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Insomniac Smoochy Rouge
It's Friday and it's time for REVIEWS. Today, we're serving two film and two script reviews. Our resident reviewers 'Hollyfeld' and 'Q-Brick' give their two cents on Moulin Rouge. I finally do some real writing and give my opinion on two Robin Williams projects. Next week, Men in Black 2 script review!
'Death to Smoochy' and 'Insomnia' Script Reviews
I was looking for a theme script review for this column and it just hit me. Evil Robin Williams script reviews. Weird, isn't it? Robin has never really played a dark character or a down right villainous one on screen yet. He shot three back to back films featuring three very dark characters. The first one is One Hour Photo. It's the only script missing from my collection and do not worry once I get it (soon), I'll review it for you readers. The second movie in the dark trilogy is Death to Smoochy. From my understanding, it's the least evil role of the group. As for Insomnia, it is one of the most disturbing character I have ever seen him play. Here's my thoughts on both scripts:
Death to Smoochy
I have become a fan of Adam Resnick with his last script Numbers. Unfortunately, the big screen results of his script were seriously disappointing. With Death to Smoochy, Resnick officially becomes 'The King of Black Comedy'. His humor is very dark and that was probably the reason why Lucky Numbers failed. Hopefully, it won't happen with this script...
After the star of the network biggest show is arrested, Kidnet executives are looking for a clean cut replacement. Frank Stokes (Jon Stewart), head of network programming, hires Sheldon Mopes (Edward Norton) to replace Rainbow Randolph (Robin Williams). Mopes plays Smoochy, a lovable Rhino. Randolph goes insane and wants revenge on poor innocent Sheldon. Also lurking in the shadows are brutal thugs who work for a charity, crooked TV execs, Irish mobsters and very dangerous Japanese TV producers.
Having read Hart's War two weeks before this script. I cannot understand why Ed Norton picked this project instead of Hart's War. He has never been really good at comedy and this film will definitely be his biggest comedic test so far. He carries the movie on his shoulder. His character looks like a simpleton but he's in fact much smarter then we are lead to believe. The supporting cast will be interesting. Jon Stewart plays the corrupt network programmer. Catherine Keener is his assistant and love interest of Norton. She's a bitch at first but slowly begins to believe in Smoochy.
RANDOLPH
I'm the one who needs to be saved! Me. I'm broke! I lost my lawyer! My only friend kicked me out! I'm a f**king peanut shell in the shape of a man! Save the Randolph! Save the Randolph! Save the Randolph!
Robin goes nuts in the role of former TV show star Rainbow Randolph. He turns into a psycho 15 minutes into the film. He's so bent on revenge that it becomes hilarious. It's also by far the most vulgar character Robin has ever played on-screen. One of the funniest moment of the script is when Randolph fools Sheldon into performing at a Neo-Nazi convention. On the way to the convention, Sheldon feels pity for what happened to Randolph, who's disguised as a limo driver, which in return angers him even more. His descent into madness is so caricatured, it actually works. There's a good twist toward the end of the story, which I'm not going to spoil, but it changes his character completely. I'm sure it will work and the audience will like the ending.
I'm definitely looking forward to this project. If Danny Devito directs it well it has real chance of being a good size hit.
Insomnia
Looking for a follow-up to his breakthrough directorial debut Memento, Warner Brothers offered Insomnia to Christopher Nolan. Written by Hillary Seitz, it is based on a 1997 Norwegian film.
While investigating the murder of a teenage girl in Alaska, Seattle detective Will Dormer (Al Pacino) accidentally kills his partner (Martin Donovan). Too afraid to tell the truth, he covers up the death. The killer, Walter Byrd (Robin Williams), soon discovers it and blackmails the detective into closing the investigation by blaming the girl's ex-boyfriend. A young local police officer, Ellie Burr (Hilary Swank), starts investigating the murder of Will. Will the cover-up be discovered and Walter Byrd remain free?
