Up next? Ty takes a cutlass to the seven seas in Rafael Sabatini’s ‘The Black Swan!’
16 October, 2014
His three-cut signature – the letter Z – is unmistakable. It’s the sign of The Fox. The calling card of the masked avenger we cheer as Zorro!
His creator, Johnston McCulley, started as a crime reporter for “The Police Gazette” and served in Army Public Affairs in World War I. A history buff, he would go on to write hundreds of stories, fifty novels and numerous screenplays for movies and TV, often using the rough and romantic Southern California Desert as his backdrop. And it was in 1919 that he first introduced us to his most famous character, in a serialized story appearing in the pulp magazine “All-Story Weekly.”
The black costume with the flowing cape, the cowl mask under the flat-brimmed sombrero, the sword in one hand and bullwhip in the other; mounted on his trusted steed Tornado, he is the heroic vigilante fighting for the people of El Pueblo De Los Angeles!
Of course, he started as a curse.
Let me explain.
It was in that ‘All-Story Weekly’ Pulp that McCulley unleashed ‘The Curse of Capistrano.’ Don Diego Vega is Señor Zorro avenging the oppressed townspeople. Well, it’s our hero who’s dubbed “The Curse” by the evil Captain Ramon and The Noblemen. Of course, in the end, our hero thwarts the aristocrats, romances the beautiful Lolita Pulido, and frees the good people of the town to live to fight another day.
But who is he? To begin, is Zorro Spanish or Mexican? The simplest answer is McCulley created the character as “of Mexican heritage” who is educated in Spain before returning to California in the 1820s. Don Diego Vega (later De La Vega) / Zorro has appeared in several incarnations, from stories to radio to comics to features to television and, of course, things change. Interestingly, the fox – zorro is Spanish for Fox – is never depicted as an emblem but rather a metaphor for the character's cunning. McCulley's concept of a band of men helping Zorro, for instance, is often absent from other versions; a significant exception is the Serial ‘Zorro’s Fighting Legion’ (1939). In the original stories, Zorro is aided by a deaf-mute named Bernardo. In Disney’s TV Series (1957), Bernardo is not deaf but pretends to be, serving as a spy. The Family Channel’s TV Series (1990) replaces Bernardo with a teenager named Felipe, but with a similar disability and pretense. The two Antonio Banderas features (1998 & 2005) reintroduced the character to a wide modern audience -- the first, by the way, is very good -- and in 2009 a popular TV Series in – wait for it – The Philippines began, continuing 95 years of the Spanish-Mexican-California hero.
Ah, but is he fact or fiction? Well – fact? – the historical figure most often associated with the Zorro character is Joaquin Murrieta, a miner turned outlaw during The California Gold Rush. Opinions on why he became an outlaw vary, not unlike our old friend Jesse James. He's also – fiction? – widely regarded – significantly due to an 1854 dime novel by John Rollin Ridge – as The Mexican Robin Hood. (None other than William Wellman told the story in his 1936 film ‘The Robin Hood Of El Dorado’ and – for you close-watching fans – yes, that’s why Antonio Banderas’ character’s name is Murrieta.) The character of Zorro certainly resembles Robin Hood, is a direct literary descendent of Orczy’s ‘The Scarlet Pimpernel’ (1903), and is a rather obvious ancestor to Batman (first appearing in the comics in 1939); in fact, in several iterations of the Wayne murders, it’s our film today that Thomas and Martha took young Bruce to see that fateful night. But I digress …
While the pulp magazines and even an early Serial (1919’s ‘The Masked Rider’) continued to evolve similar ideas, the most significant version – without question – came in the 1920 Douglas Fairbanks silent ‘The Mark Of Zorro.’ Adapted directly from 'The Curse Of Capistrano,' it was produced by Fairbanks for his own production company and was the first film released through United Artists, the company co-formed with what’s-her-name, what’s-his-name and what’s-his-name. An unparalleled success – think the original ‘Star Wars’ when it came out – Fairbanks’ ‘Mark’ is indeed genre defining, birthing the likes of Errol Flynn and, sure, Tyrone Power (did you think we’d forgotten about him here?). The original 1920 New York Times review wrote, “[Fairbanks’] Señor Zorro [is] an alert and mysterious avenger of the people’s wrongs … with a sure sword, a swift horse and a sense of humor. Certainly there are moments in the motion picture which must delight anyone … There is a duel scene, for example, which is something distinctly original in the history of mortal combat on the stage or screen, and there are spirited races and pursuits, sudden appearances, quick changes, and flashes of tempestuous love-making that are typically, and entertainingly, Fairbanksian.”
