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“King’s Speech” Wins Toronto, Heads to Oscar List

Roger Friedman
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“King’s Speech” Wins Toronto, Heads to Oscar List

“The King’s Speech,” directed by Tom Hooper, won the audience award at the Toronto Film Festival. The Colin Firth-Geoffrey Rush film now heads to the Academy Awards and all the other short lists for prizes.

But that’s not a slam dunk that it will win the Oscar. February is a long way from now. And there are plenty of other names in the mix.

David Fincher‘s “Social Network,” as I noted below, is a hot contender. The Facebook movie takes the lead in the Oscar race when it opens on October 1st.

Danny Boyle‘s “127 Hours” is in the mix, but won’t hit its stride until its release. Ditto for Darren Aronofsky‘s “Black Swan.” And same for “The Kids Are Alright,” with Annette Bening and Julianne Moore.

Other Oscar titles not to be forgotten: “Inception,” the Christopher Nolan-Leonardo DiCaprio film that’s been a huge hit and has a strong following. I can’t imagine “Inception” not being included. And a spot may be held for Martin Scorsese‘s “Shutter Island.”

Still to be seen and much anticipated: James L. Brooks‘s “How Do You Know,” “The Fighter” directed by David O. Russell, Ryan Gosling-Michelle Williams film, “Blue Valentine,” and the Coen Bros.’ reboot of “True Grit.”

Facebook Movie Review: David Fincher’s “The Social Network” Rocks

Roger Friedman
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Facebook Movie Review: David Fincher’s “The Social Network” Rocks

I’ve been thinking about “The Social Network” a lot since I saw it last Thursday afternoon. “West Wing” creator Aaron Sorkin‘s telling of how Facebook came to be has already generated so much buzz you’d think it had been released. In fact, it hits us this coming Friday as opening night of the New York Film Festival and then on October 1st in theaters.

(Note: This is very much a writer’s movie. But David Fincher directed it. And it’s more the David Fincher of “Curious Case of Benjamin Button” than “Se7en” which is what throws you. The blood and guts are now in the making of a business.)

Everyone tells me that “500 million people are using Facebook!” This column has a Facebook page. But the charms of Facebook elude me, frankly.  It doesn’t excite me on its own. Scott Rudin, the peripatetic producer of the film, emailed me: “Don’t be the guy who saw ‘2001’ and said, “What’s that black rock?”

No, I get it. “The kids” tell me they’re not even using email anywhere, but communicating through Facebook.  It’s BIG.  But Sorkin’s movie is a different matter. I don’t know whether it’s true or not, or what happened “in reality” among all the different young guys involved in Facebook’s genesis. All I know is “The Social Network” is a great movie about friends who trusted each other and fell out as they created something that’s changed a generation and created a culture.

Sorkin was smart to make the movie about the human dynamics of Mark Zuckerberg, played I think brilliantly by Jesse Eisenberg, and his pals. Long after Facebook is replaced by something else (and it will be), it’s going to be these relationships that everyone will remember from “The Social Network.” In that way, the movie recalled for me “Broadcast News,” a movie whose values seem quaint now, but its heart still beats as if it were brand new.

Eisenberg (whom I loved in “Roger Dodger”) is not alone. Andrew Garfield is sublime as Eduardo Saverin, the scorned friend who starts the Facebook business with him at Harvard. Of course, Saverin’s story is the basis for the Ben Mezrich book upon which “Social Network” is loosely based. So Saverin comes off the most sympathetic. But into this equation comes the third part of the triangle, Sean Parker, creator of Napster, who upends everything. A triangle is formed. As the hard partying Rasputin like Parker, Justin Timberlake prances around looking for — and making trouble everywhere. It’s a delicious performance.

Sorkin has framed “The Social Network” with the lawsuit that developed — it would seem –thanks to Parker’s interference in Saverin’s relationship with Zuckerberg. But then there’s more legal action, courtesy of the wonderfully named Winkelvoss twins, Tyler and Cameron. This pair of six foot five Aryan looking Harvard rowers claimed that Facebook was their idea, and that Zuckerberg stole it. So they come to the table, too, with their lawyer. And Armie Hammer, grandson of the late real life billionaire magnate Armand Hammer (yes, the baking soda), plays both twins. He’s one on his own, and his face is placed by computer on the body of model Josh Pence. Got that? The Winkelvosses become Sorkin’s device, a Greek chorus you could not make up.

