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Greta Gerwig regrets Woody Allen film: ‘I will not work for him again’

Charmaine Blake

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Actor, writer and director says if I had known then what I know now, I would not have acted in [To Rome With Love]

Greta Gerwig has expressed regret over working with Woody Allen on 2012 film To Rome With Love, saying in an online roundtable, If I had known then what I know now, I would not have acted in the film.

At the Golden Globes this week, where Gerwigs critically acclaimed film Lady Bird won in two of four nominated categories, the actor, writer and director dodged a question about working with Allen.

Allen has been the subject of decades-long allegations of sexual abuse by his adopted daughter Dylan Farrow, which he continues to deny.

Its something that Ive thought deeply about, and I care deeply about, Gerwig said on Sunday night. I havent had an opportunity to have an in-depth discussion where I come down on one side or another.

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Greta Gerwig questioned about working with Woody Allen backstage at the Globes on Sunday – video

Some criticised Gerwig for evading the question, while others drew attention to the gendered pattern of holding women like Gerwig and Kate Winslet more accountable for working with Allen than men.

Erica C. Barnett (@ericacbarnett)

Yo, while we’re (correctly and righteously) trashing the women who worked with Woody Allen and are now hypocritically saying #TIMESUP, can we PLEASE also talk about all the MEN who worked with him and are not experiencing remotely similar levels of scrutiny right now?

January 9, 2018

Bailey Disler (@baytato)

Another day, another d(ay watching people attack primarily women for working with Woody Allen in the past instead of the men or instead of Woody Allen him damn self)ollar

January 10, 2018

But on Tuesday night, in an online discussion with Aaron Sorkin hosted by the New York Times which covered the #MeToo wave in Hollywood, cultural appropriation and the impact of streaming services on the industry, Gerwig clarified her position on Allen.

Responding to a broad question about how allegations against artists like Allen should affect their legacy and future opportunities, Gerwig said: I would like to speak specifically to the Woody Allen question, which I have been asked about a couple of times recently … It is something that I take very seriously and have been thinking deeply about, and it has taken me time to gather my thoughts and say what I mean to say.

I can only speak for myself and what Ive come to is this: if I had known then what I know now, I would not have acted in the film. I have not worked for him again, and I will not work for him again.

Gerwig mentioned two pieces written by Dylan Farrow one in 2014, when she first publicly addressed her allegations against Allen, and another in October 2017 when she questioned why he was being spared in the #MeToo revolution. In the second piece, Farrow namechecked Gerwig, Winslet and Blake Lively as three A-list women who had broadly supported the movement while failing to account for their own professional support of Allen.

Dylan Farrows two different pieces made me realise that I had increased another womans pain, and I was heartbroken by that realisation, Gerwig said. I grew up on his movies, and they have informed me as an artists, and I cannot change that fact now, but I can make different decisions moving forward.

Gerwig described the politicised Golden Globes ceremony as an extraordinary night which was indicative of a turning point for women.

I think that the way women have come together to lead the Times Up movement and to make clear goals for our industry is how we are going to move forward with purposefulness. I was very moved that the stage was given to the leaders of this movement and the people who can be change agents. These are the women who should be apologised to, and that they were given the space was meaningful.

The fact that many of the women attended with feminist activists from across all industries made the night even more resonant with this moment.

Read more: https://www.theguardian.com/film/2018/jan/11/greta-gerwig-regrets-woody-allen-film-i-will-not-work-for-him-again

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Robert Redford’s greatest screen roles ranked!

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As the actor and Oscar-winning director reveals his plans for retirement, we rank his 10 best performances in front of the camera

10. Brubaker (1980)

“Released in the same year as his clunky but multiple Oscar-winning directorial debut Ordinary People, Brubaker showed a tougher side to Redford than anyone had seen before. As a prison warden who goes undercover as an inmate to clean up the penal system, he had to raise his game among some hardened character actors. The movies I liked making dealt with an America that was a little different from the America that was propagandised, he said. Theres a grey zone that I know, and I want to tell stories about that complex part of America.

9. The Twilight Zone Nothing in the Dark (1962)

None of Redfords early TV appearances were as haunting as his personification of death in this creepy-sad episode of The Twilight Zone. You see? he says, glowing handsomely and gesturing to an old womans dormant body as he leads her spirit into the afterlife. No shock. No engulfment. No tearing asunder. What you feared would come like an explosion is like a whisper. What you thought was the end is the beginning.

8. The Great Gatsby (1974)

Before DiCaprio there was Redford: he may never have exuded the pure electricity of the junior actor, and his chemistry with Mia Farrow (as Daisy) was meagre, to say the least, but his permanently distracted air was just right for Jay Gatsby. In the midst of even the most vibrant shindig, he seems uniquely alone. Fame does that to you.