And it wouldn’t be touched – much less matched – for twenty years.
'The Mark Of Zorro' (1940)
w John Taintor Foote, Garrett Fort & Bess Meredyth
d Rouben Mamoulian
Okay let’s start, simply, with how great this movie is. Not how great this movie was then – our version today was first released nearly 75 years ago – but how great this movie is.
And let’s take a moment to appreciate how difficult this genre is: High Adventure. Not straight Action (let’s say ‘The Terminator’) or straight Drama (‘The Godfather’) or even straight Comedy (‘Airplane’) but a tightrope-balanced blend of all three. Because they’re brutal to make work, and the easiest to make badly. As the saying goes, “Dying is easy, comedy is hard.” Well, I think High Adventure runs right alongside. When it’s done right, it’s gold. Flynn’s ‘Desperate Journey’ – which you can read about in his Top 5 – and one of its grandchildren, ‘Raiders Of The Lost Ark,’ are perfect examples.
And so is this ‘Mark Of Zorro.’ You can’t help but have fun watching it. In fact, that’s one of the marks of High Adventure, how much fun it is. (Either to help or confuse you even more, let’s try these two films. ‘Jaws,’ as much fun as it is, I wouldn’t call High Adventure while ‘Die Hard,’ as action-packed as it is, I would. Point being …) We’re not all that worried that Diego won’t succeed. The swordplay and horse-chases, natch, the melodrama, sure, wooing the beautiful maiden, you bet. Even the well-peppered comedy. Because all of it’s in the same well-balanced tone. And – as in any genre but key in High Adventure – cradling tone is crucial.
(Speaking just briefly on its comedy, sure, there’s Ty doing Diego’s dandy alter ego – “My bath was too tepid!” – but I do still laugh out loud when he and Lolita are in the chapel, he shrouded in the cloak, she leans to get a better view, and he simply leans further out of her way; so simple but it still works.)
Travel back to the days when swashbuckling was serious business, when boyish adventure films still had their innocence, and the bravado of thrilling stunt work was all a movie needed in the way of special effects. Even if its major sets and vistas have a backlot artificiality, it’s eagerly embraced, as there’s nothing phony about the vigorous exertion on which Ty, Cast & Crew thrive. What more can be said for, simply, one of the great adventure classics from Hollywood’s Golden Age? As Janet Maslin wrote for The L.A. Times, “[Tyrone Power] does it all so showstoppingly that the film's appeal extends well beyond boyish action-adventure with his Zorro shaped most endearingly into a hero worthy of mask, steed, mission and the works.”
