Tuesday, October 15, 2024
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Michael Jackson’s New Album Leaks Onto the Internet

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Michael Jackson’s new album, “Michael,” seems to be popping up around the internet a week before its release date.

I’ve found “Monster,” featuring 50 Cent, hiding in plain sight.

“The Way You Love Me” is on You Tube.

“Another Day,” written and produced by Lenny Kravitz, is also out there.

Add those to “Breaking News,” “Hold My Hand,” and “Much Too Soon,” already released by Sony. That’s six of the ten tracks.

The good news is, both “Monster” and “The Way You Love Me” are just great. “Monster” is one of the three Eddie Cascio tracks. “The Way You Love Me” is a classic Michael ballad that hearkens back to “I Can’t Just Stop Loving You” and “Got to Be There.”

And yes, all three Cascio tracks are sung by Michael. There are no imposters. The album version of “Breaking News” is a little different than the one that streamed last month on Michael’s website. It should convince everyone that it’s MJ himself.

http://www.youtube.com/watch?v=a_vUldQMIp4

Charlie Rose, Carl Bernstein, Chris Noth Among the Elaine’s Weekend Crowd

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And so they’ve kept coming to Elaine’s all weekend to pay respects. And have dinner. Elaine wouldn’t like it if someone didn’t eat.

Saturday night: Charlie Rose came in with Arianna Huffington. The room was very crowded. Oft heard: “Who are all these people?”

Sunday night: Fuller than Saturday. Gay Talese at a table of New York Times types. Michelle Phillips, of Mamas and Papas fame, also of “Knots Landing,” still an incredible beauty, reminisced about coming into Elaine’s in the 70s with Jack Nicholson and Warren Beatty. (Boy, to have been a fly on the wall then!)

Robert Altman‘s eternally elegant widow, Kathryn, came in with Sally Kellerman, who’s doing her cabaret show on Monday night at the Metropolitan Room on West 18th St. Kellerman, of course, played Hot Lips Houlihan in Altman’s “MASH” circa 1969. Famed choreographer Pat Burch was there with husband Bill Becker, of Janus Films.

Watergate journalist Carl Bernstein took a table in the back. Chris Noth huddled with buddies Steve Walter and Josh Gaspero, preparing their new Cutting Room for East 32nd St.

Scattered about: legendary photographer Harry Benson, mystery author Carol Higgins Clark, Yankees photographer Jessica Burstein, Elaine’s stalwart manager Diane Becker. The waiters are soldiering on, missing their leader.

Elaine, they’re coming in droves. But I’ll bet you know that.

“True Grit”: The Coen Brothers’ Remake May Be One Bullet Short of an Oscar

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Not every grand campaign for Oscar glory pans out.

This year the plan from Paramount was to hold the Coen Brothers’ remake of the great western, “True Grit,” right ’til the end. The idea was that everyone would put it on presumptive lists of Oscar nominees without seeing it. It worked! It’s been every critic and blogger’s 10th slot choice.

Unfortunately, this may now all come to naught, ‘for “True Grit” has finally started screening. And while it’s fine, it’s not exceptional, and falls maybe a bullet short of an Oscar nomination.

The first half hour or so: brilliant and inventive. The rest of it: a little dull and drawn out. Josh Brolin keeps his word, too. He told me in September that he only appears in the last part of the movie. He was right. He’s on screen a short time, yet they’ve give him third billing. He should have been billed “and” or “with” or “guest starring.”

Jeff Bridges plays the John Wayne role of “Rooster Cogburn” as unimaginatively as possible. He’s also hard to hear because he mumbles through most of the film. Luckily, Bridges won an Oscar just nine months ago. I don’t think he’s going to be in this year’s mix. The five really Best Actors are Colin Firth, James Franco, Ryan Gosling (“Blue Valentine”), Mark Wahlberg, and Michael Douglas (from “Solitary Man”). Robert Duvall is the potential spoiler. Rapid talking Jesse Eisenberg, from “The Social Network,” is in there, too. And never count out Leonardo DiCaprio.

