robert benton Tagged Articles at Cinematical

Where exactly does Bonnie and Clyde rank in the American pantheon? It's a bona-fide classic, to be sure. It placed on the American Film Institute's Top 100 in 1998 and again in 2007. It's also on the IMDB's Top 250 list. Upon closer inspection, however, it's far more than a perfect, polished gemstone. Rather, it's a bundle of contradictions. Everyone knows that it was a groundbreaking film of its day, the first to incorporate a new kind of violence and moral complexity into the mainstream. But screenwriters Robert Benton and David Newman borrowed these elements directly from French New Wave films like Jean-Luc Godard's Breathless (1959) and Francois Truffaut's Shoot the Piano Player (1960). In fact, Truffaut was the first director approached for the project. Despite this, Bonnie and Clyde somehow transcends time. More than just a moldy relic of the 1960s, it has aged much better and is far more watchable today than, say, Easy Rider (1969) or even The Graduate (1967).

This is a great week to catch up with a few indies that came and went quickly in theaters. Craig Zobel's Great World of Sound burst out of Sundance last year with positive notices -- check GreenCine Daily's roundup -- and our own James Rocchi named it one of the ten best of the year. The basic premise is that two music scouts go on the road in the American South to look for acts to sign. In James' original review, he described it as "funny and vital and tough." Magnolia's DVD includes an audio commentary and deleted scenes.

If Feast of Love had nothing else to recommend it, it would deserve recommendation as director Robert Benton's latest work. As Jeffrey M. Anderson commented, Benton's melodramas (Kramer vs. Kramer, Places in the Heart, Nobody's Fool) "almost always hit home." Feast of Love "focuses on several couples in a Portland college community," he wrote. "These characters may live in a college town, but in love, everyone has something to learn." Morgan Freeman, Greg Kinnear and Radha Mitchell star. MGM's DVD looks bare, with just one feature evidently on board.

Director Allan Moyle returned to his roots (Pump Up the Volume, Empire Records) to make Weirdsville, in which stoners, Satanists and drug dealers commingle. In her TIFF review, Monika Bartyzel called it "fun, endearing, and quite fluid for a stoner comedy. It's also recognizably Canadian (the drug dealer is into curling), but still completely palpable for wider audiences." Wes Bentley and Scott Speedman star. Magnolia's DVD includes an audio commentary and 14 featurettes: behind the scenes, making of, and interviews.

No director alive can make family melodramas as brilliantly as Douglas Sirk once did, but I'd suggest that Robert Benton comes the closest. Though filmmakers continue to grind out weepies by the truckload, it's extremely difficult to find that exact thread between heavy and hammy, perhaps even more difficult than making a funny comedy. Weepies generally tell depressing stories, about death, disease, failed romances, unrequited romances, estranged romances, etc. The trick is not to make the film itself depressing. Most directors make the mistake of shooting the material head-on, which has the effect of bludgeoning the audience rather than coaxing them in. Part of Sirk's genius was his timing; he made his best films in the 1950s when you couldn't show everything. He used his skills, his palate of colors, space and the elements, to suggest, rather than tell, his stories.

Admittedly, Benton isn't as visually astute as Sirk, but he's a good writer, good with words and characters. He has lots of different kinds of films on his resume -- he's often attracted to crime stories -- but his melodramas almost always hit home: Kramer vs. Kramer (1979), for which he won a Best Director Oscar, Places in the Heart (1984), and Nobody's Fool (1994). Even his previous film, The Human Stain (2003), worked on a basic, emotional level, though critics generally dismissed it because of its failure to live up to Philip Roth's novel and its mismatched casting of Wentworth Miller as a young Anthony Hopkins. Benton's new movie has less of a pristine literary pedigree, and so perhaps it will go down easier.

Cinematical has just received an assortment of exclusive images from the upcoming indie drama Feast of Love. This is one of those ensemble pieces in which the lives of a community of friends in Oregon (don't see many flicks set in Oregon) intertwine to form a narrative about love, romance, loss and redemption. Feast of Love arrives in theaters on September 28, and here's the straight synopsis in case you're interested (then check out the gallery below, or click here):

From venerable Academy Award® winning director Robert Benton (KRAMER VS. KRAMER), comes a kaleidoscopic ode to life and love in all its funny, sad, sexy, crazy, heartbreaking and life sustaining facets: FEAST OF LOVE. In a coffee shop in a tight-knit Oregon community, local professor Harry Stevenson (Academy Award® winner Morgan Freeman) witnesses love and attraction whipping up mischief among the town's residents. From the unlucky in love, die-hard romantic coffee shop owner Bradley (Academy Award® nominee Greg Kinnear) who has a serial habit of looking for love in all the wrong places, including with his current wife Kathryn (Selma Blair); to the edgy real estate agent Diana (Radha Mitchell) who is caught up in an affair with a married man (Billy Burke) with whom she shares an ineffable connection; to the beautiful young newcomer Chloe (Alexa Davalos) who defies fate in romancing the troubled Oscar (Toby Hemingway); to Harry himself, whose adoring wife (Jane Alexander) is looking to break through his wall of grief after the wrenching loss of a beloved . . . they all intertwine into one remarkable story in which no one can escape being bent, broken, befuddled, delighted and ultimately redeemed by love's inescapable spell .

As Erik reported earlier this month, Morgan Freeman recently signed on to star in Feast of Love, an adaptation of Charles Baxter's well-reviewed novel of the same name. According to this morning's Hollywood Reporter, Freeman has been joined in the cast by Greg Kinnear. Alongside Freeman's philosophy professor, Kinnear will play Bradley Thomas, "an all-around nice guy who owns a coffee shop and paints on the side." Unfortunately for Thomas, like many other cinematic nice guys, he's had some issues with love. Issues like losing one wife to another man, and a second to lesbianism. Doh! Not to worry, though, he's getting back on the horse. Or I assume he is, what with the movie being about "an exploration of the magical, mysterious and sometimes painful incarnations of love" and all.

And about that summary -- it sounds horrible and cloying, doesn't it? The novel, however, sounds complex and witty and actually quite good, so there's a chance that, if the screenplay is somewhat faithful, the movie will be about more than schmaltz. Granted, it's small chance, but still. At least it's there.

Feast of Love starts shooting in August in the capable hands of Robert Benton (who, among other things, directed Kramer vs. Kramer and Nobody's Fool); he'll be working from a screenplay by Allison Burnett, whose stellar writing for Bloodfist III: Forced to Fight surely made her him the obvious choice for a subtle film about love.