Touching on the Behind-The-Scenes as I do, let’s start today with our first writer, John Taintor Foote. More a Novelist & Playwright by trade, he’s best known as a Screenwriter for our film today though, interestingly, there’s an even more famous movie he's part of: Ben Hecht’s screenplay for Alfred Hitchcock’s ‘Notorious’ was based on Foote’s story ‘The Song Of The Dragon.’ (More on Hecht in our next entry as he co-wrote 'The Black Swan.' And as an extra tidbit? Foote now rests in the same cemetery as Ty.) Our second writer, Garrett Fort, is a name that might ring a bell to you horror fans. He was as prominent in Silents as well as Talkies, significantly with ‘Applause’ (1929), also directed by today’s Rouben Mamoulian; that film notable because it was one of the first to take all that bulky sound equipment out of the studio and onto the streets of Manhattan. Oh and for you comedy fans? He did 'Panama Lady' with Lucille Ball. But what about the horror? Yes, he’s the guy that brought us ‘Dracula’ (1931), ‘Frankenstein’ (1931) and ‘Dracula’s Daughter.’ Our third writer, Bess Meredyth – née Helen Elizabeth MacGlashen – was a prolific Writer, more so than most men around her; 155 credits from 1910 through the mid-40s; and she even acted in the early teens. She was one of the thirty-six founders of The Academy Of Motion Picture Arts And Sciences and – wait for it – married Michael Curtiz. And holding the reins through all this high Californian adventure? Rouben Mamoulian; a name you might not recognize, but you sure know his work: with Garbo (‘Queen Christina’), Fred Astaire & Cyd Charise (‘Silk Stockings’), William Holden (‘Golden Boy’) and our two leads today – Ty and Linda Darnell – in their reunion, ‘Blood And Sand.’ Oh and he started the Elizabeth Taylor ‘Cleopatra’ before being replaced by Joseph Mankiewicz.
Let’s continue with our lovely lead today, Miss Linda Darnell. While we premiered this latest Top 5 with ‘Jesse James’ on Ty’s birthday, here we are chatting ‘Zorro’ on hers. Born Monetta Eloyse Darnell on 16 October, 1923, she was often called “The Girl With The Perfect Face” (and one of her best friends was Lana Turner). And for you math whizzes, yep, she’s only 17 years old in our film today. But that’s not her early start. At 11 she was already modeling – giving her age as 16 – and at 13 she appeared on the stage. Hollywood tried to sign her but found out she was only 13 and made her wait two years. (Isn’t that nice of them?) So it was ‘Hotel For Women’ (released 1940, shot when she was only 15) that made a name for her as (she’s too monikered) “The Youngest Leading Lady In Hollywood History.” (See some photos of her in that and ‘Day-Time Wife.’ Admittedly, she doesn’t look like a kid.) Sharing the screen with our boy Ty wasn’t new either, as they were together in ‘Day-Time Wife’ and would be again in ‘Brigham Young’ and ‘Blood And Sand.’ Perhaps best known for either ‘Zorro’ or the John Ford classic ‘My Darling Clementine,’ she stunned us in over fifty roles (46 features), her early rise sadly meeting an early end. In 1965, when she was only 41, she was caught in a house fire in Glenview, Illinois and would die in the hospital a day later. (So the story goes, she had just watched one of her own, ‘Star Dust,’ before falling forever asleep.)
I’d be remiss to not at least mention Gale Sondergaard – our Inez Quintero today – mostly because by now you must expect I’ll make some link to Bob Hope. Well, Ms. Sondegaard made three films with him, ‘The Cat And The Canary’ (which you can read about in his Top 5), ‘My Favorite Blonde’ and ‘The Road To Rio.’
Interestingly, there are a few links to another great swashbuckler in these Top 5s, Errol Flynn’s classic ‘The Adventures Of Robin Hood.’ First, our Co-Writer today, Bess Meredyth, was married to that Director, Michael Curtiz. Our Don Alejandro Vega – actor Montagu Love – is also in that film. And, remember, like this ‘Zorro,’ that film was a remake of a Douglas Fairbanks classic, though, while they couldn’t use the original story material, here they could, re-adapting McCulley’s ‘Curse.’ And? Both Flynn’s ‘Robin’ and Ty’s ‘Diego’ are up against the wonderfully sinister Basil Rathbone.