The studio is pushing 13 year old Hailee Steinfeld as Mattie Ross, the role made famous in 1969 by Kim Darby. Like Eisenberg, she’s another fast talking monotone. Still, her performance is front loaded–in the first 30 minutes Mattie takes charge in the hunt for her father’s  killer, and even rides a horse through a lake. But do we really want to repeat the Anna Paquin scenario from years ago? There are at least a half dozen adult actresses who did superior work this year and deserve Best Supporting acclaim.

Who I did really like: Matt Damon is exceptional as Texas Ranger LaBeouf, the part played by Glen Campbell in the original. He even gets to spank Mattie, which I approve of. Damon is just great with his Texas accent and demeanor. Wasn’t it just last year he was playing South African in “Invictus”? Damon gets added to a list that includes Geoffrey Rush, Andrew Garfield (and or Justin Timberlake), Christian Bale, and Michael Douglas (“Wall Street 2”).

“True Grit” looks beautiful (thanks to Roger Deakins), sounds great, and is clever enough for a while. But when it drifts off, it never really comes back. Top 5 for this year’s Oscars? Probably not when you’ve got this stellar group:  “The Social Network,” “The King’s Speech,” “127 Hours,” “The Fighter,” and “Toy Story 3.” But if the film turns out to have true grit, maybe it will be in the second tier with “The Kids Are All Right,” “Black Swan,” “Blue Valentine,” “Shutter Island,” “Rabbit Hole,” “The Ghost Writer,” “Winter’s Bone,” and “Inception.”

Spider Man on Broadway, A Week Later: Show Takes Flying Leap Forward

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“Spider Man: Turn off the Dark” played its 6th preview yesterday afternoon at the Foxwoods Theater. It’s been a whole week since the first preview. Yesterday’s celebrity in the audience was Michael Moore with his two sisters. They told me they really loved it.

Here’s where things stand: yesterday there were a couple of stops, all due to minor technical issues. A swing got stuck in the first act, and some flying was interrupted by crossed wires.

The audience, which was sold out, was prepared before the curtain went up by producer Jerry Harris. No one seemed to mind. I minded more that no one has proof read the sign outside the theater in which the word ‘performance’ is missing the ‘n’.

Back to the show: the flying sequences do seem more sure now, and no one is harmed. When Spider Man and the Green Goblin fight mid-air over the audience, it’s absolutely thrilling. In Peter Parker’s pas de deux with Arachne (played by understudy America Olivo), the levitation scene is incredible. I also love the opening of the second act with the parade of potential villains for Spider Man. I just wish that they’d treat it as a fun “beauty pageant,” as someone on stage describes it. The heavy metal music is maybe a bit too much. Julie Taymor and company should remember that it’s a comic book. Comic. Also, I rather doubt anyone gets references to Ovid. Maybe the Metamorphosis here should be Kafka. (It was bugging me.)

The show still lacks a power packed awe inspiring ending. I’m told that a new ending is being readied for installation. Let’s hope it includes lots of Spider men flying, and a big number–either a reprise of “Rise Above” or maybe an existing U2 song like “Stay (Faraway And So Close).” (Note: the “American Idiot” encore is a Green Day song, “Time of Your Life.” It’s very cool.)

Indeed, it wouldn’t be wrong to think about adding a couple of U2 songs to the mix. “Mysterious Ways” would be great right after Peter and Mary Jane connect. And “With You or Without You” would be terrific in the second act.

Mostly, what “Spider Man” needs is all fixable long before January 11th. It’s little things. The show is called “Turn off the Dark.” So lighten up. Peter Parker and Mary Jane need some campy romantic stuff. And Peter needs to address Mary Jane by her name when we first meet her. For some reason, he almost never calls her by her name. The Mary Jane character makes an awkward and unheralded entrance that needs to underlined and boldfaced.

But I love, love, love everything with Patrick Page as Norman Osborne aka The Green Goblin, and Michael Mulheren as JJ Jameson. The audience does, too. And I tell you, the audience loves the show. (It is not for kids under 5, however. Please do not bring crying babies to Broadway shows, folks.) They could easily live without all my nitpicking.

