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Blog
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Eastwood aims for realism with unknown Hmong ensemble in ‘Gran Torino’
News America Media writer Louisa Schein has begun a two-part report on the Hmong actors cast in Clint Eastwood’s upcoming “Gran Torino,” and I have to say, it’s a real coup considering how little we’ve learned of the film so far.The article sheds light on Eastwood’s decision to cast a string of unknown in key roles throughout the film, making dreams come true for a large number of Hmong actors. What’s more, it seems Eastwood chose a number of Hmong extras and production assistants for the production, putting what Schein calls a “mountain of faith” in Hmong talent.
Here’s a bit from Schein’s lede:
After open casting calls were held in Fresno, Detroit and Minnesota, interested Hmong Americans waited with baited breath to see who would be cast. As days turned into weeks, fear spread that Hmong would be passed over for more experienced Asian actors. But then, in early July, people who least expected it started getting the calls. Elation spread with the news that ten key roles had gone to mostly first-time Hmong actors, and that Hmong extras, production assistants and others were also going to be on set. Eastwood seems to be putting a mountain of faith in Hmong talent, and it looks like he will be well rewarded for it. Working on Gran Torino is stretching the actors – many of whom have backgrounds in other art forms like music – to reach potentials they didn’t know they had.
She goes on to profile a number of the actors involved, then drops this bit of news about improvisation on the set:
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Russia, Argentina, Slovenia enter the derby
This morning brings three more entries in the Best Foreign Language Film race. KIcking things off, Russia has selected Anna Melikyan’s “The Mermaid,” which won the Directing Award in the World Cinema section at Sundance, before going on to scoop a FIPRESCI prize at the Berlin fest.A modern-day fairytale about a teenage girl’s coming of age in Moscow, the film has inspired comparisons to “Amelie” from a number of critics. Variety praises it for its “abundant charm,” “bravura visuals” and “a winning personality all its own.” I’ve been intrigued by this one for a while.
Meanwhile, Argentina has also gone with a success from the festival circuit: Pablo Trapero’s “Lion’s Den,” a story of a young woman’s imprisonment for accidental murder. The film played in competition at Cannes this year to enthusiastic reviews, including this rave from Andrew O’Hehir:
“Lion’s Den” is marvelously shot and acted, constantly surprising, and completely focused on Julia’s struggle to get from one moment, or one day, to the next one rather than through some formulaic story arc … Martina Gusman (Trapero’s wife in real life) gives a vivid, ferocious, almost animalistic performance.
Finally, Slovenia’s selection is “Rooster’s Breakfast,” a gentle study of small-town life that has been wildly popular in its home country but has virtually no international profile to speak of.
Once again, feel free to share any further information or perspective on these (or other) foreign-language entries in the comments below.
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Two from The Film Experience
Nathaniel Rogers is having a bit of fun with marketers in charge of Angelina Jolie’s mug this year. He’s also cooked up a Google map for your foreign film Oscar-watching pleasure.
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9/26 Oscarweb Round-up
• David Poland takes stock 22 weeks out, and somehow thinks early buzz on Sean Penn’s “Milk” performance is “soft.” [Movie City News]• Warner Bros. sends out a mailer offering Academy members the choice of a Blu-ray “Dark Knight” awards screener. Wally Pfister’s nomination moves further into place. [The Hollywood Reporter]
• In a nutshell, “Little Children” author Tom Perrotta wonders whether John Hughes was full of shit. [The Guardian]
• An A.O. Scott overview of the New York Film Festival. [New York Times]
• Susan King digs into the legacy of John Wayne. [Los Angeles Times]
• Alright, this is getting out of hand — and just stupid. Reporting on an alleged bet on the test screening score of “The Reader” for its release prospects? [The Big Picture]
• Top 10 tear-jerkers. [Premiere]
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Sweet new ‘Valkyrie’ poster
I’m loving it. Though the film still gives me some hesitation. A behind-the-scenes featurette will debut at Yahoo! in a few hours, FYI.
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‘Hunger’ trailer
When I was in Belfast over the summer I went on a little tour guided by an ex-IRA guy who actually participated in the hunger strike with Bobby Sands. In a thin year, Michael Fassbender is an Oscar contender. Tight competition amongst the indies, though:
By the way, why is Jeffrey Wells calling the First Showing post of the trailer “first anywhere” thing? It’s been on YouTube for a few weeks now. Anyway, very dynaminc looking film.
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TECH SUPPORT: Best Cinematography — Volume One
Today we begin our in-depth looks at the individual crafts categories. I’m a sucker for starting with my favorite: Best Cinematography.The art of film is reliant on the motion picture camera and those men and women who lend their talents behind the lens. The Director of Photography is in charge of charge of capturing the director’s vision on film, not only by ensuring mood through lighting, thematic comment through juxtaposition, etc. This work has to be done in tandem with the director, which makes it not surprising that many cinematographers and directors work together frequently.