I was indeed remiss to not single him out in ‘Robin Hood’ (or in Danny Kaye’s ‘Court Jester’) so I must here. Born Philip St. John Basil Rathbone in 1892 in Johannesburg, South Africa to English parents, his father was – wait for it – labeled a spy by The Boers and the family fled to London. Not enough of a start for you? How about he’s the cousin of Major Henry Rathbone who was wounded chasing John Wilkes Booth after President Lincoln’s assassination. If you have so much as an inkling, do find more on dear old Basil. There really is some great stuff on top of his films: he won a Tony, was nominated for two Oscars (interestingly losing both to Walter Brennan) and has three stars on The Hollywood Walk Of Fame. And then there’s his real life heroism, in which, for “conspicuous daring and resource on patrol” during World War I, he was awarded The Military Cross. Oh and for fun? Like Ty, Mr. Rathbone was an honest to God fencing champion (and he’s often said Ty was the best fencer he ever faced). Of course, he’s best known for portraying the sleuth, Mr. Sherlock Holmes, in fourteen features. A little more Bob Hope? All right. Mr. Rathbone appeared opposite “The Nose” in ‘Casanova’s Big Night’ and his wife, Ouida Rathbone, developed a reputation for hosting elaborate, expensive parties in their home. So well known and coveted were these that there’s the great throwaway in Hope’s ‘The Ghost Breakers’ during the New York thunderstorm: “Basil Rathbone must be throwing a party!”
And I’ll use Mr. Rathbone to take us back to today’s film. If there’s one thing that irks me in this ‘Zorro,’ it’s Rathbone's demise. Not that he does – hey, our hero has to win – but when he does, that’s really the end of the film. Or feels like it is. After all, he’s the one we’re waiting Ty to face, to fight, so once he’s gone, we’re left handling a deflated balloon. Sure, we need to wrap things up – the townspeople taking control again, returning power from Don Quintero back to Don Vega, Diego’s reunion with Lolita – but – for such a great High Adventure film such as this – with Rathbone’s extinguish, our blade dulls. Is it wrong? No. Is it bad? No, it just irks me. To parallel the complete other end of the spectrum, almost the perfect example of post-climax wrap-up is Hitchcock’s ‘North By Northwest.’ From Cary Grant and Eva Marie Saint clinging by their fingertips to “The End?” Clock it, it’ll shock you. And look how much story Screenwriter Ernest Lehman and Hitch wrap up there! (But I digress …)
In 1940, our old friend Bosley Crowther wrote, in part, “It has been just twenty years since the late Douglas Fairbanks, in all his glory, was thundering across the screens of the land, flashing his blade and boldly inscribing jagged Zs upon all and sundry. Yes, twenty long years it has been, and we who were young then have grown older, and many who weren't even born are now financially responsible movie-goers. So Twentieth Century-Fox reasoned wisely when it decided to remake this romantic thriller, this fabulous cinematic gasconade. Director Rouben Mamoulian has kept the picture in the spirit of romantic make believe, with a lot of elegant trifling, some highly fantastic fights and flights, and one jim-dandy duel between Mr. Power and the villainous Basil Rathbone, which ends about as juicily as any one could wish. To carry a torch as bright as Fairbanks is nothing easy, but Power et al carry it well, bounding along at a lively, exciting clip, the way all extravagant fictions should. Sergeant, turn out the guard! Zorro—or perhaps his son—is somewhere on the grounds, again!”
Up next? Ty takes a cutlass to the seven seas in Rafael Sabatini’s ‘The Black Swan!’
14 October, 2014
Many times throughout this Blog, I've mentioned Lone Pine. (In my Top 5s I finally got to chat about her in Rawhide.) Some of you hear about Lone Pine and nod knowingly while some of you may very well say, “Where?” So I thought I’d chat about her a little bit. Because my wife Diana and I just got back from The 25th Anniversary of The Lone Pine Film Festival. “What?! Twenty-five years?!” And I digress …
It was Sunday evening, the end of the day, wrapping up the first Lone Pine Film Festival and Dad and I were driving back into town from The Alabama Hills, back to The Dow Hotel, and Dad said, “That was fun. I’m glad we got to do that.” (He and Kerry Powell had just put on that first Festival in 1990.) “Yep! Really glad we did that.” Because remember, at the time, we didn’t think it would be anything more than that: just that one year. Dad had released On Location In Lone Pine, his book on the movies shot in the area, and we’d had a wonderful weekend celebrating those movies. Even The King Of The Cowboys himself, Mr. Roy Rogers, joined us to unveil the Historical Marker at the corner of Whitney Portal and – I’m not making this up – Movie Road (Rogers’ first starring feature – Under Western Stars – was done there in 1938). But to think people getting together for a weekend to celebrate would be anything more than that; just that one time? No, to be honest, that wasn’t even a dream.
