AMightyHeart Tagged Articles at Cinematical

There was a bit of a shocker included in the Oscar nominations this year -- Robert Downey Jr. receiving a nod for his part in Tropic Thunder. It's a double whammy -- one of those rare nominations in the comedy category (a farce no less!), and a role that's almost 100% blackface. Unsurprisingly, the role created unrest, as well as a lot of discussion revolving around Hollywood's treatment of race on and off the screen.

Like it or not, race jumping is pretty much intrinsically linked to Hollywood -- all the way back to the first silent films. Over the years, it's morphed from minstrels to mainstream icons, critical darlings, and races of all sorts. Katharine Hepburn went Chinese for Dragon Seed. Charlton Heston went a rather ridiculous brownface for Touch of Evil. These days, that's not quite so kosher, but instances do pop up, both on the big screen (keep reading) and small screen (Saturday Night Live, for one).

But to try and delve into all race portrayals for a list of seven is just silly, so I'm focusing on blackface. And since the Academy Awards are almost upon us, this is blackface at the Oscars (save for one relevant film in recent history that should be mentioned, but didn't get Academy love). Read on, and be sure to share your thoughts in the comments.

Note: Blackface is used in the broader sense, and not just to define minstrel performances.

John Orloff got his break writing two episodes of the Emmy-winning HBO mini-series Band of Brothers. His latest script is another true-life tale -- Michael Winterbottom's A Mighty Heart, just out on DVD. Heart focuses on Mariane Pearl (Angelina Jolie), a reporter whose husband Daniel, an American journalist, was kidnapped and murdered in Pakistan. The script just earned Orloff an Independent Spirit Award nomination for Best First Screenplay. The awards will be held on February 23rd.

Cinematical: When did you know you wanted to be a writer?

John Orloff: I still don't know whether I want to be a writer! I went to UCLA Film School, and I had a great writing teacher who thought I had a particular skill in that department. So I kept taking that teacher for the whole time I was at UCLA, kept on writing. At the end of it I was 22, it was the late 80s, and people weren't really hiring young writers, so I started to work in advertising. Spent about ten years miserably working in commercials, until I met a woman -- who is now my wife -- who was working in the business as a development exec at HBO. And she was bringing home all these screenplays, and they were horrible! Just awful! And these people had agents, and they were working. So I pitched my wife a non-fiction movie that I had been thinking about writing for ten years, with the incredibly commercial idea of a sixteenth century English melodrama. It was actually about the Shakespeare authorship issue -- who wrote the plays? I wrote the script and had the misfortune of writing it two months before Shakespeare in Love came out. But I sent out this script, trying to get an agent, and did finally get "hip-pocketed" by an agency.

Cinematical: And that script eventually got you your big break with Tom Hanks -- pretty decent guy to start out with, no?

JO: Tom Hanks and Steven Spielberg, yes! The most important thing that happened out of the Shakespeare script was that Tom's company was among the readers. They liked it, and I met with Tom about another project, but every time I sat down with him I would ask if he had hired writers on Band of Brothers. I'm a huge World War II buff, and I think I eventually just wore him down. He finally asked me to write a script, and I wrote one episode. He was very happy with it and asked me to write another. So, that was my first paying gig.

I was going to headline this post with something about 'being there in spirit,' but I decided that's a lame way to start things off. Obviously, I'm being lame anyway by pointing out that I wasn't going to begin that way, while in effect beginning that way. So, why don't we just get to the news about the Independent Spirit Award nominations, shall we?

Todd Hayne's I'm Not There received four nominations, including one each for Cate Blanchett and Marcus Carl Franklin, who are up for supporting actress and supporting actor, respectively, for their semi-portrayals of Bob Dylan. The film was also recognized in the Best Feature category, in which it's competing against Juno, The Diving Bell and the Butterfly, Paranoid Park and A Mighty Heart, and Haynes was nominated for Best Director, going up against Jason Reitman (Juno), Julian Schnabel (The Diving Bell and the Butterfly), Gus Van Sant (Paranoid Park) and Tamara Jenkins (The Savages) -- meaning A Mighty Heart's Michael Winterbottom was shut out despite his film's receiving the Best Feature nomination. I'm Not There is already the winner of one Independent Spirit Award, the newly conceived, and appropriately titled Robert Altman Award, which honors the film's director, casting director and ensemble cast. Because of that win, I'm Not There has been labeled the leader of the nominated films, although Juno, The Diving Bell and the Butterfly and The Savages all received the same amount of actual nominations as Haynes' film.

