The Color Purple costume designer Francine Jamison-Tanchuck will be honored with the Career Achievement Award at the 26th annual Costume Designers Guild Awards this year.
The award recognizes “an individual whose career in costume design has left an indelible mark on film and television.” Previous recipients include Ruth E. Carter, Deborah L. Scott, Michael Kaplan, Joanna Johnston, Jeffrey Kurland, Ellen Mirojnick, Sandy Powell, Marlene Stewart, Ruth Meyers, Ann Roth, Milena Canonero, Albert Wolsky, Colleen Atwood, and Theoni Aldredge, Sharen Davis, April Ferry, Aggie Rodgers, Judianna Makovsky and Eduardo Castro, among many others.
“Try not to allow someone’s negative thoughts or comments keep you from moving forward creatively. You can be nervous, but don’t be afraid to risk taking the first steps even if you can’t completely see the staircase!” says Jamison-Tanchuck.
Jamison-Tanchuck’s credits include Regina King’s triple-Oscar nominated One Night in Miami as well as...
The award recognizes “an individual whose career in costume design has left an indelible mark on film and television.” Previous recipients include Ruth E. Carter, Deborah L. Scott, Michael Kaplan, Joanna Johnston, Jeffrey Kurland, Ellen Mirojnick, Sandy Powell, Marlene Stewart, Ruth Meyers, Ann Roth, Milena Canonero, Albert Wolsky, Colleen Atwood, and Theoni Aldredge, Sharen Davis, April Ferry, Aggie Rodgers, Judianna Makovsky and Eduardo Castro, among many others.
“Try not to allow someone’s negative thoughts or comments keep you from moving forward creatively. You can be nervous, but don’t be afraid to risk taking the first steps even if you can’t completely see the staircase!” says Jamison-Tanchuck.
Jamison-Tanchuck’s credits include Regina King’s triple-Oscar nominated One Night in Miami as well as...
- 1/9/2024
- by Beatrice Verhoeven
- The Hollywood Reporter - Movie News
Nearly 40 years ago, costume designer Francine Jamison-Tanchuck worked as a wardrobe supervisor on Steven Spielberg‘s “The Color Purple,” collaborating with mentor Aggie Guerard Rodgers on a film that would ultimately become a classic. “My job was to clothe a lot of the background ladies and day players and assist Aggie in the fittings,” Jamison-Tanchuck told IndieWire. “It was Whoopi Goldberg’s first major film, and Oprah Winfrey‘s, and the two of them were just incredible. And of course Steven’s directing, and Quincy Jones’ music — how can you go wrong? There are such fun memories from working on that film.”
When director Blitz Bazawule called Jamison-Tanchuck to ask if she would create costumes for a new movie of “The Color Purple” adapted from the Tony-winning musical, she jumped at the chance. “I thought, what an extraordinary opportunity to come full circle,” she said. “I thought it was such an honor.
When director Blitz Bazawule called Jamison-Tanchuck to ask if she would create costumes for a new movie of “The Color Purple” adapted from the Tony-winning musical, she jumped at the chance. “I thought, what an extraordinary opportunity to come full circle,” she said. “I thought it was such an honor.
- 12/27/2023
- by Jim Hemphill
- Indiewire
The Oscars for design — Costume Design, Production Design, and Makeup and Hairstyling — are often awarded together to reward movies that have excelled in their costume creations, set building, and distinct makeup work. “The Lord of the Rings: The Return of the King” won all three while “Black Panther” won both Costume Design and Production Design. Those two are fantasy films, which is a leading genre in the design categories. But period pictures, historical epics, sci-fi flicks, and even distinct contemporary films have also done well in these races.
With that in mind, here’s a breakdown of the eight films we expect to be the strongest contenders across the three categories.
“Barbie”
Let’s get the obvious one out of the way. The trailers have flaunted pretty pastels and plastics in both the sets and the costumes and the full film does not disappoint. The legendary Jacqueline Durran is in...
With that in mind, here’s a breakdown of the eight films we expect to be the strongest contenders across the three categories.
“Barbie”
Let’s get the obvious one out of the way. The trailers have flaunted pretty pastels and plastics in both the sets and the costumes and the full film does not disappoint. The legendary Jacqueline Durran is in...
- 7/24/2023
- by Jacob Sarkisian
- Gold Derby
The opening act of Richard Marquand's 1983 sci-fantasy epic "Return of the Jedi," a film set in the universe of the animated series "Droids," takes place on the desert planet of Tatooine. While there, the stalwart heroes Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), and Lando Calrissian (Billy Dee Williams), sneak into the criminal palace of the evil crime lord Jabba the Hutt to rescue their imprisoned friend, Han Solo (Harrison Ford). Their plan isn't entirely clear, sadly, and they are all eventually caught. This leads to a scene out in the desert where Jabba forces them to walk the plank into the waiting open mouth of an enormous desert creature called a Sarlacc. Thanks to their fighting acumen, our heroes kill off the bad guys, escape in a jet, and blow up Jabba's desert barge for good measure.
According to Marcus Hearn's 2005 book "The Cinema of George Lucas,...
According to Marcus Hearn's 2005 book "The Cinema of George Lucas,...
- 5/25/2023
- by Witney Seibold
- Slash Film
There never has been (nor will there ever be) anything quite like Beetlejuice, that inimitable horror comedy concoction hailing from the demented minds of screenwriter Michael McDowell, plus writer/producer Larry Wilson and script doctor extraordinaire Warren Skaaren, filtered through the wacky gothic lens of director Tim Burton.
To celebrate Beetlejuice‘s Los Angeles return to the big screen at the Nuart Theatre at midnight tonight, December 20th, Tfh decided to take a look back at the film’s singular significance 31 years later.
As our tale unfurls, Adam and Barbara Maitland (Alec Baldwin and Geena Davis) are a fairly bland couple in the throes of (bland) domestic bliss. They occupy a pleasant, spacious house in the leafy suburb of Winter River, Connecticut. Adam owns a hardware store up the road, and enjoys whiling away his free time building a remarkably thorough model replica of Winter River while jamming out to Harry Belafonte songs.
To celebrate Beetlejuice‘s Los Angeles return to the big screen at the Nuart Theatre at midnight tonight, December 20th, Tfh decided to take a look back at the film’s singular significance 31 years later.
