Cinematical

Earlier today, you saw the trailer for one of the most anticipated adaptations of all time (no, not that one, this one). And it was amazing. Well, I thought so, anyway, and I'm one of the few people who said "ehh" after reading the graphic novel. Anyway, some of you bigger fans probably watched the new Watchmen trailer over and over and over again, forward and backward, in slow-motion and sped-up to compare the film with the panels in the book. But did you notice the odd lack of continuity in the sequence shown above? Unless you read MTV Movies Blog, or unless you were looking really hard for something like last year's 300 trailer surprise, there's a good chance you missed it. Fortunately, for you, I've done my best to highlight the anomaly after the jump.

I'm typically a fan of all the movie-related stamps produced by the U.S. Postal Service, and I'm very glad to read the news that important early African American movie stars are being recognized and celebrated with a new series of 42-cent stamps (see them all here). However, I am a little disappointed that it carries on the usual exclusion of mostly forgotten non-musical race films, which are a significant part of both film history and African American history. Considering the stamps are tagged "Black Cinema USA," a number of people may assume this was the height of what African Americans were offered in the first half of the 20th century (Oscar Micheaux deserves a stamp).

Gripes aside, though, it is nonetheless a wonderful set. The five stamps feature vintage poster designs from old movies starring musical artists Josephine Baker (Princess Tam-Tam), Duke Ellington (Black and Tan) and Louis Jordan (Caldonia), plus King Vidor's monumental Oscar-nominated musical, Hallelujah! (it was one of the rare studio films featuring an all black cast) and the 1921 silent film The Sport of the Gods. In previous, separate years, Showboat costars Paul Robeson and Hattie McDaniel have also received their own postage stamps.

The new stamps come out Wednesday and there will be a ceremony on their behalf that day at the Newark Museum, which is currently holding the 34th annual Newark Black Film Festival. The festival is also holding free screenings of Hallelujah on Wednesday, Thursday and Friday.

Two months ago, I brought word that Brazilian filmmaker José Padilha is moving on up to Hollywood, but now comes word that he has first squeezed in a new documentary. The film is titled Garapa, and like both his brilliant debut, Bus 174, and his recent Golden Bear-winning follow-up, Tropa de Elite, it deals with social problems affecting his homeland. This time, he traveled to the poverty-stricken northeast, where he documented three families struggling to feed themselves, despite the nation's current economic boom and seemingly successful welfare program. Garapa was also shot in black and white with hand-held cameras and features no music score, to keep things simple and straightforward. It can't be said, though, that Padilha went for a non-intrusive style, and he admits that during and since the shoot, he's been compelled to assist the families directly.

Considering Bus 174 is one of the boldest, most powerful documentaries of the past 10 years, it's good to see Padilha returning to the documentary genre. The controversially divisive Tropa de Elite (which Cinematical reviewed at Tribeca and which will receive a day-and-date release this September) was still non-fiction, but it was a dramatization. When it was announced that he had been wooed to make a studio-produced action film, I was as disappointed as I was excited. Fortunately, he's keeping the documentary thing going simultaneously, and he's even already working on his next doc, which will be about the Yanomami Indians, natives of the Amazon rainforest who were previously unappealingly fictionalized in the exploitation film Cannibal Holocaust.

This summer may be confusing to some less blog-literate moviegoers thanks to two recast roles. In both The Dark Knight and The Mummy: Tomb of the Dragon Emperor, a prominent character is played by a new actress. In the former sequel, "Rachel Dawes" will be played by Maggie Gyllenhaal, replacing Katie Holmes, who had the role in Batman Begins. In the latter, "Eveyln Carnahan O'Connell" will be played by Maria Bello, subbing for Rachel Weisz, who appeared in both The Mummy and The Mummy Returns.

This certainly isn't the first time characters have been recast with different actors, and over at The Onion, the A.V. Club has listed 20 such memorably jarring switcheroos, which they're calling The Darrin Effect (after the famous character replacement on TV's Bewitched), in television and film. Surely everyone recalls when Sarah Chalke took over the part of "Becky" on Roseanne; the writers even occasionally even slipped in some reflexive jokes about it. And let's not forget the glaring problem of recasting Jodie Foster's Oscar-winning role of "Clarice Starling" -- Julianne Moore played the part in Hannibal. Or the tragic yet surprisingly respectable replacement of Michael Gambon for a deceased Richard Harris in the Harry Potter movies.

• Evelyn Keyes (1916-2008) - Actress - Played Scarlett O'Hara's little sister, Suellen, in Gone With the Wind. She also co-starred in The Seven Year Itch, The Jolson Story, in which she also sings, Mrs. Mike, Here Comes Mr. Jordan, Union Pacific, Before I Hang, A Thousand and One Nights, The Prowler, Johnny O'Clock, Enchantment and A Return to Salem's Lot and made a cameo appearance in the 1956 version of Around the World in Eighty Days, produced by her then-boyfriend Michael Todd. Her husbands included Artie Shaw, John Huston and Charles Vidor, who directed her in The Desperadoes, The Lady in Question and Ladies in Retirement. She died of uterine cancer July 4, in Montecito, California. (Variety)

• Henry Beckman (1921-2008) - Actor - Appears in The Brood, Niagara, The Wrong Man, Breakfast at Tiffany's, Marnie, Sweet Charity, Silver Streak, I Love You to Death, Death Hunt and Kiss Me, Stupid. He died June 17 in Barcelona. (Variety)
• James "Jimbo" Breen (1955-2008) - Greensman, Carpenter, Actor - Worked on M. Night Shyamalan's The Sixth Sense, Signs, Unbreakable and The Village, appears in Lady in the Water and can be heard in The Happening. He also worked on Beloved, In Her Shoes, Two Bits and Annapolis. He died of cancer July 3, in Pennsylvania. (Philly.com)

The movie-turned-musical fad isn't just for rock-themed movies and cute romantic comedies anymore. Recently, I blogged about the Weinstein Co.'s plans to adapt Oscar fare like Shakespeare in Love and Chocolat for Broadway. Now, Variety reports of another Oscar nominee that's headed for the stage: Daens. Never heard of it? Maybe that's because it was up for the Best Foreign Film Academy Award 15 years ago and yet despite that honor, it doesn't seem to have ever played in U.S. theaters. The Belgian period drama won't be competing against other movie-turned-musical hits like Legally Blonde and Hairspracy, though -- at least not yet. Instead the production opens outside Antwerp this October.