All together: big improvements in a short time. That’s just what previews are for.

Halle Berry’s Struggle to Stay On Top in Movies

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Halle Berry‘s Academy Award seems like a long time ago–eight years, to be precise.

Since “Monster’s Ball,” her film career has been, well, spotty. The best work she’s done other than “Monster’s Ball” was in three TV movies–“Introducing Dorothy Dandridge,” “Their Eyes Were Watching God,” and “Lackawanna Blues.” That’s of course apart from the “X Men” series for the movies.

Halle’s try for an Oscar nomination this season isn’t going to work, although I have to give her credit. Her work in “Frankie and Alice” is very good. Unfortunately, the movie is not.

There are so many screenwriters credited to this movie that if they tried to eat together in a restaurant they’d have to book months in advance and leave a deposit. At least seven people admit to butchering “Frankie and Alice.” It is a true hot mess.

What could have been Berry’s “Sybil” is always a fundamentally watered down Lifetime kind of film. The director, Geofffrey Sax, comes from television, and it shows in the worst way. He really falls prey to every TV movie cliche. And yes, he’s hampered by a script so underdeveloped and unknowing that Sax has no place to go anyway. (Believe it or not, the shrink is learning to love jazz–made by black musicians–just as he meets Frankie. Really! LOL)

Halle plays Frankie, a stripper who suffers from multiple personality disorder. Stellan Skarsgard is her reliable psychiatrist. Phylicia Rashad is her nervous mom, and Chandra Wilson is her nasty sister. Everyone’s in place. So much talented, all wasted on a cheap looking, sounding production that never quite grasps what’s at the center of Frankie’s problems. Not only that: since the mother seems responsible for the illness, and Rashad plays her, you’d think there would be an Oscar winning confrontation. If Geoffrey Fletcher could write one for Mo’Nique in “Precious,” you’d think someone could write one for the incredibly gifted Rashad. But it never happens. They just skip it.

It’s not easy finding material for women, and for black actresses it’s especially difficult. Halle Berry is so talented and beautiful, you’d think there’d be a way to tailor something for her–and use a decent director. I am rooting for her all the time. But “Frankie and Alice” isn’t going to do it.

Everyone Goes to Elaine’s, Even the Governor, for a Toast

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Last night, everyone actually did go to Elaine’s.

By 10pm, the entire restaurant on Second Avenue between 88th and 89th Streets was completely full, swollen with insiders, outsiders, regulars, gawkers, you name it.

Some came for dinner, others for reminiscing. Alec Baldwin caused a momentary flurry of excitement. Rosanna Scotto from Channel 5, local journalists like Linda Stasi, even Governor David Paterson — they were part of a crowd so thick you could barely turn around. The waiters carried trays over their heads.

Lewis Lapham sat quietly on the side lines talking to old pals. Carol Miller and Jim Kerr, famed New York deejays, rolled in late; Miller often drove Elaine home the three blocks to her house on weekend nights. Bob and Lynn Balaban, old friends, couldn’t even find a table. They’ll be back this week. The place was media-soaked, however, with all kinds of folks connected to radio, TV, etc. Marvin Scott was chatting up Lynne White. And so on. There were teary eyed hugs, and lots of toasts “To Elaine!” heard around the room. Spoons clanked against glasses and one good pal, a female FBI agent, stood on top of a chair and led the room in a group salute.

Expect more of this all weekend, as hundred of regulars pour the doors to pay their respects. And remember, you can’t sit at a table if you don’t eat dinner. As Elaine said to a guy who asked for a drinking table last year–she pulled his lapel down to her as she said it–“This is a f—–‘ restaurant, buddy. Either eat something, or get the f— out.”