As our tale unfurls, Adam and Barbara Maitland (Alec Baldwin and Geena Davis) are a fairly bland couple in the throes of (bland) domestic bliss. They occupy a pleasant, spacious house in the leafy suburb of Winter River, Connecticut. Adam owns a hardware store up the road, and enjoys whiling away his free time building a remarkably thorough model replica of Winter River while jamming out to Harry Belafonte songs.
- 12/20/2019
- by Alex Kirschenbaum
- Trailers from Hell
“The Grand Budapest Hotel,” “Into the Woods” and “Inherent Vice” are among the nominees for the 16th Annual Costume Designers Guild Awards, the CDG announced on Wednesday.
So is “Selma,” which ended a 0-for-5 drought and picked up its first guild nomination of the year.
The guild chooses nominees in three separate categories: Excellence in Contemporary Film, Excellence in Period Film and Excellence in Fantasy Film. In recent years the Cdg has typically nominated three or four of the films that will go on to receive Oscar nominees for Best Costume Design – and in virtually every case, they’ve come...
So is “Selma,” which ended a 0-for-5 drought and picked up its first guild nomination of the year.
The guild chooses nominees in three separate categories: Excellence in Contemporary Film, Excellence in Period Film and Excellence in Fantasy Film. In recent years the Cdg has typically nominated three or four of the films that will go on to receive Oscar nominees for Best Costume Design – and in virtually every case, they’ve come...
- 1/7/2015
- by Steve Pond
- The Wrap
Birdman, Boyhood, Gone Girl, Interstellar and Wild are the contemporary film nominees for the 17th Costume Designers Guild Awards. The Grand Budapest Hotel, The Imitation Game, Inherent Vice, Selma and The Theory Of Everything have nabbed the period film nominees announced today. Outstanding contemporary television nominees are House Of Cards, Ray Donovan, Saturday Night Live, Scandal and True Detective. Winners will be announced February 17 in a ceremony at the Beverly Hilton Hotel.
Special honorees include producer, director and screenwriter Richard Linklater (who recently collaborated with costume designer Kari Perkins on Boyhood) will receive the Distinguished Collaborator Award in recognition of his support of Costume Design and creative partnerships with Costume Designers. An Honorary Career Achievement Award will be presented to Costume Designer Aggie Guerard Rodgers for her outstanding work in film. The 2015 Edith Head Award for the Advancement of the Art of Costume Design will be presented to costume designer,...
Special honorees include producer, director and screenwriter Richard Linklater (who recently collaborated with costume designer Kari Perkins on Boyhood) will receive the Distinguished Collaborator Award in recognition of his support of Costume Design and creative partnerships with Costume Designers. An Honorary Career Achievement Award will be presented to Costume Designer Aggie Guerard Rodgers for her outstanding work in film. The 2015 Edith Head Award for the Advancement of the Art of Costume Design will be presented to costume designer,...
- 1/7/2015
- by Denise Petski
- Deadline
To celebrate the release of Oz the Great and Powerful this week, here is a round-up of the best fantasy costume related posts at Clothes on Film. Some stretch a few years back but are still worth a read. Also do not forget to check out our review of Oz Here.
Click the image to take you to the article.
Her name is Effie and she dresses in McQueen.
We speak to simulation supervisor Claudia Chung about designing costumes for Oscar winning animation Brave.
With Catching Fire on the way this November, revisit our review of The Hunger Games. Costume designer Trish Summerville replaces Judianna Makovsky for the new one.
Penny Rose talks to us about her designs for Prince of Persia. Rose’s next project The Long Ranger is due in July.
A look at Aggie Guerard Rodgers’ fabulous costumes for Beetle Juice – with exclusive notes from Rodgers herself.
Click the image to take you to the article.
Her name is Effie and she dresses in McQueen.
We speak to simulation supervisor Claudia Chung about designing costumes for Oscar winning animation Brave.
With Catching Fire on the way this November, revisit our review of The Hunger Games. Costume designer Trish Summerville replaces Judianna Makovsky for the new one.
Penny Rose talks to us about her designs for Prince of Persia. Rose’s next project The Long Ranger is due in July.
A look at Aggie Guerard Rodgers’ fabulous costumes for Beetle Juice – with exclusive notes from Rodgers herself.
- 3/10/2013
- by Chris Laverty
- Clothes on Film
It is with huge anticipation that we take an exclusive look at FilmCraft: Costume Design by Deborah Nadoolman Landis, arguably the most important person in the costume industry today.
As costume designer for Raiders of the Lost Ark (1981), Coming to America (1988), Burke and Hare (2010), and many other well known titles, in addition to former two-term president of the Cdg, academic scholar and now museum curator, Nadoolman Landis is ideally placed to write such a book. It reads to us like an update of her similarly titled ScreenCraft volume from 2003, but is not officially intended as such. This all new publication features a detailed introduction, plus interviews with some of the most famous names in movie costume.
Although Nadoolman Landis did not have long to put this project together, only six months from announcement to press, she has created an essential reference guide for students, aficionados, and really anyone with an...
As costume designer for Raiders of the Lost Ark (1981), Coming to America (1988), Burke and Hare (2010), and many other well known titles, in addition to former two-term president of the Cdg, academic scholar and now museum curator, Nadoolman Landis is ideally placed to write such a book. It reads to us like an update of her similarly titled ScreenCraft volume from 2003, but is not officially intended as such. This all new publication features a detailed introduction, plus interviews with some of the most famous names in movie costume.
Although Nadoolman Landis did not have long to put this project together, only six months from announcement to press, she has created an essential reference guide for students, aficionados, and really anyone with an...
- 6/25/2012
- by Chris Laverty
- Clothes on Film
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The life of surveillance expert, Harry Caul (Gene Hackman) in The Conversation (1974, directed by Francis Ford Coppola) is one of ritual, fear and obsession. This man of many facets is identifiable by the clothes he wears, specifically because of their bland anonymity and repetition. His plastic raincoat in particular, a rudimentary raglan slip-on, provides recognisable iconography for the character. With exclusive insight from The Conversation costume designer, Aggie Guerard Rodgers, we analyse just why this coat is so important to Harry’s journey.
Stumbling on a murder plot during a routine, if technically accomplished clandestine recording, Harry becomes obsessed with subduing his Catholic guilt over past deeds. Harry lives alone with little furniture and barely any personal possessions, his saxophone and a small statue of the...