Between the Winkelvosses and Eduardo and Justin Timberlake creeping around as Sean Parker, “The Social Network” is like a grand opera with Zuckerberg center stage as the clueless heroine. In fact, with billions of dollars at stake, the only thing anyone can agree on is that Zuckerberg “isn’t in it for the money.” He’s just an inventor. And as Eisenberg plays him, maybe someone with a touch of Asperger’s Syndrome. (There’s no evidence of that being the case with the real Zuckerberg.) Certainly the extraordinary opening scene might suggest that. This movie Zuckerberg gets no social cues. It’s ironic that he creates the social network for the internet age.

A couple of things to note: Sorkin makes a very funny cameo in the film. And Barry Livingston, Ernie from “My Three Sons,” has one at the movie’s start. It’s always nice to see him. The music is terrific, as I noted on Friday, and the Beatles’ “Baby You’re a Rich Man” is the only song that could end this story. The film is going to be a big hit. there’s no doubt about it. I expect Sorkin to get writing awards.  Fincher will get his kudos for directing. All three lead actors are mesmerizing. Together this group has made the story of a website’s birth come to life vividly. It’s no easy task. They’ve done it with a jolt.

John Lennon’s Original Group–The Quarrymen–Are Here

Roger Friedman
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John Lennon’s Original Group–The Quarrymen–Are Here

Before the Beatles existed, John Lennon was in a group called The Quarrymen. And now The Quarrymen are coming to America at last, to celebrate Lennon’s 70th birthday.

beatles expert Martin Lewis tells me that the guys will make a bunch of appearances, starting at the premiere of the terrific movie, “Nowhere Boy” on Tuesday night. The Q’s are depicted in Sam Taylor-Wood’s fine film.

They’re also at Radio City Music Hall on September 25th with the Fab Faux. That’s the group comprising “Saturday Night Live” and Letterman band members who play the Beatles songs so expertly.

On Lennon’s birthday, October 9th, the Quarrymen (see their website at www.thequarrymen.info) will also play as part of an all-star tribute to Lennon at the Ethical Culture Society, just a few blocks down from the Dakota on Central Park West. Among their guests: Marshall Crenshaw, Garland Jeffreys, Pete Seeger, and Tom Paxton.

Sounds like a cool way to celebrate John Lennon!

Ben Affleck’s “The Town” Surprise #1: Thanks Jon Hamm

Roger Friedman
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Ben Affleck’s “The Town” Surprise #1: Thanks Jon Hamm

The box office prognosticators are going nuts right now because “The Town,” directed by Ben Affleck, finished the weekend at number 1. It took in a lovely $23.8 million.

It shouldn’t have come as a surprise. “The Town” is a solid hit. What’s more, it’s a really terrific movie. Affleck, as I’ve said before, is becoming the Sidney Lumet of Boston. He knows the terrain, the language, the behavior. And “The Town” is not just “Gone Baby Gone” redux. It’s its own film. I could see Warner Bros. pushing it into the final ten for the Academy Awards.

Affleck is also the star, and it’s his best work in years. He’s matured as an actor considerably. But as a director he shows a keen eye, and knows how to move the camera, mix humor and drama, and get great performances from his actors.

To that end, Affleck surrounds himself with strong actors. Jon Hamm’s turn here cannot be discounted. So popular in “Mad Men,” and with an audience he’s built up from “30 Rock” and “SNL,” Hamm is really a star in “The Town.” I said from the beginning that he’d follow in George Clooney’s footsteps from TV to film. “The Town” is proof positive that he’s got it. His FBI agent is no Don Draper. Hamm is on his way.

Then there’s Jeremy Renner. Nominated for Best Actor in “The Hurt Locker,” Renner is a sensational character actor in “The Town.” The screenplay is so good that he just sort of leaks into it bit by bit until he’s sort of occupied every corner of the story. He could easily gain Best Supporting Actor attention from this role.

So “The Town” heads into its first full week and second weekend as a hit hit hit. It’s a movie you can recommend to anyone who loves film–it’s smart and full of action. Ben Affleck, take a bow. And Jon Hamm, call your agent.