Well, that was twenty-five years ago.
Yes, Diana and I just came back from this year’s Lone Pine Film Festival, its 25th Anniversary. And what a great weekend it was. The movie screenings, location tours, concerts, celebrity guests, all commemorating the town’s movie heritage. Talk about tours? Twenty-five years ago it was one. This year it was fifteen. Talk about celebrity guests? Over the years the Festival’s hosted the likes of Ernest Borgnine, Douglas Fairbanks Jr., Virginia Mayo, Gregory Peck and Claire Trevor. And talk about … But first, some of you may still be asking, “Where is Lone Pine?” And then, “What is The Lone Pine Film Festival?” And, “There’s a Lone Pine Film History Museum?” Okay, fair enough. Let’s go back to the beginning.
The town of Lone Pine, California is located about three hours north of Los Angeles at the base of Mt. Whitney, the tallest mountain in the contiguous United States. Its Alabama Hills just west of town have been a Hollywood favorite for going “on location” since 1920 (the first film we know to be shot there was Roscoe “Fatty” Arbuckle’s The Roundup). Since then the town’s movie list has grown to approximately 450 titles; westerns, sure (with Hopalong Cassidy, Gene Autry, The Lone Ranger, Mel Gibson’s Maverick and Quentin Tarantino’s Django Unchained), straight dramas (Humphrey Bogart and Russell Crowe were both there), comedies (Blake Edwards and Ricky & Lucy), Sci Fi (Tremors, even a few Star Treks) and the list goes on. Considered Lone Pine’s hallmark film is the George Stevens classic Gunga Din for which all of the exteriors were shot in those Alabama Hills, and a second Historical Marker commemorates that film.
What makes the area particularly special is it’s still there. Let me explain. How many times have you wished you could visit a classic location only to find you can’t? I don’t mean you can’t get on a Studio Lot, or -- worse -- the Stage where they built the Dracula castle has been torn down (sadly a true story). I mean a location is gone. Parts of The Iverson’s Movie Ranch and Corriganville certainly come to mind. Well, Lone Pine’s Alabama Hills are – while public land – owned by The Bureau Of Land Management and California’s Department of Water and Power. So not only are they still there at all, they haven’t been touched since the classic movie days. Which means you can still get out there and visit them. You can literally stand where Errol Flynn stood. And Cary Grant and Gary Cooper and Tyrone Power. And Robert Downey Jr.! All that Afghanistan at the beginning of Iron Man? They didn’t go to Afghanistan, they went to Lone Pine! And maybe getting excited about where they shot something sounds crazy but I can't help it.
So how did the celebrating begin? Mom and Dad had been visiting Lone Pine for years, for fun (and I can remember going-with as long as I can remember). Well, one day after spending glorious hours out in the rocks, they went back into town and asked for a book on the movies made there. “There isn’t one?” Dad was thrilled he’d be the one to write it; sharing those movies and stories about them and the friends who made them. And then Kerry Powell, a local artist and businesswoman, said she wanted to put on something to commemorate it all. And so they did. And now so many fans can enjoy getting out into those rocks and seeing where Hollywood made King Of The Khyber Rifles and How The West Was Won and The Shadow. Yes, it’s been over ninety years that Hollywood’s been going on location in Lone Pine.