The life of surveillance expert, Harry Caul (Gene Hackman) in The Conversation (1974, directed by Francis Ford Coppola) is one of ritual, fear and obsession. This man of many facets is identifiable by the clothes he wears, specifically because of their bland anonymity and repetition. His plastic raincoat in particular, a rudimentary raglan slip-on, provides recognisable iconography for the character. With exclusive insight from The Conversation costume designer, Aggie Guerard Rodgers, we analyse just why this coat is so important to Harry’s journey.
Stumbling on a murder plot during a routine, if technically accomplished clandestine recording, Harry becomes obsessed with subduing his Catholic guilt over past deeds. Harry lives alone with little furniture and barely any personal possessions, his saxophone and a small statue of the...
- 3/13/2012
- by Chris Laverty
- Clothes on Film
Tossing its hat into the ongoing onslaught of nominations, the Costume Designers Guild on Wednesday announced the nominees for its eighth annual Costume Designers Guild Awards. In the period film category, the designers' taste ranged from Japanese kimonos from the 1930s to thrift store ware from New York's Lower East Side circa the 1980s as they nominated Kasia Walicka-Maimone for Capote, Louise Frogley for Good Night, and Good Luck, Colleen Atwood for Memoirs of a Geisha, Arianne Phillips for Walk the Line and Aggie Guerard Rodgers for Rent. Atwood, an Oscar winner for Chicago, also has been chosen to receive the group's Lacoste Spotlight in Film Award. Other special honorees, who will be recognized at an awards gala Feb. 25 at the Beverly Hilton, include Thomas C. Short, president of IATSE, who is to receive the Swarovski President's Award, and Star Trek designer Robert Blackman, who will get the Spotlight in Television Award. Anna Hill Johnstone will be inducted into the Edith Head Hall of Fame, and the guild will present Michael Woulfe, Grady Hunt and Moss Mabry with a Gold Card for their years of service to the guild, IATSE Local 892.
- 1/12/2006
- The Hollywood Reporter - Movie News
"Rent" is one of the best film musicals in years -- exuberant, sexy and life affirming in equal measure. Jonathan Larson's 1996 Tony- and Pulitzer Prize-winning rock musical, based upon Puccini's opera "La Boheme", makes an electrifying move to the screen as director Chris Columbus and choreographer Keith Young push the singing and dancing out into New York streets and subways.
Stylized action in real locations doesn't always work in movies, but it does here perhaps because six of the eight actor-performers from the original Broadway show return for the movie version. These actors know their roles down to the grit in their fingernails, so the film feels loose and real, unfettered by a proscenium and opened up in an almost spiritual way.
"Chicago" proved that American audiences can still, on occasion, embrace a genre that has largely gone out of style. But what will mainstream audiences make of a musical about AIDS, drug addiction, homelessness and drag queens? "Rent" will be strong in major markets but needs crackerjack marketing to draw a broad young audience to the film.
"Rent", which Larson, its author and composer, did not live to see became a worldwide success, focuses on a group of impoverished young artists and musicians, struggling to survive in New York's East Village neighborhood in the 1980s under the shadow of AIDS. "Rent" shares with "La Boheme" an affirmation of the bohemian lifestyle, of creativity and art over anything as mundane as earning a living or paying the rent.
The reason, of course, is these lives might be short. Drugs and HIV inflict several characters. Each feels a pressing need to create a legacy, one in which whom you love is at least important as what you create. You live your art -- and life -- with a metaphorical gun to your head.
Roger (Adam Pascal) is a handsome yet melancholy songwriter coming off a long bout with heroin. Downstairs neighbor Mimi (Rosario Dawson), a spectacularly beautiful exotic dancer, has a definite eye for Roger, but he is emotionally shut down and understandably wary of her drug habit. What eventually brings them together, for a moment at least, is the realization that both are HIV-positive.
Roger's roommate Mark (Anthony Rapp), a struggling filmmaker, starts to document life around him, starting with his circle of friends. He also carries the torch for mercurial performance artist Maureen (Idina Menzel), who left him for -- the indignity of it all -- a woman, Harvard-trained attorney Joanne (Tracie Thoms).
Returning to the circle of friends is Tom Jesse L. Martin), a former professor and computer whiz who is jobless. Moments after getting mugged outside his former digs, Tom meets the love of his life, Angel Wilson Jermaine Heredia), a drag queen street musician. These two also are HIV-positive.
The outsider of the group is Benjamin Coffin III (Taye Diggs). Benny married the landlord's daughter and, despite a vow to keep his former roommates in the loft rent-free, has become the "enemy," a capitalist who wants to transform the 'hood by evicting everyone and building a headquarters for a cyberspace enterprise.
The threat of eviction ostensibly gives the story its dramatic impetus: Maureen means to stage a one-woman show in protest, Benny pressures Roger and Mark to stop her and so on. But the real dramatic propulsion comes from love. Tom and Angel fall hard for one another and revel in that love as their time together will be short. Mimi and Roger share an equally profound passion, but Roger refuses to acknowledge it. Mark still pines for Maureen, whose open behavior with men and women sparks doubt and jealousy in Joanne.
The film spills out of the cold-water lofts into nearby streets, bars, restaurants, performance spaces and churches in a celebration of the bohemian life. Stephen Goldblatt's camera is constantly in motion, and Young's dances have a athletic dynamism that energizes the screen. Some dialogue has been added in Steve Chbosky's adaptation, but like the stage show the story is told in musical numbers that flow smoothly one into another. Meanwhile, Larson's music honors a host of traditions, ranging from rock and blues to gospel, soul and even tango.
Columbus managed the complicated logistics of the first two "Harry Potter" movies but never put his own stamp on those huge productions. Something in "Rent", though, hooked him emotionally for the movie represents his best work -- confident of the material inherited from Larson, true to that legacy yet willing to make changes and expand the possibilities for the screen.
Nearly every big movie has its set pieces around which the film develops, but "Rent" is all set pieces. Each requires ingenuity and sweat to get the best out of a super-talented cast. That each succeeds on its own terms yet flows together so easily is a tribute to Columbus' passion for the material.
Howard Cummings' interior sets, the location work, Aggie Guerard Rodgers' vibrant costumes, the terrific dances and adventurous cinematography all add up to pure pleasure.