7. Sneakers (1992)

This underrated techno caper-comedy, about a crack team of computer security experts, was led by Redford and features River Phoenix, Sidney Poitier and Dan Aykroyd. Redfords occasional returns to light comedy could be spotty Legal Eagles should be outlawed but hes having a blast here as the slightly bumbling former radical who has become something of a sellout.

Redford
Redford in The Great Gatsby (1974). Photograph: Everett Collection/Rex

6. Three Days of the Condor (1975)

Redfords most frequent collaborator was the director Sydney Pollack, with whom he made six films including the 1972 western Jeremiah Johnson and the Oscar-bait drama Out of Africa (1985). Their best, though, was this jittery conspiracy thriller in which Redford, working for a clandestine CIA group, has to be brought in from the cold after his team is massacred. Cherish the justified sense of Watergate-era dread, as well as the opening shot of Redford cycling through traffic in a goofy woolly hat and trainers…………….”

See the rest of the list here: https://www.theguardian.com/film/2018/aug/09/robert-redfords-greatest-screen-roles-ranked

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From Nico to Tonya Harding, womens true stories are being told on film at last

Charmaine Blake

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I wasnt happy when I was beautiful: the movie Nico, 1988 shows singers resilience in later life, signalling a change in how biopics treat their subjects

“On paper, Nico the Warhol acolyte, singer and fashion model who added international exoticism to the grungy downtown hip of the Velvet Underground would seem to be perfect biopic material.

With her glowering, angular looks and smoky drone of a voice, she was unlike anyone else around at the time. She had a string of romances with beautiful, troubled men. Further boxes are ticked on the biopic checklist by the fact that she struggled with demons heroin was her drug of choice.

But Nico, 1988, the daringly unconventional biopic by Italian director Susanna Nicchiarelli, which has just opened in the US, is not about the singer in her iconic phase. Instead it deals with the last two years of her life: Nico prefers to go by her birth name, Christa Pffgen; she performs avant-garde proto-goth dirges while scowling through her fringe in European dive bars; the decades of addiction have taken their toll, but she doesnt care: I wasnt happy when I was beautiful.

Nicos value to Warhol was inextricably linked to the way she looked. When asked what became of Nico after she left his studio, the Factory, Warhol was dismissive: She became a fat junkie and disappeared. But what interested Nicchiarelli was her resilience. Unlike other Warhol superstars such as Edie Sedgwick and Candy Darling who crashed and burned once their 15 minutes of fame were snatched away, Nico reclaimed herself. Talking at the Rotterdam film festival, Nicchiarelli said, The intriguing thing about Nico was that she survived. She was so much stronger.

Nico,
Nico, centre, and the Velvet Underground. Photograph: Alamy Stock Photo

The focus of this film on unglamorous middle age rather than gilded youth is significant. It is representative of a change in the way biopics for so long dominated by white, male stories approach female subjects. Theres no doubt that we are in the midst of a particularly rich period for female-led real-life dramas. Alongside independent productions such as Nico, 1988 and Christine (about TV news anchor Christine Chubbuck), Hollywood has also got…………………”

Read more: https://www.theguardian.com/film/2018/aug/05/female-biopics-nico-tonya-harding-womens-true-stories-being-told-at-last

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How did Mission: Impossible become Hollywood’s most reliable franchise?

Charmaine Blake

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Critical adoration and box office success has met the sixth installment of Tom Cruises series, an unlikely 22-year phenomenon that shows no signs of tiring

“Lets take a moment to appreciate the preposterousness of Mission: Impossible. Not the rubber masks or the exploding gum sticks or the nuclear countdown clocks that always stop with one second till death. (The usual, Ving Rhames Luther Stickell would shrug.) All franchises have their implausibilities, whether its Transformers sentient cars or the Fast and Furious sentient Vin Diesels. But only the Mission: Impossible franchise has gotten better reviews with every installment, climbing its way up the Rotten Tomatoes rankings as though wearing electromagnetic gloves. Bruce Willis cant make a good Die Hard happen. But this weekend, Mission: Impossible Fallout had the best critical approval of Tom Cruises entire career, better even than the three films that scored him Oscar nominations, and his second-highest box office opening ever, just under 2005s War of the Worlds. Fallout probably would have beaten that, too, if MoviePass hadnt glitched.

Kudos to Cruise for making the most of a career he never meant to have. Mission: Impossible is also an outlier……………….”

Read more: https://www.theguardian.com/film/2018/jul/30/mission-impossible-tom-cruise-reliable-franchise

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