PS Blake Lively is really sensational in “The Town.” Who knew? I’d lumped her in with all those “Gossip Girl” and vampire actors. She’s just outstanding.

Nothing to See This Weekend? How About Don Draper Joins the FBI

Roger Friedman
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1
Nothing to See This Weekend? How About Don Draper Joins the FBI

It’s Yom Kippur, so this is the last post here until Sunday morning.

In the meantime, there are are plenty of movies to see this weekend.

If you live in New York, get over to Film Forum to see Chris Hegedus and DA Pennebaker’s “Kings of Pastry.” If you’re a foodie, a fan of Food Network shows or Top Chef, this movie is for you. It’s a hilarious look at a real competition among pastry chefs in France. After seeing it, you will want to head right over to Veneiro’s on First Avenue and gorge on high sugar delights.

Also this weekend: Ben Affleck directed “The Town.” Ben is becoming the Sidney Lumet of Boston, which is a good thing. The movie co-stars Jeremy Renner and Jon Hamm, who’s breaking out of his “Mad Men” character.

Romantic and moody: the thriller “Never Let Me Go” with Carey Mulligan, Andrew Garfield, and Keira Knightley is based on the novel by Kazou Ishiguro, who wrote “Remains of the Day.” A big hit last week in Toronto, “Never Let Me Go” is directed by Mark Romanek, who did “One Hour Photo.”

There’s also Philip Seymour Hoffman’s “Jack Goes Boating,” which the actor directed from the play. The film opened at Sundance this year, and it’s terrific. And “Catfish” is a documentary-like feature thriller that Bret Ratner got behind. He’s now one of the producers. I don’t want to give it away. Just go.

And see you Sunday, after all the sins have been purged, and we’re ready to start with a new slate!

Goodbye to World Turns, to Oakdale, Bay City, and Springfield

Roger Friedman
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Goodbye to World Turns, to Oakdale, Bay City, and Springfield

Today is the last day Procter & Gamble will air a soap opera. “As the World Turns” ends its 54 year run. It debuted on CBS on April 2, 1956.

Over the years the little town of Oakdale, Illinois was joined by villages on the P&G soap map created also by Irna Phillips and Agnes Nixon. Bay City (“Another World”), Springfield (“Guiding Light”), Henderson (“Search for Tomorrow”) and Monticello (“The Edge of Night”) were all small towns that happened to be big cities too. Everyone knew each other, but the towns had international airports, beaches, rivers, docks, world class billionaires, surgeons, and lawyers, and a few working class families.

There were rarely Jews or blacks in the P&G towns. There were no Asians. Even though President Kennedy was shot during “World Turns” live half hour in 1963, it was never mentioned by the characters. When the World Trade Center attacks happened, it registered barely a blip in Oakdale. They had enough to worry about. Only recently did gay people come to town, and that was because the producers knew the run was nearly over, and there was little to be lost. (In fact, funnily enough, the gay story became one of the most popular.)

And maybe that’s why we loved it. Oakdale, Bay City–they were steps out of time, lives on alternate planets.How refreshing and relaxing it was to zone out for an hour and let the little problems of the Hughes  and Stewart families in Oakdale take over.

And now, after five decades, the people will live on You Tube and in memory. P&G wanted out, and they got out. It was ugly. At “Guiding Light.” they tortured the cast, crew and fans for 18 months before letting them all go. On “World Turns,” the same producer P&G used to shepherd out “Another World” –Christopher Goutman–just gored the show and let its carcass be eaten by bugs. This summer, instead of giving the fans returns of old characters, and resolutions of 50 years, he wasted four precious weeks by locking fictional fashion designer Barbara Ryan (the gorgeous 32 year vet Colleen Zenk) in a warehousewith an inanimate party clown. It was if P&G were saying, “We want you to have terrible memories of the end.” Congrats, guys. You did it.

Besides Zenk, there are about a dozen “vets” on “As the World Turns.” Everyone talks about who got their start on soaps, but it’s the actors who stayed, or who were able to deal with P&G, that made the show so memorable. Don Hastings, Kathryn Hays, Eileen Fulton, Ellen Dolan, Scott Holmes, Elizabeth Hubbard, Kathleen Widdoes, Marie Masters, Anthony Herrera, the recently passed matriarch Helen Wagner, and the amazing Larry Bryggman, who did come back to help clean up. When we were kids, the late Henderson Forsythe was also one of the show’s mainstays and we loved him as Dr. David Stewart. Pat Bruder was his long suffering wife Ellen. Rosemary Prinz was the first soap “star” as Penny Hughes.