RENT
Columbia Pictures
Revolution Studios presents in association with 1492 Pictures a Tribeca production
Credits:
Director: Chris Columbus
Screenwriter: Steve Chbosky
Based on the play by: Jonathan Larson
Producers: Jane Rosenthal, Robert De Niro, Chris Columbus, Mark Radcliffe, Michael Barnathan
Executive producers: Jeffrey Seller, Kevin McCollum, Allan S. Gordon, Lata Ryan
Director of photography: Stephen Goldblatt
Production designer: Howard Cummings
Music and lyrics: Jonathan Larson
Choreographer: Keith Young
Costumes: Aggie Guerard Rodgers
Editor: Richard Pearson
Cast:
Mimi: Rosario Dawson
Benny: Taye Diggs
Angel: Wilson Jermaine Heredia
Tom: Jesse L. Martin
Maureen: Idina Menzel
Roger: Adam Pascal
Mark: Anthony Rapp
Joanne: Tracie Thoms
MPAA rating PG-13
Running time -- 135 minutes...
Stylized action in real locations doesn't always work in movies, but it does here perhaps because six of the eight actor-performers from the original Broadway show return for the movie version. These actors know their roles down to the grit in their fingernails, so the film feels loose and real, unfettered by a proscenium and opened up in an almost spiritual way.
"Chicago" proved that American audiences can still, on occasion, embrace a genre that has largely gone out of style. But what will mainstream audiences make of a musical about AIDS, drug addiction, homelessness and drag queens? "Rent" will be strong in major markets but needs crackerjack marketing to draw a broad young audience to the film.
"Rent", which Larson, its author and composer, did not live to see became a worldwide success, focuses on a group of impoverished young artists and musicians, struggling to survive in New York's East Village neighborhood in the 1980s under the shadow of AIDS. "Rent" shares with "La Boheme" an affirmation of the bohemian lifestyle, of creativity and art over anything as mundane as earning a living or paying the rent.
The reason, of course, is these lives might be short. Drugs and HIV inflict several characters. Each feels a pressing need to create a legacy, one in which whom you love is at least important as what you create. You live your art -- and life -- with a metaphorical gun to your head.
Roger (Adam Pascal) is a handsome yet melancholy songwriter coming off a long bout with heroin. Downstairs neighbor Mimi (Rosario Dawson), a spectacularly beautiful exotic dancer, has a definite eye for Roger, but he is emotionally shut down and understandably wary of her drug habit. What eventually brings them together, for a moment at least, is the realization that both are HIV-positive.
Roger's roommate Mark (Anthony Rapp), a struggling filmmaker, starts to document life around him, starting with his circle of friends. He also carries the torch for mercurial performance artist Maureen (Idina Menzel), who left him for -- the indignity of it all -- a woman, Harvard-trained attorney Joanne (Tracie Thoms).
Returning to the circle of friends is Tom Jesse L. Martin), a former professor and computer whiz who is jobless. Moments after getting mugged outside his former digs, Tom meets the love of his life, Angel Wilson Jermaine Heredia), a drag queen street musician. These two also are HIV-positive.
The outsider of the group is Benjamin Coffin III (Taye Diggs). Benny married the landlord's daughter and, despite a vow to keep his former roommates in the loft rent-free, has become the "enemy," a capitalist who wants to transform the 'hood by evicting everyone and building a headquarters for a cyberspace enterprise.
The threat of eviction ostensibly gives the story its dramatic impetus: Maureen means to stage a one-woman show in protest, Benny pressures Roger and Mark to stop her and so on. But the real dramatic propulsion comes from love. Tom and Angel fall hard for one another and revel in that love as their time together will be short. Mimi and Roger share an equally profound passion, but Roger refuses to acknowledge it. Mark still pines for Maureen, whose open behavior with men and women sparks doubt and jealousy in Joanne.
The film spills out of the cold-water lofts into nearby streets, bars, restaurants, performance spaces and churches in a celebration of the bohemian life. Stephen Goldblatt's camera is constantly in motion, and Young's dances have a athletic dynamism that energizes the screen. Some dialogue has been added in Steve Chbosky's adaptation, but like the stage show the story is told in musical numbers that flow smoothly one into another. Meanwhile, Larson's music honors a host of traditions, ranging from rock and blues to gospel, soul and even tango.
Columbus managed the complicated logistics of the first two "Harry Potter" movies but never put his own stamp on those huge productions. Something in "Rent", though, hooked him emotionally for the movie represents his best work -- confident of the material inherited from Larson, true to that legacy yet willing to make changes and expand the possibilities for the screen.
Nearly every big movie has its set pieces around which the film develops, but "Rent" is all set pieces. Each requires ingenuity and sweat to get the best out of a super-talented cast. That each succeeds on its own terms yet flows together so easily is a tribute to Columbus' passion for the material.
Howard Cummings' interior sets, the location work, Aggie Guerard Rodgers' vibrant costumes, the terrific dances and adventurous cinematography all add up to pure pleasure.
RENT
Columbia Pictures
Revolution Studios presents in association with 1492 Pictures a Tribeca production
Credits:
Director: Chris Columbus
Screenwriter: Steve Chbosky
Based on the play by: Jonathan Larson
Producers: Jane Rosenthal, Robert De Niro, Chris Columbus, Mark Radcliffe, Michael Barnathan
Executive producers: Jeffrey Seller, Kevin McCollum, Allan S. Gordon, Lata Ryan
Director of photography: Stephen Goldblatt
Production designer: Howard Cummings
Music and lyrics: Jonathan Larson
Choreographer: Keith Young
Costumes: Aggie Guerard Rodgers
Editor: Richard Pearson
Cast:
Mimi: Rosario Dawson
Benny: Taye Diggs
Angel: Wilson Jermaine Heredia
Tom: Jesse L. Martin
Maureen: Idina Menzel
Roger: Adam Pascal
Mark: Anthony Rapp
Joanne: Tracie Thoms
MPAA rating PG-13
Running time -- 135 minutes...
"Rent" is one of the best film musicals in years -- exuberant, sexy and life affirming in equal measure. Jonathan Larson's 1996 Tony- and Pulitzer Prize-winning rock musical, based upon Puccini's opera "La Boheme", makes an electrifying move to the screen as director Chris Columbus and choreographer Keith Young push the singing and dancing out into New York streets and subways.
Stylized action in real locations doesn't always work in movies, but it does here perhaps because six of the eight actor-performers from the original Broadway show return for the movie version. These actors know their roles down to the grit in their fingernails, so the film feels loose and real, unfettered by a proscenium and opened up in an almost spiritual way.
