Thursday, August 7, 2008

Casting Couch: Neverwhere!


Is there anything as fun as trying to figure out who should play the characters in one of your favorite books? Yes, but those are not things I have been doing since I woke up. Today, Neverwhere, by Neil Gaiman!

While Neverwhere actually kind of started out as a BBC television miniseries, meaning it has already been filmed once, that show doesn't really capture the grandeur of the book version. Meaning there's space for a big-budget Hollywood movie version. But who to play in it?

Richard Mayhew—I kind of see James McAvoy in this part, although I think when I first read it a I saw someone like Ben Chaplin, I think he is too old for the part now. Lots of points for McAvoy, though. For one, he's Scottish, just like Mayhew, so no need to fiddle with his accent. Also, he has a kind of unassuming disposition, and though I haven't seen Wanted yet, I assume he can carry of the role of the unlikely action hero, or the role of the almost but not quite an action hero. Also, it's the lead, and he has some star power that could launch such a project.

Door—A tricky role, since age is appearance is so important. You need someone who simultaneously possesses childlike innocense and some degree of muturity, and is actually quite possibly an adult. Also, she has to be kind of pixieish, without being a manic pixie dream type or anything. Oh, and red hair. Really, really, red hair. So, though I haven't actually seen her in anything, I am going to go with Rachel Hurd-Wood, who played Wendy in that last Peter Pan remake, and was in Perfume: The Story of a Murderer, a movie I really want to get around to seeing sometime soon. Basically, she looks exactly like Door, seems, from the Perfume photos on IMBD to possess the self-possession necessary to play the actual hero of the story, and hey, she worked opposite Alan Rickman, so she has to be pretty good, right?

The marquis de Carabas—Hmm, a theatrical, cunning black Englishman of uncertain motives with hints of casual cruelty? Really, this part is so Chiwetel Ejiofor I was picturing him as I read it. It's like someone was just trying to come up with the ultimate part for Chiwetel to have fun with.

Hunter—Um, I really don't know who should play Hunter, but she is kind of important, so I still wanted to include a spot. You could really cast Halle Berry for all I care with this part. Sophie Okonedo? Freema Agyman?

Mr. Croup and Mr. Vandemar—Hard. My two favorite characters in the book. For Mr. Vandemar, I would go with Ian Whyte, the 7'2" Welshman who played the Predators in the recent Predator movies. For one, he's 7'2," and not as a result of Gigantism. He seems perfectly porportioned. I calculated once that, since Mr. Vandemar is described as two and a half heads taller than Mr. Croup, and if Mr. Croup were, say, 5'6," and a head was about eight inches, then Mr. Vandemar is 7'2." In other words, in the book Mr. Vandemar is huge. Ian Whyte seems to be identitcally huge, and that is fortuitous. Also, Mr. Croup and Mr. Vandemar are described as looking like a fox and wolf together, and Ian looks suitably wolfish, even without makeup.

Mr. Croup is distinctly harder for me, as he is my favorite character in the book, and consequently the most higly focused in my mind, and no actor really looks like that image. However, having given it some thought today, I think Michael Sheen would do the part justice. Like Ian, Sheen is Welsh, and I have always thought it preferable that these two have similar accents. They are a duo! (And I always found it disconcerting in the BBC version that Mr. Vandemar had the same accent as Richard Mayhew; there should be no familiarity between those two.) Sheen is also not to tall—IMDB lists him as 5'9," so he would probably have to take his shoes off when doing scenes opposite McAvoy—that the height differential between Croup and Vandemar wouldn't be lost. He can obviously play vicous characters, as he did in Underworld, as well as cerbral types, so I see him as perfectly capable of pulling off the specific quirks of Mr. Croup. And damn if he doesn't look like a fox.

Islington—Sinead O'Connor. I love Sinead O'Connor. Islington needs to be larger than life, ethereally beautiful,yet neither female nor male. Reading the book, I always pictured it as bald, white-skinned almost to the point of translucence, and with a voice that was as ethereal as it was. Sinead is very good as pulling of the bald look, has the beauty for it, and there is no realy reason to cast one sex or another with androgynous characters. But really, I am also kind of thinking about character here. Though I haven't seen her turn as a foul-mouthed virgin Mary in The Butcher Boy, He songs are actually really well-played emotional peices, and display the exact range needed paly both angelic gentleness and angelic wrath. Anyone who can sing "Troy" the way she does can play the former angel of Atlantis. I can't wait to hear her scream "They deserved it!"

