Will "Nine" be held for 10?

The Weinstein Company's acquisition of A Single Man during the Toronto International Film Festival presents the company with a dilemma. The Weinstein's market their films with Oscar in mind and it may just have too many contenders and not enough money to promote them properly.

A Single Man is a possible best picture nominee and Colin Firth (pictured) has emerged as the leading contender for the best actor Oscar. Julianne Moore is also in contention as a best actress nominee. The film is about the various stages of grief the Firth character experiences after the death of his lifetime partner.

Other Weinstein pictures eligible for the Oscar push are The Road and Inglourious Basterds. The Weinsteins have no choices on the latter film -- it has already gone into wide release -- and The Road has already been pushed back a year.

That leaves Nine, the musical re-invention of Fellini's 8½, directed by Rob Marshall (Chicago) and starring Daniel Day-Lewis, Nicole Kidman, Penelope Cruz, Judi Dench, Sophia Loren, and Marion Cotillard. This is the one film that was expected to give Clint Eastwood's Invictus a serious run for best picture. Now the depressing rumors circulating around Toronto involve the Weinstein's inability to promote all four films and the possibility that Nine will be pushed back to 2010.

I stress this is only a rumor, as is the story that Steven Spielberg has decided on Robert Downey Jr. to play Elwood P. Dowd in Spielberg's planned remake of Harvey.

Cannes 2009

Here's the lineup for the films selected to compete for the Palme d'Or during the 62nd Cannes Film Festival:

Pedro Almodovar's Los Abrazos Rotos

Andrea Arnold's Fish Tank
Jacques Audiard's Un Prophete
Marco Bellocchio's Vincere

Jane Campion's Bright Star
Isabel Coixet's Map of the Sounds of Tokyo

Xavier Giannoli's A L'Origine
Michael Haneke's Das Weisse Band
Ang Lee's Taking Woodstock
Ken Loach's Looking for Eric
Ye Lou's Chun Feng Chen Zui Se Ye Wan

Brillante Mendoza's Kinatay
Gaspar Noe's Enter the Void
Chan-Wook Park's Bak-Jwi
Alain Resnais' Les Herbes Folles
Elia Suleiman's The Time That Remains
Quentin Tarantino's Inglorious Basterds
Johnnie To's Vengeance
Ming-liang Tsai's Visage -
Lars Von Trier's Antichrist

The jury consists of French actress Isabelle Huppert (chair), Italian actress/filmmaker Asia Argento, Turkish actor/writer/director Nuri Bilge Ceylan, South Korean writer/director Chang-dong Lee, American writer/director James Gray, British writer Hanif Kureishi, Taiwanese actress Shu Qi, and American actress Robin Wright Penn (whose husband chaired last year's jury).

Other films that will be on view, out of the competition, include Heath Ledger's final film, Terry Gilliam's The Imaginarium of Doctor Parnassus. Walt Disney's 3-D animated feature Up was selected to open the festival.

The festival runs May 13-24.

Whatever happened to Mickey Rourke?

I first noticed Mickey Rourke in a small role as an arsonist in "Body Heat." He reminded me of Christopher Walken, an actor who seems to have everything under control but you just now he's capable of bursting out at any moment. He was in films I saw before he appeared in "Body Heat," namely "1941" and "Heaven's Gate," but I can't recall him in those movies.

After "Body Heat," he had a memorable role in "Diner," and then as Matt Dillon's older brother in "Rumble Fish." He worked himself up to leading roles in such films as "The Pope of Greenwich Village," the awful "9 1/2 Weeks," "Barfly" and "Angel Heart." However, he started getting the reputation as an actor difficult to work with (director Alan Parker called him "very dangerous on the set") and one who turned down too many good parts. In 1991, he decided to give up acting and return to his original profession, a boxer. That didn't turn out so well, so he came back to acting, struggling in a series of smaller roles (although he turned down the role Bruce Willis eventually took in "Pulp Fiction") until he regained some attention in 2005 for "Sin City." At the time he said he thought his best work was yet to come.

