Bernardo Bertolucci...receives honorary Palme d'or @ Cannes Film Festival!

 



Officials at the Cannes Film Festival have just announced that respected Italian film director - Bernardo Bertolucci - will be presented with an Honorary Palme d'or at the opening ceremonies on May 11th on the picturesque French Riviera in the south of France.

A handful of notable directors have received the coveted award in the past - Woody Allen (2002) and Clint Eastwood (2009) - for example.

The President of the prestigious Festival - Gilles Jacob - will head up the much-ballyhooed celebrations on behalf of the discerning Board of Directors.

The filmmaker has distinguished himself as a great auteur with a remarkable body of work - that includes masterpieces such as the Conformist (1970), the Last Tango in Paris (1978) and The Last Emperor (1982).

Bertolucci has been lauded over the course of his enviable film career - not only for his particular focus on political and social issues - but, also - for his unrelenting bold-faced efforts to elevate the realm of celluloid - and its artistry - to the heights of profound thought-provoking imagery and unique poetic lyricism.

"The quality of his work which appears today in all its uniqueness, and the extent of this work we perceive every day more vividly, the strength of his commitment to cinema, and the ties that bind him to Cannes, make Bernaldo Bertollucci the first legitimate recipient." Jacob was quick to gush to the media at a press conference.

The Honorary Palme d'or will be presented on May 11th, at the "Opening Night" of the 64th edition of the Festival.

Robert De Niro, who chaired the Jury, is expected to be present for the auspicious occasion.

The Palme d’Or is usually awarded to one of the filmmakers in competition.

But, the honorary Palme d’Or has also been bestowed upon important filmmakers, when their work has been deemed "authoritative”  - and the director - has failed to wrangle the prize during the fierce annual competition.

Bertolucci was born in the Italian city of Parma.

The visionary director was the elder son of Ninetta (a teacher) and Attilio Bertolucci (who was a poet, a reputed art historian, anthologist and film critic).

Bertolucci's childhood influences appeared to spell his fate from the get-go!

He began writing at the age of fifteen, and early on, won several prestigious literary prizes including the Premio Viareggio for his first book.

Bertolucci's films tend to put a searing spotlight on themes related to sex, politics and cinephilia.

I recall attending the premiere of the "Last Tango in Paris" in Vancouver (Canada) and being thoroughly shocked by the subject matter.

The voyeuristic flick approached the issue of sexuality in an extremely carnal and disturbing way.

Too erotic (perverted?) for mainstream North American audiences?

Needles to say, there was quite an uproar when the controversial feature was first released in Canada, and outraged filmgoers have never looked at butter the same way ever since!

"The Conformist" dealt with fascist Italy and was seen as both artistic and intellectual in nature.

"The Dreamers" (released a scant few years ago) was one Bertolucci favorite of mine that underscored to me the auteur was still capable of seducing an audience with themes that resonated with truth and conviction while ruffling their sensibilities to the core.

The tony Cannes Film festival  - which usually features a must-see roster of leading-edge films - is attended by noteworthy film critics from around the globe - and likewise - attracts a jet set elite in the realm of film who are drawn to the exotic fest like moth to flame each year

See 'ya there!

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Directing smooth as Butter!

Golden Globe Awards...LA TIMES critics take swipe at nominations!

 

Tilda Swinton snubbed!

The morning daily was awash today with stinging criticisms in the wake of yesterday's stunning reveal of the nominations for the Golden Globe 2010 calendar year!

Personally, I was surprised by a couple of the nods - and downright baffled over one or two of the obvious stinkers - as well.

A nomination for the just-released "Tourist" - in the hilarious category of  the "Best Musical or Comedy" - caused a bevy of critics to shake their heads in total disbelief.

The misstep appeared to hint that no one at the Foreign Press screened the flick before voting!

Or, just maybe, this was the organization's way of taking a sly poke at the so-called suspense thriller, which failed to meet the criteria of the genre by a whole nine yards?

One reviewer joked that nominations for a handful of unworthy star performers - magnetic Angelina Jolie and ever-popular Johnny Depp, for instance - was a deceitful efffort to ensure that the red-carpet ceremony was packed to the rafters with mega-stars in a bid for a ratings boost on January 16th when the much-anticipated event is broadcast.