After all, more often, movie fans are as interested in Where It Was Done as How It Was Done. So as The Festival commemorates the movies made there, the fact that it’s continued as long as – and as well as – it has is up to the fans. For attending each year, sure, but also for going up on their own throughout the year to enjoy the area. Not to mention the tireless efforts of the Festival and Museum Volunteers who share the movie-making history. And the Festival and Museum Boards – led tirelessly by the current director, Bob Sigman – for their throughout-the-year work in presenting – and protecting – that heritage. Indeed, with so many wonderful people involved, this year, twenty-five in, felt like a passing of the torch. What Mom & Dad, Ray & Kerry Powell, and so many people have made happen thus far is truly incredible. What a delight it is to still see so many fans – some of you! – continue to enjoy it. Taking that torch and carrying it on.
Because one of the great things when talking about the movies they make there is, simply, that they’re still making them. We’re not just commemorating what has happened but that it continues. And two great examples of that are 2008’s Iron Man and 2012’s Django Unchained.
These are two powerhouse A-listers, with the likes of Jon Favreau, Quentin Tarantino, Robert Downey Jr. and Jamie Foxx playing there. (And, sure, some of 2013’s The Lone Ranger and Man Of Steel were done out on the nearby Owens dry lake.) Point is, Hollywood still loves to go on location in Lone Pine.
There’s some great Behind The Scenes footage on the Iron Man DVD of their shooting there; in The Alabama Hills and out on the Olancha sand dunes (about a half-hour south of town). Favreau says that getting to Lone Pine “was well worth it because it really gives you a look like we traveled halfway around the world.” And Downey Jr. says, “What a privilege it was to be able to be there playing this guy with the caliber of people I was working with. What a blast.”
And why did Tarantino – film buff that he is – want to shoot Django in Lone Pine? Because that’s where a favorite of his, William Witney, had worked. As Tarantino told The New York Times in 2000, “People think that the only good westerns made in the 40s and 50s were by John Ford or maybe Howard Hawks. Film guys might add Anthony Mann, Budd Boetticher and Andre De Toth but William Witney is ahead of them all; the one whose movies I can show to anyone and they are just blown away.” Tarantino even used one of Witney’s original Clappers – the slate you see at the beginning of each shot that lists the Scene & Take and shows Sync – on the film. And Dr. King Shultz and Django’s campsite? Yep, shot in what we call “Lone Ranger Canyon” because that’s where Witney shot that ’38 Serial (and that’s the pic at the top of this article).
Which brings us to The Lone Pine Film History Museum. Opened in 2006 with financial support from Beverly and Jim Rogers and – just as significantly – generous local community and business support, the museum is a beacon for visiting fans, housing truly great pieces of memorabilia. There’s the stagecoach from Rawhide and the car Gene Autry (actually stuntman Joe Yrigoyen) jumps in Trail To San Antone. Plus a bunch of – yes, original – costumes including Errol Flynn’s Kim and Robert Downey Jr.’s Iron Man, and – yes, original – scads of one-sheets (and some glorious three-sheets) ... all from movies made, remember, a five-minute drive from that very museum. In fact, that’s why Lone Pine’s Alabama Hills are often called “a living museum” because you can still get out there, walk around and be where it happened.
And, remember, still happens! Ecstatic there was finally a showcase for Where It Was Done, Tarantino himself frequented The Museum, including screening movies in its Theatre for his Cast & Crew. And when shooting wrapped, he graciously donated (Christoph Waltz’ character) Schultz’ dentist’s wagon; yes, it's sitting right inside the front door as you walk in, tooth on top and all. What else? Tarantino et al even signed their autographs right on the wall. Can you say where else that was done in years past? Indeed, right in town at The Indian Trading Post, where so many classic film stars – Flynn, Cooper et al – did the same when they were there. (Luckily for us, all those years ago, The Indian Trading Post took a hot iron and trace-burned those signatures into the wood so you can still see them.)