Here's why it could successfully make it's way across the Atlantic: Variety compares the scenario of Daens, about a priest attempting to improve conditions in the textile industry in the 19th century, to Les Miserables, which has been an enormous hit on Broadway (as well as in London). Also, though the musical will be bilingual, with some characters speaking Flemish and others speaking French, there will be subtitles, which could also be used if a Broadway version wanted to retain the original languages. Of course, I don't know that the same tourists currently making Legally Blonde a success will want to flock to a musical they have to read. And it might make singing along a little awkward, too.

Last week, I went on a swamp tour in Louisiana (specifically the Cajun Encounters tour of Honey Island Swamp), and midway through the boat ride, our guide, Patrick Nolan (yeah, the same one featured on Live with Regis and Kelly), gave a little talk about Hollywood's portrayal of swamps. He pointed out that there are no mosquitoes and there is no awful stench. I guess I haven't seen too many swamp-set films, because I wasn't aware that those were common stereotypes. But for someone born on the bayou, like Nolan, it only takes a few inaccurate representations to be irksome.

All of us, of course, have seen similarly annoying stereotypes and inaccuracies on the big screen. Whether they're about our race, religion, residence, etc., incorrect depictions of our kind and/or our habitat can be one of the most bothersome things that Hollywood does. Being from Connecticut, I always hate that movies portray the entire state as being filled with nothing but luxurious yet rural weekend homes (I always think of the setting of Bringing Up Baby). It's no wonder people always assume I have money, despite the fact that Connecticut has some of the poorest people in the nation balancing all those extremely wealthy people (I fell in the middle growing up). I also get frustrated with Hollywood's depictions of my current home, Brooklyn (I can only hope The Real World Brooklyn gives the borough a new kind of generalized perception), and Alabama, where much of my family is from and still lives (hooray for Harold & Kumar Escape from Guantanamo Bay for at least playing around with the stereotypes).

In my recent celebratory rant about the new Latin American cinema classics, I failed to mention any films from Chile. This was not my intention, but admittedly I am not familiar with that country's film production, as most Americans are not. The most well-known contemporary Chilean filmmaker is probably Raoul Ruiz (or Raúl Ruiz), who is likely more associated with French cinema and is considered even more generally to be an international filmmaker. Like Ruiz, a lot of Chile's filmmakers left their country 35 years ago when Pinochet came to power. Fortunately, since Chile became a democracy again in 1990, film production there has been on the rise and will fortunately one day be as big as neighboring Argentina's film industry.

Chilean cinema could have a boost thanks to Lionsgate, which has just picked up Rodrigo Ortuzar's All Inclusive for U.S. distribution. The film, about a family trapped at a resort when a Hurricane hits its Yucatan location and co-starring Street Kings' Martha Higareda (pictured), is set in and was co-produced by Mexico, which is fine considering the association allows the film to be lumped with recent partially Mexican films like Under the Same Moon and the Spanish-language work of Guillermo Del Toro. Lionsgate also handled distribution for last year's U.S.-produced Spanish-language film Bandoleros, Lionsgate has yet to announce a release date for All Inclusive.

At times, I think my dream vacation involves traveling the world and watching a movie in a theater wherever I stop. But despite the fact that I'm a theater geek (as Erik Davis recently pointed out), I do have other interests, and, surprisingly, moviegoing is not usually my primary objective when I take a trip. I am often curious, though, and occasionally I'll check out a cinema in another land, especially if it's a cinema unlike those I frequent at home (such as the El Cerrito Speakeasy). However, after my visit to a faraway theater this past week, I have an additional reason to consider my dream vacation to be something entirely else: cross-country moviegoing would be really, really depressing.

Because I've never been on a cinema tour, I can't say for sure, but I'm assuming that a lot of neighborhood multiplexes around the U.S. lean toward the side of dissatisfactory moviegoing experiences. Whether a corporate-owned or independent business, there are a lot of reasons that a movie theater may be underwhelming its customers on a frequent basis. Look at the usual complaints from Cinematical commenters: expensive concessions and ticket prices, dirty auditoriums, too many advertisements and ill-mannered audience members are constantly cited as excuses for why people don't go to the movies. But more than all these typical reasons is the worst offense of all: poor exhibition.

Five years ago, Roman Polanski won an Oscar for directing The Pianist. But he couldn't attend the Academy Awards ceremony, because had he entered the United States, he would have been arrested as soon as his plane touched down. Or so the excuse went. While the scenario might have indeed played out that way, the story of his hypothetical incarceration was at that time more a part of the legend of Polanski than it was a matter of truth. More hearsay and speculation than complete fact.

Now the difference between that legend and the lesser-known truth is exposed in the documentary Roman Polanski: Wanted and Desired. And basically it's the gap between a generalized truth and the whole truth. So, yes, as we all heard and/or discussed at our Oscar parties five years ago, Polanski was in fact a fugitive, having fled the United States in 1978 after pleading guilty to having sex with a 13-year-old girl. But there is so much more to the story than just that.