A popularity contest?

You betcha!

What?

No nods for - Tilton Swinton (I am Love), Robert Duvall (Get Low), Barbara Hershey (Black Swan), or Mark Ruffalo (The Kids are Alright) - eh?

A "True Grit" shut-out (Coen Brothers) caused a storm of controversy to swirl in show-biz circles throughout the day yesterday in Hollywood (and elsewhere).

Is their taste up their wazoo, or what?

Normally, the Golden Globes are a percursor to Oscar wins, but armchair nay-sayers are predicting that this year there will be a big departure in that regard.

Fans of Clint Eastwood (Hereafter) were taken aback at his snub; after all, over the years the HFPA has always warmed up to his skills at the helm (he has been nominated on five occasions in past competitions).

When the subject turned to comedies, per se, the Foreign Press was accused of being - well - foreign!

Reviewers at the LA Times concluded that the panel of voters at HFPA didn't understand particular brands of comedy.

"They don't get American humor."

The big winners?

The Fighter (a well-received Mark Wahlberg project) and The Social Network (Facebook tell-all) each racked up 6 nominations head-in-head.

Even so, it's hard to disagree with an assessment by Time's writer Betsy Sharkey.

"Serious crimes were commmitted!"

You bet your sweet bippy, Betsy!

"Off with their heads!"

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Cobacabana...day I talked back to director! OMG...

Last night I woke up at about four o'clock in morning and found myself drifting back in time to the olden- golden days when I used to scurry around town to nab bit parts in the Film & Televsion industry.

For some inexplicable reason, a brief stint on the TV Movie - "Copacabana" (an adaptation of Manilow's hit song)- flooded my mind with hilarious memories.

Like "Lucy" - who was always trying to break into show biz - I was always get rooked into some fly-by-night production, or scam, which I can reflect on now and laugh heartily about.

If you recall, Manilow - who started out as a back-up pianist for chanteuse Bette Midler at the Men's Continental Baths in NYC - wrote the lyrics and music for "Copacabana" with partners Jack Feldman and Bruce Sussman (a catchy tune which debuted on Billboard's Magazine's Top 40 Chart on July 7th, 1978).

"Copacabana" is also known as "Copacabana (At the Copa)".

Manilow nabbed a Grammy Award for "Copa" in February 1979.

The popular crooner was approached one day - although I am not familiar with the specific background details (how the project came about)  - to produce  a televison MOW based on the storyline of the song.

Just like in the pop hit, the TV production featured  two main characters - Lola (her name was Lola, remember?) - and Tony (her lover).

Manilow and his co-writers -  Bruce Sussman and Jack Feldman - expanded the idea with additional songs and intriguing plot twists suggested by the song.

If you recall, at a climatic moment, a character is shot.

This is where I come in!

I was cast as a glorified extra (in a special bit!) - along with another actor - to dash out  on the dance floor and apprehend the gunman.

The scene was rehearsed quite strenuously and required exact timing that evening for two reasons.

For starters, the scene was being shot with dazzling special effects (and a stop-action camera) that was difficult and costly to set up.

But, there was a bigger dilemma looming on the horizon.

The production was fast-approaching "golden time".

When a company shoots long hours beyond the regular schedule - and the actors are not fed - they are entitled to steep overtime pay.

Once the regular hours have elapsed - the performers start receiving time-and-a-half - then double-time - also known as golden time.

So, it was imperative that the cast and crew get the shot in one take!

In Hollywood that's generally impossible (unless Clint Eastwood is at the helm).

So, the big moment arrived, and everyone on the stage was all keyed-up and waiting for the director to yell "action".

Unfortunately, because the camera was running, the director was forced to give a visual cue to the two of us (in the wings).

Once the director's hand gave the signal, we were supposed to dart across the stage, and drag the shooter away.

Unfortunately, shortly after the shot was rolling, I suddenly noticed that the director changed his position on the sidelines on the sound stage.

A large exotic palm tree was now blocking him from view.

In a panic, and unable to alert the director, I elected to keep my eye on my partner in the scene - and take my all-important cue - from him.