"Chicago" proved that American audiences can still, on occasion, embrace a genre that has largely gone out of style. But what will mainstream audiences make of a musical about AIDS, drug addiction, homelessness and drag queens? "Rent" will be strong in major markets but needs crackerjack marketing to draw a broad young audience to the film.
"Rent", which Larson, its author and composer, did not live to see became a worldwide success, focuses on a group of impoverished young artists and musicians, struggling to survive in New York's East Village neighborhood in the 1980s under the shadow of AIDS. "Rent" shares with "La Boheme" an affirmation of the bohemian lifestyle, of creativity and art over anything as mundane as earning a living or paying the rent.
The reason, of course, is these lives might be short. Drugs and HIV inflict several characters. Each feels a pressing need to create a legacy, one in which whom you love is at least important as what you create. You live your art -- and life -- with a metaphorical gun to your head.
Roger (Adam Pascal) is a handsome yet melancholy songwriter coming off a long bout with heroin. Downstairs neighbor Mimi (Rosario Dawson), a spectacularly beautiful exotic dancer, has a definite eye for Roger, but he is emotionally shut down and understandably wary of her drug habit. What eventually brings them together, for a moment at least, is the realization that both are HIV-positive.
Roger's roommate Mark (Anthony Rapp), a struggling filmmaker, starts to document life around him, starting with his circle of friends. He also carries the torch for mercurial performance artist Maureen (Idina Menzel), who left him for -- the indignity of it all -- a woman, Harvard-trained attorney Joanne (Tracie Thoms).
Returning to the circle of friends is Tom Jesse L. Martin), a former professor and computer whiz who is jobless. Moments after getting mugged outside his former digs, Tom meets the love of his life, Angel Wilson Jermaine Heredia), a drag queen street musician. These two also are HIV-positive.
The outsider of the group is Benjamin Coffin III (Taye Diggs). Benny married the landlord's daughter and, despite a vow to keep his former roommates in the loft rent-free, has become the "enemy," a capitalist who wants to transform the 'hood by evicting everyone and building a headquarters for a cyberspace enterprise.
The threat of eviction ostensibly gives the story its dramatic impetus: Maureen means to stage a one-woman show in protest, Benny pressures Roger and Mark to stop her and so on. But the real dramatic propulsion comes from love. Tom and Angel fall hard for one another and revel in that love as their time together will be short. Mimi and Roger share an equally profound passion, but Roger refuses to acknowledge it. Mark still pines for Maureen, whose open behavior with men and women sparks doubt and jealousy in Joanne.
The film spills out of the cold-water lofts into nearby streets, bars, restaurants, performance spaces and churches in a celebration of the bohemian life. Stephen Goldblatt's camera is constantly in motion, and Young's dances have a athletic dynamism that energizes the screen. Some dialogue has been added in Steve Chbosky's adaptation, but like the stage show the story is told in musical numbers that flow smoothly one into another. Meanwhile, Larson's music honors a host of traditions, ranging from rock and blues to gospel, soul and even tango.
Columbus managed the complicated logistics of the first two "Harry Potter" movies but never put his own stamp on those huge productions. Something in "Rent", though, hooked him emotionally for the movie represents his best work -- confident of the material inherited from Larson, true to that legacy yet willing to make changes and expand the possibilities for the screen.
Nearly every big movie has its set pieces around which the film develops, but "Rent" is all set pieces. Each requires ingenuity and sweat to get the best out of a super-talented cast. That each succeeds on its own terms yet flows together so easily is a tribute to Columbus' passion for the material.
Howard Cummings' interior sets, the location work, Aggie Guerard Rodgers' vibrant costumes, the terrific dances and adventurous cinematography all add up to pure pleasure.
RENT
Columbia Pictures
Revolution Studios presents in association with 1492 Pictures a Tribeca production
Credits:
Director: Chris Columbus
Screenwriter: Steve Chbosky
Based on the play by: Jonathan Larson
Producers: Jane Rosenthal, Robert De Niro, Chris Columbus, Mark Radcliffe, Michael Barnathan
Executive producers: Jeffrey Seller, Kevin McCollum, Allan S. Gordon, Lata Ryan
Director of photography: Stephen Goldblatt
Production designer: Howard Cummings
Music and lyrics: Jonathan Larson
Choreographer: Keith Young
Costumes: Aggie Guerard Rodgers
Editor: Richard Pearson
Cast:
Mimi: Rosario Dawson
Benny: Taye Diggs
Angel: Wilson Jermaine Heredia
Tom: Jesse L. Martin
Maureen: Idina Menzel
Roger: Adam Pascal
Mark: Anthony Rapp
Joanne: Tracie Thoms
MPAA rating PG-13
Running time -- 135 minutes...
Stylized action in real locations doesn't always work in movies, but it does here perhaps because six of the eight actor-performers from the original Broadway show return for the movie version. These actors know their roles down to the grit in their fingernails, so the film feels loose and real, unfettered by a proscenium and opened up in an almost spiritual way.
"Chicago" proved that American audiences can still, on occasion, embrace a genre that has largely gone out of style. But what will mainstream audiences make of a musical about AIDS, drug addiction, homelessness and drag queens? "Rent" will be strong in major markets but needs crackerjack marketing to draw a broad young audience to the film.
"Rent", which Larson, its author and composer, did not live to see became a worldwide success, focuses on a group of impoverished young artists and musicians, struggling to survive in New York's East Village neighborhood in the 1980s under the shadow of AIDS. "Rent" shares with "La Boheme" an affirmation of the bohemian lifestyle, of creativity and art over anything as mundane as earning a living or paying the rent.
The reason, of course, is these lives might be short. Drugs and HIV inflict several characters. Each feels a pressing need to create a legacy, one in which whom you love is at least important as what you create. You live your art -- and life -- with a metaphorical gun to your head.
Roger (Adam Pascal) is a handsome yet melancholy songwriter coming off a long bout with heroin. Downstairs neighbor Mimi (Rosario Dawson), a spectacularly beautiful exotic dancer, has a definite eye for Roger, but he is emotionally shut down and understandably wary of her drug habit. What eventually brings them together, for a moment at least, is the realization that both are HIV-positive.
Roger's roommate Mark (Anthony Rapp), a struggling filmmaker, starts to document life around him, starting with his circle of friends. He also carries the torch for mercurial performance artist Maureen (Idina Menzel), who left him for -- the indignity of it all -- a woman, Harvard-trained attorney Joanne (Tracie Thoms).