Since I haven't seen any of the major nominees (yet), I will take this opportunity to celebrate a few films, which I have seen, that have been deservedly recognized in other categories. First, I'm excited to see that Adrienne Shelly is up for Best Screenplay for Waitress. I doubt she'll win, unless enough voters want to further highlight her posthumous success, but I'm happy to see her included. I'm delighted to see Jennifer Jason Leigh nominated for Margot at the Wedding, considering Nicole Kidman, who wasn't nominated, has been receiving most of that film's accolades. And finally, I am ecstatic to see that Vanaja, which I loved, has been given two nominations, one for Best First Feature and one for Best Cinematography. Overall, we should all be glad that this year's crop of nominees includes few huge stars, Angelina Jolie being the one major exception, in the acting categories. The 2008 Independent Spirit Awards will be presented on February 23.

When it comes time to nominate the best actress performances of 2007, Angelina Jolie might be overlooked. Though the film is at times confusing as it rushes to release all the facts without much of an explanation, it's Jolie's take on the real-life widow of slain journalist Daniel Pearl (Dan Futterman), Mariane Pearl, that ultimately lifts A Mighty Heart up above some of the other "based on a true story" flicks that have hit screens in the past year. Featured in practically every scene of the film, it's hard to take your eyes off Jolie -- and it's hard not to lose yourself in the character, the real-life woman, who spent weeks holed up in a house awaiting word on her kidnapped husband while doing what she could to track him down herself.

By now, we all know the story and the outcome: On January 23, 2002, Daniel Pearl, a journalist for the Wall Street Journal, was kidnapped in Kirachi, Pakistan while heading to what he thought was an interview with Sheikh Mubarak Ali Gilani at the Village restaurant in Kirachi. At some point he was intercepted by a militant group calling themselves The National Movement for the Restoration of Pakistani Sovereignty, and for the next month, a group of people (including Pearl's wife Mariane, his friend Asra, a Pakistani Captain, the FBI and others) use the house they were staying at as a make-shift headquarters as they attempt to hunt down the men responsible and find Danny before it's too late.

Even with a big star like Angelina Jolie, A Mighty Heart is not performing too well at the box office (less than $8 million in two weeks). For most releases, such disappointment would signal the end of a theatrical run. However, instead of pulling the film completely and hoping for better business on video, Paramount Vantage is attempting to jumpstart its battery. This weekend the studio is removing A Mighty Heart from many of its screens, dropping its theater count from 1,350 down to 651. Basically the film has been taken out of markets it isn't doing so well in; now maybe the buzz will grow in stronger areas and later the film can go back to a wider release. Even in the limited release, though, the film is bound to face strong competition from other well-received indies like Sicko, Once and La Vie en rose. Still, Paramount Vantage is going to really push this one in hopes that it will eventually find its audience. Paramount is also pushing for a heavy awards campaign for A Mighty Heart, and so it probably wants the slow buildup and long run kind of success that Crash achieved two years ago. The studio is still planning for the film's DVD to come out in time for Oscar voters.

I still haven't seen A Mighty Heart, but I had planned on going last night. Unfortunately, my local theater didn't have a showtime between 5:15pm and 10:30pm because it shares a screen with La Vie en rose (it seems Transformers is hogging most of the screens, even in NYC). So, instead I finally saw Knocked Up. Because I'm such a tardy moviegoer, I have to appreciate strategies where a movie is allowed long-term play. I still need to see Sicko and La Vie en rose and Once and many others that will hopefully be around for awhile. If only more distributors could recognize people like me who don't contribute to opening weekend grosses and would let other well reviewed movies stick around a little longer.

