Luck is rather narrowly focused, and works better as an impassioned and articulate morality play than it does as sound history. The Murrow of this film is saintly to a fault (although David Straitharn ameliorates this with a sardonic and multifaceted performance that may well get some nods come award time.) And there’s very little historical context offered herein, either for the origins of the McCarthy hysteria or for the Wisconsin Senator’s ultimate downfall, which had more to do with picking a fight with the army than with the Murrow broadcast.
That being said, I really like the way Clooney uses archival footage in this film. For one, Clooney was clever to follow Murrow’s example and let Joe McCarthy hoist himself on his own petard. Having the real McCarthy excoriate Murrow as the “leader of the jackal pack” gives the film a sense of history (and menace) that an actorly turn couldn’t have provided. For another, Clooney, who definitely appears to have done his homework, is unafraid to cut to real historical footage — the Annie Lee Moss hearings, for example — for extended periods, and just let the inherent drama of the real proceedings speak for itself. As a result, the history feels alive and contemporary, no mean feat when so many other historical films seem to use the past as merely exotic window dressing. Could the film have been more nuanced in its appraisal of both Murrow and McCarthyism? Undoubtedly. (Then again, nuanced appraisals weren’t exactly McCarthy’s strong point, either., nor is it a long suit of his current defenders.) But on the whole, Good Night, and Good Luck is, I think, a worthy exercise in historical filmmaking, and one with some obvious relevance in light of today’s entertainment-addled, sideshow-obsessed news media.
Movie-wise, there are a few small problems. I think the GN, & GL should have done either more or less with Robert Downey, Jr. and Patricia Clarkson as Wershbas Joe and Shirley — their particular plight doesn’t tie in to the rest of the story very well. And, while Ray Wise is good as the broadcaster-at-wits-end Don Hollenbeck, he’s also typecast in my mind — I kept expecting him to break into the Leland Palmer dance. All in all, though, Good Night, and Good Luck manages to enliven both the staid television studios of Fifties CBS and this historical moment with smoky jazz, languishing cigarettes, and ominous shadows. As the show says, see it now.