Returning to the circle of friends is Tom Jesse L. Martin), a former professor and computer whiz who is jobless. Moments after getting mugged outside his former digs, Tom meets the love of his life, Angel Wilson Jermaine Heredia), a drag queen street musician. These two also are HIV-positive.
The outsider of the group is Benjamin Coffin III (Taye Diggs). Benny married the landlord's daughter and, despite a vow to keep his former roommates in the loft rent-free, has become the "enemy," a capitalist who wants to transform the 'hood by evicting everyone and building a headquarters for a cyberspace enterprise.
The threat of eviction ostensibly gives the story its dramatic impetus: Maureen means to stage a one-woman show in protest, Benny pressures Roger and Mark to stop her and so on. But the real dramatic propulsion comes from love. Tom and Angel fall hard for one another and revel in that love as their time together will be short. Mimi and Roger share an equally profound passion, but Roger refuses to acknowledge it. Mark still pines for Maureen, whose open behavior with men and women sparks doubt and jealousy in Joanne.
The film spills out of the cold-water lofts into nearby streets, bars, restaurants, performance spaces and churches in a celebration of the bohemian life. Stephen Goldblatt's camera is constantly in motion, and Young's dances have a athletic dynamism that energizes the screen. Some dialogue has been added in Steve Chbosky's adaptation, but like the stage show the story is told in musical numbers that flow smoothly one into another. Meanwhile, Larson's music honors a host of traditions, ranging from rock and blues to gospel, soul and even tango.
Columbus managed the complicated logistics of the first two "Harry Potter" movies but never put his own stamp on those huge productions. Something in "Rent", though, hooked him emotionally for the movie represents his best work -- confident of the material inherited from Larson, true to that legacy yet willing to make changes and expand the possibilities for the screen.
Nearly every big movie has its set pieces around which the film develops, but "Rent" is all set pieces. Each requires ingenuity and sweat to get the best out of a super-talented cast. That each succeeds on its own terms yet flows together so easily is a tribute to Columbus' passion for the material.
Howard Cummings' interior sets, the location work, Aggie Guerard Rodgers' vibrant costumes, the terrific dances and adventurous cinematography all add up to pure pleasure.
RENT
Columbia Pictures
Revolution Studios presents in association with 1492 Pictures a Tribeca production
Credits:
Director: Chris Columbus
Screenwriter: Steve Chbosky
Based on the play by: Jonathan Larson
Producers: Jane Rosenthal, Robert De Niro, Chris Columbus, Mark Radcliffe, Michael Barnathan
Executive producers: Jeffrey Seller, Kevin McCollum, Allan S. Gordon, Lata Ryan
Director of photography: Stephen Goldblatt
Production designer: Howard Cummings
Music and lyrics: Jonathan Larson
Choreographer: Keith Young
Costumes: Aggie Guerard Rodgers
Editor: Richard Pearson
Cast:
Mimi: Rosario Dawson
Benny: Taye Diggs
Angel: Wilson Jermaine Heredia
Tom: Jesse L. Martin
Maureen: Idina Menzel
Roger: Adam Pascal
Mark: Anthony Rapp
Joanne: Tracie Thoms
MPAA rating PG-13
Running time -- 135 minutes...
- 12/20/2005
- The Hollywood Reporter - Movie News
The Land of Lincoln in the Age of Eisenhower is the place and setting for this Americana period piece about the cracks behind the imposing facade of everyday middle-class life.
Stylized both as a late-teen romance as well as a coming-of-age story, this 20th Century Fox production boasts an appealing young cast -- Jennifer Connelly, Liv Tyler, Joanna Going, Billy Crudup, Joaquin Phoenix -- but, other than a quick spin around the boxoffice floor, this ever-thoughtful release never generates enough narrative bounce to kick up its heels and will find itself quickly cut in on.
Admittedly, this Imagine Entertainment production will win some curiosity as a period piece among us geezers who actually grew up there and then, but younger viewers are likely to be deadened by the film's subdued and, ultimately, detached intellectualizing. Worst, the most interesting character -- bad-girl Eleanor (Connelly) -- is dramatically excised after a brief tease appearance. Exit pollsters: Brace for major male displeasure.
Essentially, "Abbotts" is the age-old yarn about the separation of classes in classless United States. In this case, middle-class teenage brothers Jacey (Crudup) and Doug (Phoenix) are alternately bedazzled and baffled by the three rich girls, the Abbotts, who flounce around behind the wealthy facade that their father's file-cabinet-drawer invention has provided them. There's the good girl, Alice (Going), who is engaged to a wealthy guy; baddie Eleanor, who upsets convention; and the third wheel, Pamela (Tyler), who gets off the hook. Throughout, it is Jacey's obsessed musings on the Abbotts that make up both the dramatic and thematic content of the film. A diligent lad who toils summers as a service-station attendant to pay for attending the University of Pennsylvania, Jacey's obsessed with the Abbott family and more than a little conflicted. He both idealizes and loathes them. And, through his first-person voice, we also see both the topside and the underside to the Abbott clan.
What ultimately emerges in this somewhat listless movie is a swept-wing, Tide-y thematic washout as screenwriter Ken Hixon numbingly educates us to the cracks in the family character of our small-town royalty -- namely, the self-made rich folk who live across the tracks. Admittedly, there are some snappy flourishes and wonderfully apt encapsulations of the era, but under Pat O'Connor's direction, the dramatics never really come to life. As Lawrence Welk may have said on his hit Saturday night band show of the time, this one could use some Geritol.
Ultimately, Jacey's dronings lull us down to 16 rpm as the film's drama and theme start to scratch in repetition. The story's lack of iron is due in part to the fact that often Jacey's most incendiary observations have to do with the past (thus, they are only grumbled about) and, as noted, the fact that the Abbott clan's most cataclysmic daughter, Eleanor, is sent off to the sanitarium before she can really stir things up. It's like going to the dance and finding only your English teacher is there, and he's giving his Sinclair Lewis speech on midtown America.
Among the players, Crudup, as the teen obsessed with the Abbotts, is strong. He's a maelstrom of conflicted teen anxieties, while Tyler is particularly engaging as the third Abbott sister. It's Kathy Baker as the boys' stoic, long-suffering mother who gives the film's most layered performance, evincing regret, strength and compassion all at once.