He may have been right. Former Dallas Morning News Film Critic Philip Wuntch (the finest film writer Dallas has ever seen) first tipped me off to Rourke's performance in film called "The Wrestler," after I published on here the results of my first Oscar poll of the year. Wuntch expressed surprised that Rourke's name had not been mentioned among leading Oscar contenders. Since then, "The Wrestler" has played at the Toronto Film Festival and among those gushing are Roger Ebert who calls it arguably Rourke's best career performance and says the film is "drawing turn-away crowds.

Perhaps the reason Rourke's name had not been mentioned in my Oscar poll is because the film did not even have a U.S. distributor before it came to Toronto. It does now, however. Fox Searchlight, responsible for last year's "Juno," has picked it up. Last year at Toronto Ebert started the buzz about Ellen Page's performance in "Juno." It will be interesting to see if he can do the same for Rourke.

The first words from Cannes

... are good about Ari Folman's "Waltz With Bashir," an animated documentary (an interesting concept) about the 1982 massacres at two Palestinian refugees camps in Lebanon.

... are not so good about "Blindness," Fernando Meirelles' supposedly heavy handed allegory starring Mark Ruffalo and Julianne Moore.

Screenings at the Cannes Film Festival

I know a lot of you are planning your vacations around the Cannes Film Festival (and, if you are: TAKE ME WITH YOU), but are thinking "I can't spend an entire fortnight there just waiting around for the one film I want to see." So, as a public service, here is your schedule for all the films that will be shown at Cannes, where they will be shown, and when. You can thank me for this service while we're sipping cocktails at Dennis Hopper's birthday party or one of the other major events we'll crash once we've arrived. Plus, I know the place in Cannes that serves the world's best creme brulee.

There will be blood amidst the lights in the wide open spaces

Marfa, situated way the hell out there in the high desert of Far West Texas, is arguably best known for its lights.

I saw the lights.

One night, during my excursions around the Davis Mountains and into Big Bend, I drove about nine miles east of Marfa on U.S. 67 -- the very same U.S. 67 that splits off from I-35E south of Dallas toward Midlothian., Cleburne, San Angelo and, eventually Marfa -- pulled over to the side of the road, cast my eyes toward the Chinati Mountains and there they were, dancing in the distance.

But my real affinity for Marfa is because James Dean hung out there while making his final motion picture, "Giant." Then, a half century after Dean as Jett Rink struck oil thereabouts, Marfa became the location for what turned out to be the two best movies of 2007, "There Will Be Blood" and "No Country for Old Men."

I don't know if this new-found interest in Marfa as a filming location spurred this idea in some creative soul, but, for whatever the reason, Marfa is staging its own film festival next month. And the undeniable highlight of the festival will be the May 1 screening of "There Will Be Blood" on a giant outdoor screen that will be erected on the site of what's left of the set used for the town of New Boston in the film. Now that seems worth making the trip to Marfa.

The other highlight of the festival, at least in my estimation, will be the screening of the magnificent "Night of the Hunter," also known as the only film Charles Laughton ever directed, that will also be screened outdoors, on the Marfa Golf Course, which has the distinction of being the golf course located at an elevation higher than any other course in Texas.

The entire affair has a certain appeal, at least to me.

"Presses" gloriously spotlights newspapers' plight

By PHILIP WUNTCH
Film Critic Emeritus
"Stop the Presses: The American Newspaper in Peril" got a thunderous ovation in its world premier showing Wednesday at the AFI Dallas International Film Festival.

Outstanding documentaries have been a highlight of this year's fest, and "Stop the Presses" belongs in the front rank. Co-produced and co-directed by Dallas documentary filmmaker Mark Birnbaum and former Dallas Morning News staff critic Manny Mendoza, the film offers a rich history of American journalism and a probing dissection of print journalism's current precarious state.

Wednesday evening's Magnolia audience was filled with journalists, obviously sympathetic to the cause. But "Stop the Presses" will appeal to anyone who's ever enjoyed the ritual of reading a daily newspaper. Without being pedantic, it should also enlighten viewers who open a newspaper only to peruse the ads. Additional screenings are today at 4 p.m. at the Angelika, and Saturday, 1 p.m., also at the Angelika.

So can I be objective when discussing "Stop the Presses"? Hell, no!