Last week's Manhattan junket for A Mighty Heart was fairly routine -- not at all a paparazzi circus, despite the fact that that press had known days in advance that Angelina Jolie was making the Waldorf Astoria her home base while in town to do publicity for the film. For those who are interested, I was never asked to sign any kind of agreement or contract whatsoever, and none of the other journalists doing roundtable interviews were, either. I think that kind of thing was restricted to journalists doing one on one interviews. The only out-of-the-ordinary thing that happened during the entire day was that the studio publicists made a big show of setting up their own tape recorder to record our conversation with Jolie, for what purpose I have no idea. Anyway, here is a sampling of some of the questions and answers batted back and forth during the roundtables. Some of the questions are mine, some are from the rest of the table. Enjoy.

Angelina Jolie

Playing a character who is not only real but also very involved -- what pressure does that put on you as an actress?

Huge pressure. So much so that I didn't sleep the night before and I questioned myself through the entire process of making this film. I respected her before I met her, when I saw how she handled the situation, just as a viewer watching CNN, and when I met her I discovered what a lovely woman, what a gracious person she is, what a great mom she is, and she's the last person I'd want to disappoint in any way. It was a huge responsibility to not just try to be her in the film, but to be her during the most difficult time of her life and to try to interpret her pain or her love for her husband. She had faith in me, that I would be the right person to do it, and I think without that I would never have taken the role.

What was your first meeting with her like?

Our initial meeting was before the film. We just had a play date. [laughs] The film was very much a second thought in our relationship. She was somebody who I liked as a woman and still think ... we have different things that in common that we want to work on internationally and domestically, and our kids like each other. So that's the most important reason for our friendship -- we get the kids together. It's strange for that to have evolved and for me to sit with her one day and to realize that we were going to do this and I was going to play her. It was strange -- it was very strange. She was wonderful. There's no vanity, and just believed that if everybody understood the book and understood the intention and why she lived her life the way she did, and what she and Danny represented, that if we understood that, then we would do our best and try. And as long as everybody tried their best, that was all she could ask. So she was the nicest person to work with, but because she had faith in us, it also made us that much more nervous.

A Mighty Heart takes an enormous gamble, and sinks or swims by it -- it tries to engage us in a meticulous police procedural, the outcome of which is already known to anyone watching the film. The film begins its action about an hour or so after Wall Street Journal South Asia bureau chief Daniel Pearl leaves his pregnant wife Mariane alone in their Karachi apartment to go to a meeting with a shady figure known as Sheik Gilani, who he suspects may have information on the 'shoe bomber' Richard Reid or may himself be a key terrorist figure. Like Daniel, Mariane is a journalist, and the two of them follow a strict procedure of regular call-ins when the other is off on a dangerous assignment. When Daniel misses one of these check-ins, Mariane springs into action, first reporting him missing to Pakistani authorities and later, to American agencies and the Wall Street Journal. Various players begin to flood into the apartment and the story, each of them taking somber mood cues from the tightly-wound, no-nonsense Mariane.

As Mariane, Angelina Jolie totes around a giant belly and a big pile of hair and sinks into the role of a traffic coordinator, constantly gauging the progress of the ad-hoc investigation into Daniel's disappearance and shuffling the other characters in and out of the main action. Early on, she creates a tree diagram on a blackboard to get a sense of where Daniel was going when he was abducted and who might have knowledge of his whereabouts. Pictures of 'persons of interest' are slapped up and yanked down. The movie demands your full attention as it unspools reams of information: names, places, events, and questions that must be answered if the crime will be foiled. I'm sure this is a true reflection of those sleepless weeks as Mariane Pearl remembered them in her book, but the sheer tonnage of investigative info A Mighty Heart presents us ends up crowding out Mariane and Daniel as people: their habits, their convictions, their unusual way of life. I know as little about those things now as I did before seeing the film.

Oscar-nominated screenwriter Dan Futterman, who also acts and plays Daniel Pearl in the new film A Mighty Heart, was on hand for Friday's A Mighty Heart press junket in Manhattan, and talked about his upcoming projects. He said he's lined up Sarah Jessica Parker to star in and Lasse Hallstrom to direct his next film, Finn at the Blue Line. "I wrote a romantic comedy with my wife. It's called Finn at the Blue Line," Futterman said. "We have a really good actress, Sarah Jessica Parker. Lasse Hallstrom said he wants to direct it. We're gonna try to get people to actually write a check for it. Hopefully that will get going shortly." No plot description was given, but the project is also mentioned, along with Parker and Hallstrom's names, in the official press notes that were passed out at the junket.