PS Today’s New York Post has the story of Elaine and AE Hotchner totally backwards and upside down, wrong. Hotchner wrote a book called “Everyone Comes to Elaine’s.” After that, he also wrote a musical with Cy Coleman’s music. It was presented as a workshop for backers at Coleman’s home, with Lainie Kazan as Elaine. No one liked it, especially Elaine. She did hire a lawyer, and he put a stop to it. Hotchner did return to Elaine’s eventually. But that’s how it happened.

photo 2010 c Showbiz411.com

James Bond 23 News: It’s On, Says Director’s Ex (Kate Winslet)

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James Bond 23 is on, says Kate Winslet. She happens to be the ex-wife of the film’s director, Sam Mendes. She mentioned all this to famed British entertainment reporter Baz Bamigboye last week at the cocktail party she hosted for Michelle Williams, star of “Blue Valentine.”. Bamigboye reported it on Friday in his famous column in the UK Daily Mail.

http://tinyurl.com/2ebjdae

And then, of course, light fingered Tim Adler, the London correspondent for Nikki Finke’s Deadline Yesterday blog, shoplifted all the information.

Unfortunately, Adler is just a disaster that he got wrong the name of well known British theater actor Simon Russell Beale, leaving out his first name. Adler lives in London and should know the man’s name isn’t “Russell Beale.” It would be like calling Sarah Jessica Parker “Jessica Parker.”

Anyway, Bamigboye–not Adler or Deadline Yesterday–reports first hand that Winslet will move her children to London when Mendes starts shooting Bond 23 next year. Bambigboye is the one who wrote these words: “casting has begun.” I like how Adler uses “I’m still hearing from 007 insiders.” Stuff and nonsense. Adler’s reading it in the Daily Mail.

And by the way, Simon Russell Beale–who’s very talented– will have a small part, it’s likely, in Bond 23.  He’s completely unknown to American audiences. The big players in the movie–along with Judi Dench–will be more A list names.

“Law & Order SVU” Jeremy Irons Doing Guest Spot

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Randee Dawn reports for us:

Jeremy Irons has been suiting up for nefarious – though papal – duty over at Neil Jordan’s “The Borgias” at Showtime lately (the series
begins airing in 2011) – but he’s making an extremely rare trip to broadcast with a just-announced guest role on “Law & Order: SVU.”

Irons will tape this month for an episode that airs early next year.

And talk about casting to type – the Academy Award-winning actor (who rarely slums it on TV, “Borgias” aside”) will play “a sex therapist who runs a sex addiction rehab clinic,” according to the show. If he’s anything like the various other deviants he’s played in the past (paging “Dead Ringers,” “Damage” and “Reversal of Fortune,” to name just a few), he’ll be equal parts charming and perverted.

“SVU” has made a habit out of this kind of stunt casting – which often wins the show its only Emmy Awards; Ann-Margret took home a prize in
August for her appearance. With the 12 year old series still hitting solid ratings (9.2 million last week, bested only by “Survivor: Nicaragua”) it should be able to weather the shakeup coming when its longtime executive producer/showrunner, Neal Baer, exits next June for a 3-year deal at CBS.

My (Everyone’s) Dear Friend, Elaine Kaufman, 81 Years Young

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The hardest thing to report is the death of a friend. For more than 20 years, Elaine Kaufman has played such an important part in my life. Birthday parties, New Year’s Eve, just hanging out.

Two Fridays ago I visited her in the late afternoon at Lenox Hill Hospital. She was asleep and probably never knew that I’d stopped by. Her heart was giving out. She’d been living on oxygen tanks, using them during the day at home, then coming to the restaurant from 8pm until 1 am.

No one understood it, but it was where she wanted to be: sitting with her friends, listening to the gossip, bragging about who’d been in during the last few days. It was only a week earlier that I’d driven her home around 12:30am. She was pooped. It was unusual. Until recently, Elaine could stay at the restaurant until 2am. She loved it.

There are literally millions of stories about Elaine. Her close friends of the last few years are devastated almost beyond words. We have lost a certain center of our lives. It was only back in February of 2009 that we’d celebrated her 80th birthday, and a few weeks later, the 45th anniversary of the restaurant.