And then – the pièce de résistance, Festival weekend or any other – there are the rocks themselves. The Alabama Hills. That living museum. (Which, PS, sit right in the middle of a land of twenty-mile shadows. Yes, there are shadows up there that are twenty miles long. But we’ll get to that …)
What makes Lone Pine – certainly her Festival – so significant … well, sure, that it’s retrospective, only celebrating movies made there … is that fifteen minutes after seeing Lives Of A Bengal Lancer in the Museum Theatre or (Festival Weekend) High School Auditorium you can stand right where (Director) Henry Hathaway shot it. And on Festival Weekend, there are approximately 120 photomarkers scattered out in the rocks for you to enjoy, showing stills at the locations from the Movies and TV Shows and Serials shot there (again, please see the pic at top). Even on a non-Festival weekend – the photomarkers are only placed Festival Weekend – you can visit The Museum, see Tony Stark’s bloodied suit, and fifteen minutes later stand right where he launched the Jericho missile.
At the end of the day, Lone Pine is no Cannes or Sundance or Toronto. It didn’t go to NYU or USC. And it still fights the often “Where?” and “What?” But some of its charm is just that; like Brigadoon, celebrated by those that know. That love her that much. That proudly champion her throughout the years. It's like Dad’s “sunset theory.” The most beautiful sunset in the world is breathtaking, sure, but it’s even more so when you can nudge the person next to you and share it with them. That’s why he wrote On Location In Lone Pine. Because he wanted to share with you those movies. Made in those Alabama Hills. Just west of that town.
Oh! I almost forgot. We have some unfinished business, don’t we? (And for those of you that know, yes, I’m stealing from Dad here.) I’m talking about those twenty-mile shadows. Well, in that part of The Owens Valley, where Lone Pine sits, it’s twenty miles from the Sierra Nevadas to The Inyo Mountains. So in the evening, as the sun falls behind The Sierras, Mt. Whitney and friends cast their shadows twenty miles across the valley.
In 1984, Bob Sherman wrote a wonderful pictorial history on Chatsworth, California’s Iverson Movie Ranch called “Quiet On The Set.” The phrase is two-fold. One, it’s what The A.D. – Assistant Director – calls out at the beginning of a take, to get everyone quiet so cameras can roll. And two, well … at so many great shooting locations over the years – Iverson’s, Corriganville, Melody Ranch; Lone Pine’s Alabama Hills really are the pinnacle – it’s often, now, wonderfully quiet. Where you can get out into that Living Museum and relive Where It Was Done.
I hope you will.
08 May, 2014
Okay, time to check your capes at the door again.
There's always continuing news in the Super Hero world, and I don't pretend I'm starting a trend that way, even though this is the second in this series. But our friend Ben Affleck rears his head. A few different ways. (And, see, I’m allowed to say that, "our friend," because I had the pleasure of working with Mr. Affleck on ‘Gone Baby Gone.’ Ahem, moving on …)
Affleck’s directorial follow-up to ‘Argo’ has hit a delay. His new film, ‘Live By Night’ (also from Affleck’s own ‘Gone Baby Gone’ author Dennis Lehane; and he also the author of cinema hits ‘Mystic River’ and ‘Shutter Island’), was going to hit theaters on Christmas Day, 2015, but will now be pushed almost a year to October, 2016. Reason? Well, there seem to be two, but the main one is that pesky little thing called ‘Batman Vs Superman’ (and GOD have I prayed they come up with a new title).
Affleck's involvement with both ‘Batman Vs Superman’ and its immediate follow-up ‘Justice League’ (the two films are said to be shooting back-to-back) was the reason The Brothers Warner greenlit ‘Live By Night’ at all. (See, if you agree to make big-budget comic-book tentpoles, you get to trade them for really good stories! Do I blame Mr. Affleck for that trade? Not in the least. He gets to tell another good story and probably do it really well. But tit-for-tat is for another entry. Moving on again ...) Affleck had already pushed production on ‘Live By Night’ – a period drama – to accommodate ‘Bats’ and ‘Justice’ but now 'Bats'' own delay has required ‘Live By Night’ to delay again. Is that okay? I think so. The Leonardo DiCaprio-produced movie is sure to be an awards contender -- as Affleck's previous films have been -- but the scope and involvement with ‘Bats’ – and, sure, ‘Justice’ right after – has to take precedence. (Go Brothers Warner!)