There are only a few soaps left, and they’re all heading to their ends. Soon bouts of blindness, paralysis, amnesia, sudden discoveries of paternity and maternity (only on a soap could a mother not know she had a child), hysterical pregnancy, reversed vasectomies, murder, kidnapping, stalking, and one death from falling up, not down, stairs (Dan Stewart’s wife, Liz)– will be things of the past.

Soon we’ll just be left with noise: cheap games shows, second rate Snooki’s, and more inane chattering. Believe me, even Les Moonves is going to miss Oakdale in a few weeks.

Facebook Movie Gets Third Beatles Song for Soundtrack This Year

Roger Friedman
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Facebook Movie Gets Third Beatles Song for Soundtrack This Year

The movie about the making of Facebook, called “The Social Network,” has a Beatles song in it.

Somewhere in heaven, Neal Aspinall is rolling in his grave.

The Beatles’ nominal manager never allowed the group’s songs to go onto movie soundtracks. He thought it diluted the brand.

But this year, “The Fool on the Hill” opened “Dinner for Schmucks.” And “Norwegian Wood” is being used for the movie of the same name.

Now, Aaron Sorkin’s well executed story of how two friends went into business during college, created a phenomenon, and were split apart by a Rasputin, ends with a Beatles record.

It is, very aptly, “Baby You’re A Rich Man.”

I told you in August that Paramount/Dreamworks paid $1.5 million for “Fool on the Hill.” Columbia Pictures may have gotten some kind of deal because they and Sony Music–which publishes Lennon-McCartney song catalog–are corporate cousins.

Otherwise, “Social Network” has a cool soundtrack written by Trent Reznor and Atticus Ross.

As for “The Social Network”: it opens the New York Film Festival on September 24th. I’ll tell you more next week, but I will say that Jesse Eisenberg and Andrew Garfield have upped their games considerably as Facebook founders Mark Zuckerberg and Eduardo Saverin. And Justin Timberlake is the most delicious on screen diva villain since Joan Collins in “Dynasty.”

Nicole Kidman’s “Rabbit Hole” to Lions Gate

Roger Friedman
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Nicole Kidman’s “Rabbit Hole” to Lions Gate

Yes, I told you yesterday that Nicole Kidman‘s “Rabbit Hole” was going to Lions Gate. Norton Herrick is helping with the financing. “Rabbit Hole” will go right into Oscar contention. Nicole is a shoo in for Best Actress.

Alas, that blog I call “Deadline Yesterday” is reporting it today with the word Exclusive. Hello? Read much? I love seeing them take up our material. Dear Jay Penske: cut out the middle man, just pay us directly. We’ll give you a good price.

Here’s something you might want know about Norton Herrick, Mr. Penske: he wrote the check for “Spider Man: Turn off the Dark.” Like over $30 million. Herrick is the reason the show is up and running and heading for its November 14 preview.

So much bad reporting from Toronto, so much on these “exclusive” blogs taken from other places or press releases. Another one: the new Pedro Almodovar movie going to Sony Pictures Classics. Yes, that was always the case.

Here’s something else I read somewhere: “Can “The Town” Help Ben Affleck‘s Rocky Career?” This is really funny. I’d like to have Ben Affleck’s rocky career! An Oscar for writing “Good Will Hunting.” Mucho kudos for directing “Gone Baby Gone.” Now he’s directed “The Town” to great reviews and lots of praise with today’s hottest star, Jon Hamm. Hello? Am I missing something here?

The funniest thing about the blogs is the Oscar prognostication. Many of these little read diaries are devoted year round just to this minute subject. And the funny thing is, they are almost all wrong. After months and months of verbal diarrhea on this sole subject, the big night comes, and –whoops!–it’s all been for naught. Very amusing.