I'm actually intrigued to see the original film now. It is a very interesting script and it works perfectly. Nolan should direct this bigger scale project beautifully. The script is really well written and doesn't lack anything. There are good amounts of action, thrills, romance, suspense and drama. The cast is amazing. Seitz has written good characters for all of them. It's another great role for Al Pacino. His character has flaws and he's amazing at developing that in his performances.
WALTER
I bet you haven't been getting much sleep. You lower-48s. You think the white nights are kind of neat. Then you can't sleep for days. I've seen it happen a million times. But you're a little different. "Seattle cop killed by Suspect." Don't worry, Will. We're partners now. I saw what really happened.
This is as dark as he well get. Imagine the bearded Robin of Good Will Hunting but with a dark mind. A very disturbed spirit inside of him. He's a psychopath, a cold blooded and extremely smart killer. It's the least sympathetic character he will probably ever play. I'm really excited to see him try to portray roles like that. He's stretching his on-screen persona. Every actor needs to do the same thing at one point in their career. Every good villain needs a hero and it can't get any better than Al Pacino. I can't imagine how this movie could fail. Definitely one film to watch out for next year...
Hollyfeld loves the 'Moulin'
Hollyfeld, here. Moulin Rouge is a work of cinematic brilliance - I'm not ashamed to admit it. I loved it. A part of me just wishes I could stop there, and just assume that my recommendation will be enough to make everyone who reads this want to see it, but I cannot afford to take that chance. Moulin Rouge deserves my highest recommendation, for although some might not consider it cinematic flawlessness, I think it embodies with absolute perfection what the medium was made for: realizing dreams.
Moulin Rouge is the latest work from Baz Luhrmann, director of William Shakespeare's Romeo + Juliet and Strictly Ballroom, and is the third film in his aptly named 'Red Curtain Trilogy'. A Red Curtain film is probably best explained as a film that wears its theatricality on its sleeve, never really striving for realism. The trick, of course, is not to alienate the audience from the storyline in doing so. Strictly Ballroom, easily the slightest film in the series, is surprisingly simply told for a Red Curtain film - the simple storyline focuses on two rebellious dancers participating an Australian ballroom dance competition - whose theatricality comes in the form broad caricatures, plot developments and dance sequences. R+J, also with a reasonably simple storyline, embraced a distinctly cinematic theatricality, using flashy camera-work and striking updates to the text's original setting to capture the viewers' imagination. Taken in comparison to his previous works, Luhrmann's Moulin Rouge is clearly his masterpiece, managing to tell it's (again) simple storyline in such a sumptuous manner as to completely alienate the viewer from this world while simultaneously drawing them in with its beauty. It's not our world - it's clearly Luhrmann's, and it is incredibly nice of him to let us visit for a while.
Ewan McGregor stars as Christian, an English writer who has just moved to 1899 France in order to participate in the Bohemian lifestyle, pursuing 'Truth, Beauty, Freedom, and above all Love'. He quickly finds himself the writer of fellow Bohemian Henri de Toulouse Lautrec's (John Leguizamo) new play, 'Spectacular, Spectacular,' which currently bears a surprising resemblance to The Sound of Music. Lautrec brings Christian to the Moulin Rouge, the famous Parisian nightclub owned by Harry Zidler (Jim Broadbent), who wishes to turn the club into a legitimate theater. This suits Satine (Nicole Kidman), the Moulin Rouge's most popular entertainer and courtesan, perfectly, because she dreams of becoming a real actress. Zidler has conspired to woo The Duke (Richard Roxburgh) into investing in the necessary renovations and pre-production work for the project using Satine to satisfy his more carnal desires. But one thing leads to another (as it usually does) and Satine confuses Christian for the Duke, falling in love with him. Unfortunately, the Duke quickly falls in love with Satine, as well, forcing she and Christian to keep their love secret in order to keep 'Spectacular, Spectacular's' investor happy. Keeping the Duke happy requires a bit more from Satine, however, than Christian would like, and soon enough both Christian's and the Duke's jealousy for Satine threatens to tear the heroes apart.
You know, several critics have complained about the simplicity and broadness of Moulin Rouge's plot. Pardon me while I be pissed for a moment.