Hats off to the technical team, especially costume designer Aggie Guerard Rodgers and production designer Gary Frutkoff, for the careful evocation of the '50s. Filmed partially in Petaluma, Calif., with its gorgeous sycamores and eucalyptuses, the film brings a special Mediterranean-ish quality to the Midwest, as do the rolling hills that, perhaps for director O'Connor's benefit, add a special Irish roll to the plains of Illinois. Anyway, it's a far different look than those of us who grew up within a couple of hours of Chicago at the time certainly remember.
INVENTING THE ABBOTTS
20th Century Fox
An Imagine Entertainment production
A Pat O'Connor film
Producers Ron Howard, Brian Grazer,
Janet Meyers
Director Pat O'Connor
Screenwriter Ken Hixon
Based on the story by Sue Miller
Executive producers Karen Kehela,
Jack Cummins
Director of photography Kenneth MacMillan
Production designer Gary Frutkoff
Editor Ray Lovejoy
Music Michael Kamen
Costume designer Aggie Guerard Rodgers
Sound mixer John Patrick Pritchett
Color/stereo
Cast:
Doug Holt Joaquin Phoenix
Jacey Holt Billy Crudup
Lloyd Abbott Will Patton
Helen Holt Kathy Baker
Eleanor Abbott Jennifer Connelly
Steve Michael Sutton
Pamela Abbott Liv Tyler
Alice Abbott Joanna Going
Joan Abbott Barbara Williams
Peter Vanlaningham Alessandro Nivola
Running time -- 107 minutes
MPAA rating: R...
Stylized both as a late-teen romance as well as a coming-of-age story, this 20th Century Fox production boasts an appealing young cast -- Jennifer Connelly, Liv Tyler, Joanna Going, Billy Crudup, Joaquin Phoenix -- but, other than a quick spin around the boxoffice floor, this ever-thoughtful release never generates enough narrative bounce to kick up its heels and will find itself quickly cut in on.
Admittedly, this Imagine Entertainment production will win some curiosity as a period piece among us geezers who actually grew up there and then, but younger viewers are likely to be deadened by the film's subdued and, ultimately, detached intellectualizing. Worst, the most interesting character -- bad-girl Eleanor (Connelly) -- is dramatically excised after a brief tease appearance. Exit pollsters: Brace for major male displeasure.
Essentially, "Abbotts" is the age-old yarn about the separation of classes in classless United States. In this case, middle-class teenage brothers Jacey (Crudup) and Doug (Phoenix) are alternately bedazzled and baffled by the three rich girls, the Abbotts, who flounce around behind the wealthy facade that their father's file-cabinet-drawer invention has provided them. There's the good girl, Alice (Going), who is engaged to a wealthy guy; baddie Eleanor, who upsets convention; and the third wheel, Pamela (Tyler), who gets off the hook. Throughout, it is Jacey's obsessed musings on the Abbotts that make up both the dramatic and thematic content of the film. A diligent lad who toils summers as a service-station attendant to pay for attending the University of Pennsylvania, Jacey's obsessed with the Abbott family and more than a little conflicted. He both idealizes and loathes them. And, through his first-person voice, we also see both the topside and the underside to the Abbott clan.
What ultimately emerges in this somewhat listless movie is a swept-wing, Tide-y thematic washout as screenwriter Ken Hixon numbingly educates us to the cracks in the family character of our small-town royalty -- namely, the self-made rich folk who live across the tracks. Admittedly, there are some snappy flourishes and wonderfully apt encapsulations of the era, but under Pat O'Connor's direction, the dramatics never really come to life. As Lawrence Welk may have said on his hit Saturday night band show of the time, this one could use some Geritol.
Ultimately, Jacey's dronings lull us down to 16 rpm as the film's drama and theme start to scratch in repetition. The story's lack of iron is due in part to the fact that often Jacey's most incendiary observations have to do with the past (thus, they are only grumbled about) and, as noted, the fact that the Abbott clan's most cataclysmic daughter, Eleanor, is sent off to the sanitarium before she can really stir things up. It's like going to the dance and finding only your English teacher is there, and he's giving his Sinclair Lewis speech on midtown America.
Among the players, Crudup, as the teen obsessed with the Abbotts, is strong. He's a maelstrom of conflicted teen anxieties, while Tyler is particularly engaging as the third Abbott sister. It's Kathy Baker as the boys' stoic, long-suffering mother who gives the film's most layered performance, evincing regret, strength and compassion all at once.
Hats off to the technical team, especially costume designer Aggie Guerard Rodgers and production designer Gary Frutkoff, for the careful evocation of the '50s. Filmed partially in Petaluma, Calif., with its gorgeous sycamores and eucalyptuses, the film brings a special Mediterranean-ish quality to the Midwest, as do the rolling hills that, perhaps for director O'Connor's benefit, add a special Irish roll to the plains of Illinois. Anyway, it's a far different look than those of us who grew up within a couple of hours of Chicago at the time certainly remember.
INVENTING THE ABBOTTS
20th Century Fox
An Imagine Entertainment production
A Pat O'Connor film
Producers Ron Howard, Brian Grazer,
Janet Meyers
Director Pat O'Connor
Screenwriter Ken Hixon
Based on the story by Sue Miller
Executive producers Karen Kehela,
Jack Cummins
Director of photography Kenneth MacMillan
Production designer Gary Frutkoff
Editor Ray Lovejoy
Music Michael Kamen
Costume designer Aggie Guerard Rodgers
Sound mixer John Patrick Pritchett
Color/stereo
Cast:
Doug Holt Joaquin Phoenix
Jacey Holt Billy Crudup
Lloyd Abbott Will Patton
Helen Holt Kathy Baker
Eleanor Abbott Jennifer Connelly
Steve Michael Sutton
Pamela Abbott Liv Tyler
Alice Abbott Joanna Going
Joan Abbott Barbara Williams
Peter Vanlaningham Alessandro Nivola
Running time -- 107 minutes
MPAA rating: R...
- 3/14/1997
- The Hollywood Reporter - Movie News
There's a softer, but no less tenacious Mel Gibson in ''Forever Young, '' a fantasy romance which should garner both bricks and bouquets from viewers, depending on where they draw the cute/cutesy, sentiment/sediment line. Yet, even those who think ''Forever Young'' is complete slush will admit its holiday powers as a romance booster.