Suddenly, he lurched forward onto the stage, so I assumed the cue had been given.

Wrong!

He was so nervous that he jumped-the-gun.

And, the director was forced to scream "cut".

At this point there was quite a bit of cursing - and ranting and raving - falling on my virgin ears!

On the heels of that tirade, a slew of nasty comments followed, obviously intended for my partner and me.

I don't know whatever possessed me, but all-of-a-sudden, I cried out from my position across the room.

Sir!

Suddenly, there was  dead silence, as an eerie pall fell over the set.

I could imagine what everyone in that room was collectively thinking at the moment.

OMG!

He talked back to the director.

I continued unscathed.

"You changed your position, Sir. That palm tree was obscuring my view, so I wasn't able to visually catch your cue."

The silence was so load that it was deafening.

"Surprisingly, I wasn't tossed off the lot on my a**."

Without skipping a beat, the director shifted gears.

"Okay. Let's go for another take."

Whew!

I thought I would never eat lunch in this town again!

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Clint Eastwood...Spirit Award! "Yojimbo" screens at Castro Theatre, San Francisco, Jan 4th, 7 pm

Another year passes, and I reflect on one of the industry highlights.

Clint Eastwood was awarded the "Spirit of Independence Award" by his peers.

The "Spirit of Independence Award" was created in 2005 to honor an artist's commitment to their artistic independence in film.

It's hard to believe that squinty-eyed Clint has been in front of the camera for fifty years, at last count. The little Golden Statuettes are no stranger to him, either; of course, he is a two-time Oscar-winner (do you recall what films he won them for?) and three-time Golden Globe award-winner, as well.

Previous winners of the "Independence Award" have been talented man's man George Clooney and charismatic Charlize Theron.

Eastwood received his coveted honor at a private ceremony on June 28th, 2007.

My favorite Eastwood offerings are undoubtedly those in the "Fistful of Dollars" film series (director, anyone?) commonly-known as the "The Dollar(s)Trilogy".

The character the gruff macho leading man expertly played was known to filmgoers as "The Man with No Name".

One critic noted that "Fistful of Dollars" was basically homage to celebrated Foreign Film Director Akira Kurosawa; after all, "Fist" followed Kurosawa's - "Yojimbo" - almost scene-for-scene.

The plot of "Yojimbo" is the tale of a Samurai who comes to a town torn by two gangs of fighters. The wise loner cleverly plays the rivals off against each other, helps a family to escape, and in the end finishes off pretty much the whole town and leaves with all the money.

Replace a Samurai with a gunslinger, and the Japanese village with a small western town, and you have "A Fistful of Dollars".

Also borrowed were Kurosawa-style sets, the quiet confidence of the lead character (the deadly "man with no name"), the innovative use of music to uniquely replace dialogue - and, last but not least - Kurosawa's slow motion photography.

Previously, a handful of Italian westerns were produced, but most were along-the-lines of the old-style Hollywood Westerns, turned out by the major studios for decades.

After "A Fistful of Dollars" was released, however, rapid-fire copy-cat productions of the new "spaghetti-westerns" were turned out by many reputable directors, usually musically-scored by either Ennio Morricone or Bruno Nicolai - of "Fist" fame.

Who could forget the haunting theme song of the first box-office hit?

I was lucky to have been on a movie set a couple of times when Eastwood was directing. The man is fairly low-key - an actor's director - for sure.

His cast is given a lot of free rein to explore their roles; occasionally, he'll step in to give a couple of pointers, true - but generally he's prone to let the "characters" find their own way.

Eastwood has no ego about his own on-camera work as an actor.

Generally, when it's the director's turn to emote, he steps shyly in front of the camera - almost embarrassed - does one take, then - in that distinctive voice of his - rasps, "let's move on".

He's a gentleman, too.

Curiously, as I was drafting this post, I happened to notice in the daily newspaper that the Castro Theatre, in San Francisco, is screening three of Kurosawa's films tonight, Friday January 4th - "Yojimbo", among them at 7 p.m.

I plan to take it in, how 'bout you?

With thanks to fistful-of-leone.com