Just so we’re clear here, Deadline Yesterday, we also reported this week on the unknown existence of a new Kevin Kline-Larry Kasdan movie called “Darling Companion,” which starts shooting in Utah soon. “Beginners” will likely also go to SPC.  More to come, Mr. P…

Ryan Phillippe Finally Gets His Big Movie

Roger Friedman
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Ryan Phillippe Finally Gets His Big Movie

Ryan Phillippe hasn’t had it easy. During his marriage to Reese Witherspoon he was really overshadowed. It was tough. His friends knew he could make it. It just takes time.

Last night in Toronto, Ryan debuted in “The Bang Bang Club,” Steven Silver‘s exhilarating saga of a group of real life photojournalists who covered the end of apartheid in South Africa. Phillippe plays Greg Marinovich, who won a Pulitzer Prize for his daring work. Malin Akerman–in her second terrific performance this year–is his newspaper editor and lover.

Phillippe has tried to break into the “serious movie” market for a while. He was great in Kimberly Peirce‘s “Stop/Loss,” but the subject was too raw for audiences. (Rent it.)

With “The Bang Bang Club,” Ryan jumps into the top tier in his age group. It’s very very good work.

The premiere was met with “real” thunderous applause and a standing ovation at Roy Thomson Hall. Afterward, Ryan told me he’d spent seven months in South Africa working on the film. They shot in some dangerous neighborhoods of Johannesburg. “There were plenty of death threats,” he said. “But we just went in there.”

Next up for the still young actor are “The Lincoln Lawyer,” with Matthew McConnaughey; and an indie film he’ll start shooting in New York soon. “I play the villain this time,” he said with a grin.

Springsteen’s Big Night in Toronto Has Lots of “Promise”

Roger Friedman
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Springsteen’s Big Night in Toronto Has Lots of “Promise”

Bruce Springsteen is a rock star. And he got the rock star treatment last night at the Toronto Film Festival for a DVD release-non fiction film called “The Promise” about the making of his 1978 album “Darkness on the Edge of Town.”

Roy Thomson Hall added extra security I was told because they were so overwhelmed with photographers and autograph hounds. Everyone wanted a piece of Bruce.

Backstage tensions ran high. The Green Room, usually an open place where friends of the filmmakers pop in to wish good luck, was closed for the first time maybe ever. There was a lot of talking in headsets. A lot of grim faces. It was a total change from an hour before when Oscar winner Helen Mirren, director John Madden and friends came in to present their taut new thriller, “The Debt.”

In the end, Bruce, wife Patti, and managers didn’t really use the Green Room at all. Their very small entourage came and left quickly.

Before the 85 minute video played, Bruce took the stage, thanked the crowd, and joked about the night being an opportunity to win a Cadillac.

“The Promise” is a vanity production but proves to be more candid than you might think. It covers the period directly following the release of “Born to Run” in 1975, when Springsteen divorced original manager Mike Appel and brought in Rolling Stone writer Jon Landau as his manager. Major lawsuits followed, and Springsteen was unable to record for two years. The story of the break up and the lawsuit takes up a big section of the film, and it’s fascinating.

When he’s finally able to start making records again, Springsteen doesn’t want to make “Born to Run 2.” His plan, as he says, is to make history. Steve van Zandt notes that only eight or nine songs were written for “Born to Run” but 70 were completed for “Darkness.” Most of them didn’t make it. Two of them–the two best pop songs–“Because the Night” and “Fire”–were given to others–Patti Smith and the Pointer Sisters. There’s a nice moment with Smith where she explains how she got her “only hit.”

Some of the songs went to E Street satellite band Southside Johnny and the Asbury Jukes. There’s a great archival film of Springsteen and van Zandt performing a song that was given away, called “Talk to Me.” It’s one of the highlights of the many never before seen filmed pieces from that era.

Springsteen shows off his dozens of notebooks and explains his writing habits. There’s some clever insight into his writing process and how the band used to take bets on how long songs would be, or if they would make it onto the album. It’s the most self-effacing Springsteen has ever been.

Mostly what you get though is that he’s an artist. In 1978 he was coming to the end of the rock musician as artist, someone who crafted an album–not a single–because “it was the highest form of what could be done in rock”– I think Landau said that. These people were striving for something that would be important and would last. This concept must seem quaint to today’s prepackaged, fleeting, one hit wonder MTV/VMA stars.

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