But wait, we can’t just cite DC. On top of the costume carnivals, Entertainment Guru ‘The Wrap’ cites Affleck's commitment to media and press for David Fincher’s ‘Gone Girl’ will also prevent Pre-Production on ‘Live By Night.’ By pushing the project – entirely – to 2016, Affleck at least gets to guarantee he can make the film he wants to. (Again, with his track record, I say a very fair trade.) But it does raise the question of his involvement in ‘Justice League.’ Is he officially in? “Officially,” at press, “it’s not a done done deal.” Yes, they really do say that.
Look, say what you will about the man’s career as a whole, but Mr. Affleck has without a doubt proven himself as a director, and I genuinely think – given a good script – he’ll make a good Bruce Wayne. (‘Cause, remember sports fans, it’s all about the actor playing the “alter ego.” Anyone can put on a costume.) As long as The Powers That Be focus on the stories – ‘Batman Vs Superman,’ ‘Justice League,’ ‘Gone Girl’ and ‘Live By Night’ – I trust will all be worth their wait. (Go homonym!)
Continuing Super Hero news, I can’t help but mention what’s going on in ‘Daredevil’ land (granted, only a so-so segue from Ben Affleck, but you probably see it). Mr. Joe Carnahan was once heavily invested in bringing a gritty, dark reboot to the screen; he even personally created an impressive sizzle reel for it. But, alas, those Twentieth Century Foxes passed on what would have been an R-rated project and the rights have since reverted to Disney/Marvel who are now developing the character as “a Netflix series.” (Good? Maybe, if they hold to “a gritty vision.” There’s a hell of a version in Jeff Loeb’s and Tim Sale’s ‘Daredevil Yellow’ that is its own reboot of the classic Frank Miller take. Either one of those? We’re blindly in good hands.) At press the top two names for running the series? Drew Goddard and Steven S. DeKnight (and I like them both).
Of course, more details emerge of Carnahan's vision. The sizzle reel was great; it definitely gave us a sense that his ‘Daredevil’ would have been something special and definitely unique. (As good a director as Mr. Affleck is, the best thing that came out of his version was uniting with his lovely wife, Jennifer Garner. Granted, he didn’t write-direct that movie, so I’m really taking a digression here, sooooo …) With The Wonderful World Of Disney taking over Marvel, it’s almost a zero chance they’ll produce a movie that dark, but we can’t help but hope for it. Ugh, what could have been?
In an interview with ‘Movie Pilot,’ Mr. Carnahan gave further details on what his ‘Daredevil’ trilogy – yep, you read that right – would have been. Carnahan had three distinct themes in mind for his “Man Without Fear.” He said, “I was going to do a kind of ‘cultural libretto’ and make the music of those eras a kind of thematic arc. So the first one would be Classic Rock, the second Punk Rock, and the third film New Wave.”
Though, setting the films in a Period – late 70s, early 80s (versus making the hero contemporary) -- would have fit with the feel of the character. Taking the tonal cue from the music would also have been … interesting to see on the big screen. It would have at least allowed for the various characters / costume changes / themes over the years; roughly 1973, 1979 and 1985 that Carnahan was looking for.
While a Netflix series may be the better medium to share the story arcs that make ‘Daredevil’ great in the comics, I can’t help but feel Mr. Carnahan’s take would have been great in the theatre. Hopefully Kevin Feige and Disney come to understand that some characters can’t be watered down to a PG Rating. (Hell, it worked for Mr. Nolan's 'Batman.’) As I’ve said many times, I like Mr. Feige, what he’s done for Marvel, and the fact that Disney hasn’t watered him down in their buyout. So I have to continue to believe there’s still hope for all concerned.
For now, we’ll live by night.