Futterman also announced that he has been hired to adapt Jonathan Tropper's romantic comedy novel Everything Changes, which is about a guy whose long-lost father shows up and gets involved in his life again -- particularly his love life. As for Futterman's acting career, someone mentioned a story floating around that said he was going to be giving up acting. He clarified that, saying "I'm not feeling terribly ambitious about acting and going after things. I've been writing more and am a little more interested in doing that, but I mean, if something like this [A Mighty Heart] comes up, of course I would jump at the chance to act with and work with people like this in a project like this."

Everyone's favorite entertainment journalist, Roger Friedman, is calling Angelina Jolie a hypocrite after she reportedly censored journalists while promoting her new film, A Mighty Heart. The Michael Winterbottom pic is about Mariane Pearl, widow of murdered Wall Street Journal reporter Daniel Pearl, and it deals with freedom of the press, so the idea that Jolie made reporters sign a censoring agreement before interviewing her is certainly problematic. At the premiere of A Mighty Heart Wednesday night, Jolie's lawyer presented journalists with a contract stating certain subjects that could not be discussed with the actress, including questions about her personal life. Of course, this makes sense, because otherwise some writers would attempt to stray from the topic of the film in question -- which would take away from the promotion of the film, as well as from the purpose of the press' purpose at the event.

Still, the contract does seem unnecessary and contradictory to the film's apparent message. If Jolie wanted to reject a question or topic, she could certainly just refuse to comment or leave. Most of the junkets and red carpets I've been to, this has either been addressed or accepted as a given anyway. Instead, according to Friedman, the mode of dealing with gossippy reporters made a lot of people angry, enough to cancel coverage, as USA Today and the Associated Press supposedly did. Eventually Jolie ended up refusing all print interviews because of the outrage. Friedman also claims that Jolie instructed publicists to ban Fox News (for which Friedman works) from the red carpet and any other premiere access. In the end, though, some higher ups at Paramount allowed Fox's coverage. Friedman goes on to criticize Jolie's history of press manipulation and also quotes a disappointed editorial director from Reporters Without Borders, an organization that was supposed to be supported by the film's premiere.

[via Fark.com, which has a good discussion of the article going in its comments section]

In yesterday's review of A Mighty Heart, filed from the Cannes fest, James brought up a topic that I haven't given much thought to, but other people apparently have. Angelina Jolie's portrayal of Marianne Pearl in the film, for whatever emotional and preparational challenges it presented, also required Jolie to curl her hair and 'brown' her skin in order to accurately reflect Pearl's Afro-Cuban/French heritage. Most reviews being filed from the fest seem to reflect what James pointed out -- that it's not considered a big deal. As James wrote, "there's nothing insensitive or overdone in the mild make-up artistry of the part; the inner performance is what shines out." The press also realizes, I'm sure, that Jolie had a lot to do with shepherding this project into production and is the film's biggest selling point, so they wouldn't raise the pointless question of 'Couldn't the producers have found someone else to play Pearl?' I wonder, though -- would the press reaction be different if this were a fictional character? What if someone considerably fairer than Jolie, like Nicole Kidman, had taken the part and gone through the same make-up job?

There's also a sort of flip-side to the coin. During a recent press junket for her latest film, Perfect Stranger, Halle Berry talked candidly about her upcoming project, Class Act, a true story about a teacher who runs for congress. The teacher is white. "She's just this teacher who ran for public office," Berry told the press, "and that's a step in the right direction for me, because I've been fighting to just be seen as a woman and not always have my color precede me, so when [the producer] said 'wouldn't this be a great role for you?' I said 'you should ask her. Maybe she doesn't want her story portrayed by a black woman.' And she loved the idea."

These are weighty issues that can only be hashed out by the Cinematical readers, so I'll leave it to you -- what do you think about actors using makeup to alter their race for films, or simply taking on the roles of real people who are of a different race and not doing any makeup work?