This category tends to award “pretty” films. Big epics and gorgeous landscapes frequent the nominated five each year, as do war films and anything generally considered a labored task in this department. That is not to say such efforts have a monopoly on this category –- just that they are especially apt to be nominated.
Last year it was sad to see Roger Deakins lose for the sixth and seventh times on the same evening. I cannot deny that Robert Elswit -– a longtime favorite of mine –- was an excellent choice for “There Will Be Blood,” but the great Deakins is once again searching for his first statuette! He will be back in contention this year, lensing Sam Mendes’ “Revolutionary Road.” This film clearly has Oscar in its sights. While I still remain skeptical on how it will be received overall, Deakins will almost certainly be in contention should the film deliver in the slightest.
Deakins will also be lensing “Doubt” this year, which also has the potential to be a major awards player. Though I’m doubtful (no pun intended) about its chances in this category.
In what would be a historic nomination, Mandy Walker will likely be in contention for Baz Luhrmann’s “Australia.” She would be the first ever woman nominated in this category. Yes, that’s right. No woman has ever been nominated for Best Cinematography in 80 years of Academy history. Lurhmann’s films are always visually spectacular and this effort in particular fits in perfectly with the sorts of epics usually nominated in this category.
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Foreign film watch: China picks Olympics doc
Heading the latest round-up of Best Foreign Language Film entries, China has taken the unusual step of submitting a documentary in the race. As you may gather from the title, “Dream Weaver: Beijing 2008” is a study of the country’s seven years of preparation for last month’s Olympic Games, and was produced by a state-owned company.It’s certainly a distinctive and topical selection, though I really can’t imagine it making the lineup. “Mei Lanfang,” Chen Kaige’s lush, Ziyi Zhang-starring biopic of the eponymous opera star, would have been a more expected choice, though sources reveal the film isn’t finished yet.
Staying in that part of the world, Hong Kong has submitted “Painted Skin,” a fantasy epic from Gordon Chan centred on the love affair between a scholar and a beautiful, man-eating demoness. Featuring production design from Oscar nominee Chung Man Yee (“Curse of the Golden Flower”), it all sounds rather wild and wonderful — though probably a bit too “out there” for the voters.
Potentially more in their comfort zone is the Czech Republic’s entry, “The Karamazovs.” A portrait of a travelling Czech theatre troupe staging a production of the titular Dostoyevsky novel in a Polish steelworks, it was described by Variety as an “excellent but extremely highbrow pic that should enrapture festival-goers.” (The review also makes structural comparisons to Almodovar’s “Bad Education.”) The film will screen at next month’s London Film Festival.
Finally, Bosnia-Herzegovina, the nation that scored an upset win in 2002 with “No Man’s Land,” has gone with “Snow,” a female-oriented debut film about rural village life in the wake of the Bosnian genocide. The film bowed at Cannes to respectable reviews, and went on to take the Critics’ Week Grand Prize.
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9/25 Oscarweb Round-up
• Jeffrey Wells talks with legendary Oscar-winning lenser Gordon Willis about “The Godfather Restoration.” [Hollywood Elsewhere]• Talia Shire discusses same with Alex Simon and Terry Keefe. [The Hollywood Interview]
• Nikki Finke shits herself with weird fury over the Condon/Mark Oscar news from yesterday, finally admits she has testicles. [Deadline Hollywood Daily]
• Patrick Goldstein responds to it all, giving that nut-bird credence as a result. [The Big Picture]
• Tom O’Neil thinks Will Smith would be a fantastic Oscar host. Naaahh. [Gold Derby]
• Lynette Rice gets the rumors started with Ricky Gervais as a possibility. [Entertainment Weekly]
• Roger Moore could care less about his Bond legacy. [The Independent]
• Michael Moore’s election year freebie. [New York Times]
• Three films that broke through the “chick flick” barrier. [Test Pattern]
• Spike Lee and “Miracle at St. Anna” own the local paper this week, starting with a big overview/interview from Tom Roston… [Los Angeles Times]
• …then a spotlight on hottie starlet Valentina Cervi… [Los Angeles Times]
• …and finally, John Horn takes the opportunity to wonder whether audiences will care about WWII films this season, with four films yet to come. [Los Angeles Times]
• Scott Bowles gets a first look at Ridley Scott’s “Body of Lies.” [USA Today]
• 10 literary classics to turn into blockbusters. [Spout Blog]
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‘Slumdog’ extraordinaire
I’d hate to say something cliched like “believe the hype on Danny Boyle’s ‘Slumdog Millionaire.’” But believe it. And to think I almost skipped out on tonight’s screening since I caught wind of it last minute…thank God I took the trip because this is a hell of an achievement from start to finish. And Searchlight, Warners or somebody better figure out a way to market the hell out of that soundtrack like they did “Juno” last year, because it’s THUMPIN’.
Anyway, I don’t want to dig into the review yet. But Danny Boyle proved himself a visionary yet again this evening. And Chris Dickens is my new favorite person. What a treat.
