the conversation Tagged Articles at Cinematical

The basic plot of Alfred Hitchcock's Rear Window -- man believes he witnessed a murder, has to prove it really happened -- has been reused for so many films and TV shows that it's not that surprising when another homage or ripoff comes around. Yet last year's Disturbia, starring Shia LaBeouf as a guy under house arrest who thinks his neighbor is a serial killer, bore close enough resemblance to be labeled an update on Hitchcock's film. And now, not surprisingly, Dreamworks, its parent company Viacom and Universal Pictures, are being sued for creating an unauthorized remake.*

The defendant in the case is not exactly related to Hitchcock's film, though; the lawsuit was filed by Sheldon Abend Revocable Trust, which owns the rights to Cornell Woolrich's original short story "It Had to Be Murder" (called "Murder from a Fixed Viewpoint" in the article), upon which Rear Window is based. Film business followers may remember the name Sheldon Abend from the important Supreme Court copyright case of 1990, Stewart v. Abend, in which Abend sued James Stewart and the production company Patron Inc. after Rear Window was aired on television.

If you've seen both Disturbia and Rear Window do you think the case is valid? Is Disturbia really that much more of a ripoff than Manhattan Murder Mystery, Head Over Heels and most of Brian DePalma's early career? Even Antonioni's Blow Up and Coppola's The Conversation are fairly similar in concept. Obviously some works, such as the Simpsons episode in which Bart thinks Flanders murdered his wife, are okay because they fall under the permissions of parody.

*Note: We accidentally listed Steven Spielberg as an executive producer on Disturbia, though he was not. That information has been removed from the post. [ed]

The film garnered Francis Ford Coppola Oscar nods for Best Picture and Best Original Screenplay. It's ranked at #184 out of IMDb's Top 250. And now, after 34 years, The Conversation might be headed for television. Variety reports that AMC is looking to develop a series based on the film, as part of the decade-long efforts of producer Tony Krantz. Christopher McQuarrie (The Usual Suspects) and Erik Jendresen (Band of Brothers) have been tapped to write a new script.

The interesting twist in this tale -- it won't be a modernized version. "The TV project will be set in the early 1970s -- emulating the time period of the original thriller -- and center on electronic surveillance expert Harry Caul, played in the film by Gene Hackman." Krantz says that the film will look at our present issues with privacy and spying, through the filter of the '70s.

However, this isn't yet set in stone. The project previously failed to get off the ground at ABC, and before that, it almost came to fruition at NBC with the one and only Kyle MacLachlan starring. After the likes of The Lives of Others and Red Road, the project certainly fits -- but should it be directly tied to Coppola's film? Rant or rave in the comments.

Like many recent thrillers, Vantage Point is set against the war on terror, as U.S. President Ashton (William Hurt) arrives in Salamanca, Spain to announce new international treaties and efforts in the fight against freedom's enemies. We open in a news van, as harried, hard-bitten producer Rex Brooks (Sigourney Weaver) is orchestrating her camera team and reporters on scene. When reporter Angie Brooks (Zoe Saldana) breaks from the celebratory mood to talk about the protesters outside the courtyard where the crowd awaits the President's words, Rex is miffed about the departure from the script. "We're here for the summit, not the sideshow." Rex has a very definite plan for the day in her head. As shots ring out, the President goes down and explosions ripple through the courtyard, it's clear someone else does, too. ...

Directed by Pete Travis, Vantage Point's plot unfolds as a series of recollections and first-person stories; we begin with Rex's by-the-books coverage turning into a nightmare of murder and mayhem; we flash back to follow Secret Service veteran Thomas Barnes (Dennis Quaid) as he and partner Kent Taylor (Matthew Fox) transport the President to the location; we follow American tourist Howard Lewis (Forest Whitaker) as he winds up accidentally videotaping what may be the key to the attempt on the President's life; we follow President Ashton as he weighs the security risk of the speech against the importance of what he's going to say. ...

I have been dying to see Francis Ford Coppola's Youth Without Youth, which finally hits at least some theaters in New York and Los Angeles on December 14. The pre-World War II story follows a 70-year-old played by Tim Roth who gets struck by lightning. Instead of dying, he becomes a young, brilliant man who vows to discover the origin of language and consciousness. It sounds strange, unique, and possibly very, very good, although I'm sure it's definitely for selected audiences -- this isn't the sort of flick to have a huge mass appeal. It also doesn't help that the trailer, which Matt Bradshaw shared in September, is pretty vague and crappy.

However, maybe the Eleanor Coppola's documentary on the production will help fill in the holes and amp up curiosity in the project. Yes, Francis' wife has made a doc called Coda: Thirty Years After, which details Coppola's journey with Youth Without Youth. Now, according to The Hollywood Reporter, the film is going to air on Starz December 9, and will also be included in the new DVD release of Hearts of Darkness: A Filmmakers Apocalypse (which Peter Martin discusses in this week's Indies on DVD column). Coda includes production footage of Youth, as well as some other bits that will be tasty to Coppola fans -- there's also footage of No Cigar, his first short film, home movies, and behind-the-scenes footage from The Rain People and The Conversation.

It's not much of a secret that Francis Ford Coppola did The Godfather and The Godfather: Part II in order to work on more personal films, particularly The Conversation. So, it isn't that surprising to find out neither those two nor The Godfather: Part III are among his personal favorites. According to Page Six, Coppola considers his five best films to be Apocalypse Now, Rumble Fish, The Rain People, his upcoming Youth Without Youth and, obviously, The Conversation, which also happens to be my favorite of his work. This shortlist comes from the next issue of Time magazine, which also includes a continuation of a lengthy two-part profile on the filmmaker. Within the article, Coppola suggests that it's his films that took awhile for critics to appreciate, like Apocalypse, or awhile for audiences to discover, like Rain People, that he prefers.

None of this should upset his fans; they still love The Godfather trilogy, and at least his other monument, Apocalypse, is included. It isn't like he selected Jack or Captain EO. Also in Time is Coppola's clarification of his alleged chiding of Robert DeNiro, Al Pacino and Jack Nicholson, which apparently was taken out of context. He told reporters at the Rome Film Festival, where Youth premiered last month, that his comments in GQ weren't true, that he has "nothing but respect and admiration" for the three actors, who he considers the best in the world, as well as his friends. However, he wouldn't address the original comments specifically for Time's article. Other things that were discussed in the profile include Coppola's next film, Tetro, which will begin shooting in Argentina in February, despite the recent robbery. Youth Without Youth, which sounds a lot better to me since Coppola lumped it with my own favorites of his films, is set to hit U.S. theaters (NYC and L.A.) December 14.