''Forever Young'' should present Warner Bros. with glowing numbers, mainly from female viewers. Powder room word-of-mouth that Gibson flashes his tush should alone account for an extra $10 million domestic. Even males, not turned away by the drippy title, but shrewdly attuned to its date-night potential, should find the film a pleasant enough endurance.
This time out Gibson's acting crazy not because he's dodging bullets or ducking Joe Pesci but because he's swoonily in love. It's 1939 and he's a daredevil test pilot who's madly in love. But he can't muster the courage to pop the big question and before he can get it out, the apple of his eye (Isabel Glasser) is run down by a big truck, reduced to a never-ending coma.
Rather than endure the torment, and hoping someday to reunite with her, Daniel agrees to be a guinea pig in a longevity experiment. He's put on ice to be resurrected someday in the future, but Army efficiency causes him to be lost for more than 50 years in a warehouse, accidentally freed in 1992 by a couple of mischievous kids.
With his resurrection, the film plummets into the familiar person-from-another-time-period genre, as pre-World War II Daniel encounters the 1990s. Indeed, ''Forever Young'' is largely a cop-out as a love story: It's only a love story in its beginning and ending; in between, it's a character-out-of-time quest movie -- Daniel encounters answering machines, ad predictum. Narratively, this romancer is so cinematically derivative it seems to have been something concocted by film schoolers who have only movie genres, rather than real life, to serve them as their romantic guideposts.
Nonetheless, screenwriter Jeffrey Abrams' facile love scenario is also stoked with winningly tender moments and revived by humorous flashes. While milking every scene to its maximum emotional effect, director Steve Miner manages to maintain a credible balance between the film's melodramatic excesses and its genuine heart.
Mel Gibson's moony performance is the film's highlight and saving grace -- a dewy, fiery combination that conveys perfectly the conflicted energy of love. Glasser is appropriately entrancing as his lost love. Jamie Lee Curtis does a nice turn as a love-starved single mother who is resilient enough to withstand Daniel's knight-in-shining-armor entrance into her life.
Tech contributions are superb. Cinematographer Russell Boyd's solidly golden hues and production designer Gregg Fonseca's sharp period sets kindle the romantic mood, while Aggie Guerard Rodgers' meat-and-potatoes costumes nicely convey an Americana feel to the film's diverse periods.
FOREVER YOUNG
Warner Bros.
An Icon Production
In association with Edward S. Feldman
A Steve Miner Film
Producer Bruce Davey
Director Steve Miner
Screenwriter Jeffrey Abrams
Executive producers Jeffrey Abrams, Edward S. Feldman
Director of photography Russell Boyd
Production designer Gregg Fonseca
Editor Jon Poll
Music Jerry Goldsmith
Costume designer Aggie Guerard Rodgers
Casting Marion Dougherty
Color/Stereo
Cast:
Daniel ... Mel Gibson
Claire ... Jamie Lee Curtis
Nat ... Elijah Wood
Helen ... Isabel Glasser
Harry ... George Wendt
Cameron ... Joe Morton
John ... Nicolas Surovy
Wilcox ... David Marshall Grant
Felix ... Robert Hy Gorman
Running time -- 105 minutes
MPAA Rating: PG
(c) The Hollywood Reporter...
''Forever Young'' should present Warner Bros. with glowing numbers, mainly from female viewers. Powder room word-of-mouth that Gibson flashes his tush should alone account for an extra $10 million domestic. Even males, not turned away by the drippy title, but shrewdly attuned to its date-night potential, should find the film a pleasant enough endurance.
This time out Gibson's acting crazy not because he's dodging bullets or ducking Joe Pesci but because he's swoonily in love. It's 1939 and he's a daredevil test pilot who's madly in love. But he can't muster the courage to pop the big question and before he can get it out, the apple of his eye (Isabel Glasser) is run down by a big truck, reduced to a never-ending coma.
Rather than endure the torment, and hoping someday to reunite with her, Daniel agrees to be a guinea pig in a longevity experiment. He's put on ice to be resurrected someday in the future, but Army efficiency causes him to be lost for more than 50 years in a warehouse, accidentally freed in 1992 by a couple of mischievous kids.
With his resurrection, the film plummets into the familiar person-from-another-time-period genre, as pre-World War II Daniel encounters the 1990s. Indeed, ''Forever Young'' is largely a cop-out as a love story: It's only a love story in its beginning and ending; in between, it's a character-out-of-time quest movie -- Daniel encounters answering machines, ad predictum. Narratively, this romancer is so cinematically derivative it seems to have been something concocted by film schoolers who have only movie genres, rather than real life, to serve them as their romantic guideposts.
Nonetheless, screenwriter Jeffrey Abrams' facile love scenario is also stoked with winningly tender moments and revived by humorous flashes. While milking every scene to its maximum emotional effect, director Steve Miner manages to maintain a credible balance between the film's melodramatic excesses and its genuine heart.
Mel Gibson's moony performance is the film's highlight and saving grace -- a dewy, fiery combination that conveys perfectly the conflicted energy of love. Glasser is appropriately entrancing as his lost love. Jamie Lee Curtis does a nice turn as a love-starved single mother who is resilient enough to withstand Daniel's knight-in-shining-armor entrance into her life.
Tech contributions are superb. Cinematographer Russell Boyd's solidly golden hues and production designer Gregg Fonseca's sharp period sets kindle the romantic mood, while Aggie Guerard Rodgers' meat-and-potatoes costumes nicely convey an Americana feel to the film's diverse periods.
FOREVER YOUNG
Warner Bros.
An Icon Production
In association with Edward S. Feldman
A Steve Miner Film
Producer Bruce Davey
Director Steve Miner
Screenwriter Jeffrey Abrams
Executive producers Jeffrey Abrams, Edward S. Feldman
Director of photography Russell Boyd
Production designer Gregg Fonseca
Editor Jon Poll
Music Jerry Goldsmith
Costume designer Aggie Guerard Rodgers
Casting Marion Dougherty
Color/Stereo
Cast:
Daniel ... Mel Gibson
Claire ... Jamie Lee Curtis
Nat ... Elijah Wood
Helen ... Isabel Glasser
Harry ... George Wendt
Cameron ... Joe Morton
John ... Nicolas Surovy
Wilcox ... David Marshall Grant
Felix ... Robert Hy Gorman
Running time -- 105 minutes
MPAA Rating: PG
(c) The Hollywood Reporter...
- 12/7/1992
- The Hollywood Reporter - Movie News
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