Thank you. You know, several critics in this industry are being extremely over-critical of this film, and I am beginning worry that their reviews will result in a bunch of people either 'not getting it,' or worse, not seeing it. The plot for Moulin Rouge has no choice but to be simple - the very nature of a musical production is best suited for broad storylines. There are, of course, exceptions (although none are occurring to me right now), but characters breaking into song would only over-complicate any already complicated narrative. Howard's End would not be particularly suitable for Broadway musical adaptation, for example, but the by the number plots of such hits as Footloose, The Full Monty or The Producers adapts incredibly well to the style.
And what style Moulin Rouge has. In his latest film, Baz Luhrmann takes the elements that made Strictly Ballroom and Romeo + Juliet a part of the Red Curtain trilogy and expands them, creating an entirely new vision that enables the audience to feel that we are now, more than ever, truly inside Luhrmann's world. Moulin Rouge is filled with visual flourishes that have perhaps never been used to such an extreme, and successful, effect. Look at the way Luhrmann contrasts the vibrant colors of the stages, dance routines and private worlds of the characters with the run-down, grey or even sepia backstages and exteriors of Paris. This effect has been done before (Lars Von Trier's pseudo-musical Dancer In The Dark alternated between the Dogma 95-styled plotline and vibrantly colored, more stylized musical numbers), but as with every other effect and theme in Moulin Rouge, Luhrmann goes the extra mile, adding exploding stars and singing moons into backgrounds, and even a Green Fairy (Kylie Minogue).
Of course, these elements only heighten the separation of the audience from Moulin Rouge's environment, but the strong performances from the Kidman, McGregor, Leguizamo, and particularly Broadbent effectively keep the film rooted in emotional reality. These are real human beings behind the glamour, and yes, the songs. A lot has been made of the fact that Moulin Rouge is a bonafide musical - one critic, who will not be named here, almost went so far as to make that fact a point of derision. Some people, it is argued, may be unable to understand a group of people's emotions being so high that the just HAVE to break into song. Well I'll be damned if this is not the case. Luhrmann's use of contemporary songs for the musical numbers in Moulin Rouge was not just for effect, and not just because he thought it might be cool (although those were clearly factors), they are there because they are songs the audience will already know and love. Most people are familiar with Elton John's 'Your Song,' so to hear Christian sing it to Satine is not such a shock - the real power behind it is the naked love with which McGregor sings, and the genuine affection and appreciation with which Kidman listens. The musical numbers are not just about entertaining the audience, but also communicating between characters, and is thus vital the plot. There is not a sour note in the entire song score, by the way, although in my mind the stand outs were Leguizamo singing 'Nature Boy', McGregor and Kidman singing 'The Elephant Love Song Medley' (intertwining many of the last thirty years' love ballads into one very delightful number), and a certain number featuring Broadbent and Roxburgh that is not featured in any way on the soundtrack so I choose not to name it. It was a delightful surprise, however, and received quite a bit of applause from the audience.
Critics have also complained that the excesses that are so vital to the themes and visions of Moulin Rouge often 'go too far.' Excuse me while I be pissed again.
Thank you. There is no 'too far' in the world of Moulin Rouge. It exists in a fantasy realm completely unlike our own except in emotion. Many of the various plot twists embody this, such as when Christian attempts to solve a very real problem by 'writing a song.' This doesn't happen in real life, but works within the film's central logic. Indeed, the film is very Shakespearean in this sense. As with most of Shakespeare's works, the central plotline is a very simple one - it is only the details that get complicated. Christian's use of songwriting in this case is very much akin to Hamlet putting on a play to determine if his Uncle is a murderer. And like Shakespeare's comedies, Moulin Rouge is filled to the brim with mistaken identities, secret plots, and comic relief characters that have surprising moments of revelation and truth. John Leguizamo's Toulouse Lautrec may not be as meaty a role as his Tybalt in Romeo + Juliet, but he remains the film's heart, and just maybe its soul, with his humor, exuberances and unexpected humanity.