I wasn’t there when Woody Allen made it Elaine’s really, really famous in the 70s. I couldn’t tell you exactly what propelled me there in the 1980s but it was most likely Bobby Zarem’s innumerable parties. Book parties, all kinds. The invites were always special, and made going to Elaine’s an event. I met so many people I know now, or knew–because they’ve also passed–people who I cherished like Robert Altman and Rona Jaffe, Neil Travis, George Plimpton, Peter Maas. The walls of Elaine’s are lined with book jackets because it was about writers. Elaine had so much respect for them: Bruce Jay Friedman (no relation), Carol Higgins Clark and her mother, Mary Higgins Clark, Stuart Woods, and — in years passed–Kurt Vonnegut.

“Do you know who that is?” Elaine would say to me when I arrived on any given night. She’d be pointing to a back table. “That’s”– and it would be so and so, somebody so legendary you couldn’t believe it. She wanted me to meet them. Dave Brubeck! Lorna Luft! Dabney Coleman! “Jack was here.” she’d say–Nicholson. We spent a whole night kibbitzing with Phyllis Diller.Al was here yesterday.” she’d say, meaning Pacino. You’d run into people anywhere in the world and we were from Elaine’s. It tied people together. At Dan Tana’s in West Hollywood you run into New Yorkers. Why are they there? Trying to recreate the Elaine’s experience. And they loved her: friends like Michael Caine and Sean Connery. Michele Lee. Lainie Kazan, whom she adored. In her heyday she traveled with them to places like the Deauville Film Festival. Ahmet Ertegun, the names go on and on.

It’s Chanukah this week. Usually I give Elaine a big necklace. Last year she particuarly loved her gift. We got bottles of delicious Port wine, hunks of cheddar cheese. Elaine was great friends with the Steinbrenner family, and cherished her World Series rings. She regifted me something treasured given to her by George Steinbrenner-– a Yankees World Series jacket that I will wear now to every game regardless of the weather. (The last time George and his family were in the restaurant Elaine said, “Don’t tell them where you got that!”)

There’s more–hours more– of reminiscing. One late night, an old regular wandered in, very drunk. The guy all of a sudden got very angry at Tony Danza, who was eating with us–for no reason. This was a big guy, too, and there weren’t many people in the restaurant. He took a swing at Tony from a standing position and proceeded to fall forward onto the ground. With a thud. Elaine just said to the waiters, “Clean him up.”

My dear, Elaine. Thank you for everything. Thank you for so much love and laughs and a million great nights that I will never forget.

Nicole Kidman: It’s A Nashville Christmas with Keith Urban

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If Nicole Kidman winds up winning the Oscar for “Rabbit Hole” this season, she has one person to thank–herself. Kidman produced the movie, based on the Broadway play, and even made an off beat choice of John Cameron Mitchell (“Hedwig and the Angry Inch”) to the direct the film. It’s all worked out beautifully.

Last night, Kidman–who produced the film and is doing more of that now–arrived with a bad case of laryngitis, country superstar husband Keith Urban, and no regrets. She piloted this project to victory. Here is Kidman unplugged, accessible, wry and wise.

Before she skedaddled from the Plaza Hotel party at the Oak Room, Nicole told me–in a voice more befitting Rod Stewart– that she and Urban are spending Christmas in Nashville. She’s become addicted to Tennessee. Who would have guessed that would happen?

“Rabbit Hole” is maybe the only movie of this Oscar season to have plenty of laughs but still leave the audience weeping. I heard grown men cry last night at the Paris Theater premiere. And they weren’t even afraid to do it in front of Don Draper himself, Jon Hamm, who came with Jennifer Westfeldt, plus the “Rabbit Hole” cast–Aaron Eckhart, Sandra Oh, Giancarlo Esposito, Tammy Blanchard, and Miles Teller.

The only person missing was Dianne Wiest, the two time Oscar winner who stays away from premieres like the plague. Too bad–she’s phenomenal as Kidman’s straight talking mother. Add her to the long list of supporting actress possibilties this year along with Helena Bonham Carter, Kristin Scott Thomas, Melissa Leo, Jackie Weaver, and Amy Adams.

SAG voters should take a look at “Rabbit Hole” for Best Ensemble work, right alongside “King’s Speech,” “Social Network,” “The Fighter,” and “The Kids Are All Right.”