Tuesday, August 5, 2008

Robocop

I just got done watching Robocop for the first time. Good movie. Fun movie. Slight movie. Actually, I was kind of amazed how insubstantial the plot was; the film only clocked in at 104 minutes, which compared to something like The Dark Knight, around 150, is pretty short for an action movie. I mean, the movie is basically about a guy who dies in the line of duty and then becomes and empty cyborg, get revenge on his killers and reclaims his identity, even though he has no real contact with it. There really isn't much plot, just a bunch of setting that subtly satirizes modern America. The kind of critiques that, unfortunately, are still very very valid, although probably a bit simplistic for our times. There is definately room for a sequal, which I think is written by Frank Miller, and I kind of want to see, since I saw it already, but years ago, and I remember liking it, although I think it didn't get the best reviews. It's just that the first movie doesn't really do much other than setup, though in an enjoyable way, and you leave it kind of wanting to see more of the concept.

Unrelated to anything, I got kind of a cyberpunk feel off of the issues raised in it, or at least in the issues that could have been raised by it, but were really just kind of hinted at. The whole mind-body kind of thing, and what is the self: could it be downloaded, or is there something more emepheral about it? What makes a person a person, and not just a robot? That kind of thing.

Shit. Now I need to start watching that Ghost in the Machine series.

Sunday, August 3, 2008

The Dark Knight

I saw it back on opening weekend, and saw again last Tuesday, and have been meaning to write a post on it, once I got my thoughts together, but nothing got in the way. Some points:

—This was the most realistically set Batman movie yet. Begins was set in a substantially more realistic world than the Burton-Schumacher films, with their art-deco city models and candy-colored villains, but even Begins has an ancient secret society, fear-inducing flowers, fancy e-trains and a cityscape that is obviously invented. This film, on the other hand, is just completely filmed in Chicago. (I remember thinking during the opening shot, when the camera draws in close on a large, black monolith of a building, how this must be a symbolic portant of the coming tradegy of the story or something, and remember that I have seen that building before, while driving around Chicago.) The characters are drawn as professionals working within the halls of power in an incredibly corrupt city, with the shadings such real people carry, not as broad caricatures. There are no secret societies mentioned, the fear-compound makes only a brief cameo in the beginning, the Joker as portrayed, has none of the science fiction elements from the comics. No white skin and naturally green hair, or lethal laughing gas leaving a rictus grin. Just a psycho with knives, guns, and bombs. With all these changes the major casting change, replacing Katie Holmes with Maggie Gyllenhal, didn't really bother me at all. the films almost seemed to be taking place in different worlds.

—There has been a lot of writing trying to pick apart the films message or politics, which is fun and all, but I think that reading the film has having any kind of positive suggestions about society misses the point of the story. The film isn't political, but personal; it is a tradegy. The plot of the movie is: three guys try to take on a force of chaos, and fail. That's it. In fact, though a first viewing kind of obscures this, the conclusion of the movie is the moment [SPOILERS!!!] where the bombs go off in the warehouse, and Rachel Dawes dies. In fact, if I were to pin the climax to any one moment, it is the shot of the Joker sticking his head out of a cop car in the dawn light, with redlights flashing behind him. Not only has he won, destroying all that the characters care about, but he has gotten away with it. Everything that happens after that shot is denoument; just the characters sorting out the after effects of the Joker's victory. Dent goes insane and accepts the chaos, Gordon realizes he is impotent, even with his newfound powers, (he can't even save his family) before it. But Batman, to his credit, and making him the ultimate hero of the story, decides to just keep on battling the chaos anyways, even if he can't stop, and just might be destroyed by it. It's less a story about political systems than the cruel whims of fate, set within the halls of power.

—Ah, the Joker. Like just about everyone, I think Ledger was amazing in this movie, and totally deserves the Oscar for Best Supporting Actor, if not just Best Actor. Damn, he is good. Every choice he made was sublimely creepy, and he still managed to be funny while menacing, which doesn't seem like it is possible. I have replayed the pencil trick in my head hundreds of times now. Also, Nolan did just a superb job in shaping the character. This Joker, while differing from the comics version drastically in surface details, still managed to fit in all the thematic touches of the Joker of the comics. There was the Joker as needing the Batman as a reason for being (which I think comes mostly from Dark Knight Returns), Joker as psychoterrorist trying to drive the world as crazy as he is (Killing Joke), Joker wearing ridiculous costume while on assignment. They got that the Joker's entire shtick is doing things that are violent and cruel, while using the rhythms of comedy to suggest they are supposed to be funny. Sometimes it is funny, like with the pencil trick, and then sometimes it just seems mean, which is really all it ever is.

Argh!

The problem with being a mercurial bastard is that you can go a long time not doing anything because you are too busy devoting time to doing everything.

Friday, July 18, 2008

Deep Thought

Providing everything goes as planned this November, by late January, the three most powerful people in The United States government will be a black guy, a woman, and a Mormon.