Moulin Rouge is one of those rare glimpses into a filmmaker's private dreamworld, belonging in the same company as Lucas' Star Wars, Lynch's Eraserhead and Tim Burton's The Nightmare Before Christmas. Baz Luhrmann completely submerges his viewers into a very wonderful place of truth, beauty, freedom, and yes, above all things, love. It is the film that many of us have been waiting for - the first film in too many years to be absolutely and perfectly magical."
(Review submitted by 'Hollyfeld.')
The last Review by 'Q-Brick'
Q-Brick gives us probably his last review of a film:
The big gaudy, show-stopping musicals that were such a Hollywood staple from the 1930's and 40's (and in some respects , the 50's) has been resurrected and re-fashioned in the new Baz Luhrmann film, Moulin Rouge. It's a continuation of what the Aussie calls his "Red Curtain" films: movies that feature a recognizable myth set in a highly theatrical and even hyper-visual world. This is a style he employed in his first feature, the minor classic Strictly Ballroom and again in the commercially successful Romeo + Juliet (starring Leo Di Caprio).
What makes Moulin Rouge so audacious is the wild just-this-side of-authentic production design, a roller coaster visual style and bold use of very contemporary songs...everything from Sound of Music, Sting's 'Roxanne' , country music classic 'I'll Fly Away' to Madonna's 'Like A Virgin' (one of the film's funniest song & dance sequences). The biggest surprise comes from the two leads, Nicole Kidman and Ewan McGregor: they are wonderful singers.
Moulin Rouge really allows Luhrmann to revisit his live theater roots. We see this at the beginning when the stage is literally set within the film's opening credits. A life-size conductor, in front of a massive, tacky velvet curtain strikes up the orchestra. From that point we are whisked into the Paris at the turn of the century and the tragic love story between a young poet, Christian (Ewan McGregor) and a star dancer at the raucous Moulin Rouge, Satine (Nicole Kidman). The story is a show within a show as the two lovers, along with painter Toulouse-Lautrec (John Leguizamo) and his band of Bohemians attempt to stage a musical extravaganza that will turn Satine into a legitimate actress and her boss Zidler (Jim Broadbent) into a full-blown theatrical impresario. To finance this opus, Satine must woo the whiny, leering Duke (Richard Roxburgh). The Duke, an obsessive compulsive wants Satine completely who tries to keep him at arm's length. The story has an added texture when one considers that much of the talk about the low regard of the dance hall denizens can also be viewed as a comment on creative people in general...especially film actors.
For a story features low-rent characters set in Paris' shady night life, the film is very romantic. That's exactly what the director was trying to achieve since the very simple moral of the film is that love can elevate the lowest of the low. Moulin Rouge is fully fleshed out thanks to a wonderful cast (Kidman and McGregor bring a lot of genuine heat to the screen) and the top technical work of Production Designer Catherine Martin, the dense, atmospheric cinematography by DP Donald McAlpine. I also have to mention Angus Strathie's costumes and John O'Connell's choreography. A lot of praise should also go to Chris Godfrey and his cohorts at Animal Logic for creating the other-worldly Paris of 1899. All of these cinematic crafts create an overheated, over-the-top style that really reinforces the film's theme of redeeming romantic love. The frame is filled with texture, color and a lurid atmosphere that is really only found in the imagination....that's why it works so well. If you've read my review so far, you've probably guessed that I liked Moulin Rouge. I liked it very much, probably enough to see it again...if only to watch one of the planet's most exquisite creatures: Nicole Kidman.
(Review sent in by 'Q-Brick'. Thank You so Much for all the reviews. I wish you the best of luck in your new home...)
Stay tuned...
That's all folks...
Jean-François Allaire (aka DeadPool)
Questions, comments, praise etc. Email me at deadpool@tnmc.org
Jean-François Allaire is TNMC's first columnist. At only 24 years old he has become a respected entertainment journalist, with his columns appearing in Corona's Coming Attractions and Scr(i)pt magazine. He also writes a monthly column in Screenwriters Monthly entitled 'The Last Word.' Hailing from Montreal this young writer is determined to dig up all the details on the movies before they hit your local theater. If you're part of a movie production then you really need to be talking to him.