I toiled for four decades in Dallas newspapers, the first two years at the Dallas Times-Herald, the remaining 37 years at the Dallas Morning News. In December of 1974, I became the first employee to have the title of Film Critic, a job I loved.

I sensed the quiet desperation of the early 21st century and watched it grow into noisy desperation by the middle of the current decade. I accepted Belo's buyout offer in September 2006 after upper management made it clear how movies would be handled in the future. Since then, I have watched the quantity and quality of film coverage diminish with excessive use of wire stories from non-Dallas sources. This practice violates the personalized love/hate relationship that should exist between local moviegoers and their hometown movie critics.

But the print journalism chaos is nationwide and not limited to the local scene. "Stop the Presses" covers the territory admirably, mixing archival film and television footage with contemporary interviews. The movie clips feature legends such as Humphrey Bogart, Cary Grant, Clark Gable, Rosalind Russell and Kirk Douglas, highlighting the era when newspaper reporting was considered a "glamorous" profession. Television clips range from "Lou Grant" to "The Simpsons" and "The Sopranos." All the juxtapositions are clever and revealing. As a piece of sheer film making, "Stop the Presses" shines.

Former Dallas Morning News employees interviewed in the film include Charles Ealy, now of the Austin American-Statesman, who eloquently states that "the press is a fundamental key to democracy"; Ed Bark, who now commandeers the popular and newsworthy Unclebarky.com Website; Craig Flournoy, now an SMU journalism prof; and Michael Precker, who now manages the "gentleman's club" The Lodge, following a wide-ranging journalism career. It also includes comments from former Mayor and New York Daily News/Dallas Times Herald/Dallas Observer/D Magazine columnist Laura Miller.

As an increasing number of newspapers have "gone public," executives have become answerable to large corporations, which many observers feel hinders aggressive investigative reporting. As a result, blogs have become more popular, providing the unbiased reporting many feel the mainstream press tries to avoid.

However, neither Mendoza nor Birnbaum feels it is curtains for newspapers, and "Stop the Presses" ends on an optimistic note.

"For the next 10 or 20 years, we will still have printed newspapers," Mendoza said following the screening. "But printed newspapers may become an elitist product, with more and more readers turning to the Internet."

"But there will always be a human need for news," Birnbaum confirms.

On Saturday, April 12, Ed Bark will interview Birnbaum and Mendoza on the Uncle Barky Show. Beginning at 4 p.m., the show will include extensive outtakes from Dallas Morning News staffers. The gathering will take place at Stratos Global Greek Tavern, 2907 W. Northwest Highway. Admission is free.

Mondells present poignant, must-see 'Monster'

By PHILIP WUNTCH
Film Critic Emeritus
The AFI Dallas International Film Festival continued its victory march Monday with the triumphant showing of "The Monster Among Us," a profound, poignant, cautionary and enlightening documentary about the rise of anti-Semitism.

The film mostly inspects European countries but warns that the trend is creeping westward.

The documentary also reminds us how lucky Dallas is to have filmmakers Allen and Cynthia Salzman Mondell in its midst. The Mondells, either jointly or separately, have been responsible for such diverse films as the probing "West of Hester Street," the raucous "The Ladies Room" and, among many others, the whimsical "Make Me a Match."

"The Monster Among Us" ranks with their major accomplishments. The Mondells, aided by daughter Fonya Naomi Mondell, interviewed Jews in France, Germany, Belgium, Holland, England and the Ukraine.

"In Europe, Jews and non-Jews live under the shadow of World War II," Cynthia said Monday evening at AMC NorthPark.

Some of the film's most touching comments come from Holocaust survivors.

"If Auschwitz didn't cure the world of anti-Semitism, what will?" a survivor mournfully asks.

Both Allen and Cynthia were surprised at the extent of anti-Semitism. "The scope really surprised us," Allen said. "We weren't aware of what was happening until we started talking to people."

The filmmakers found several explanations for the rise of anti-Semitism on European campuses and in cities. Israeli-Palestinian battles definitely raised the ire of anti-Semites. Some feel that guilt over the Holocaust had rendered Jews "untouchable," and now enough time has passed to allow an "open season" for Jew-haters. Others feel that Europeans have never fully owned up to the Holocaust and try to divert guilt by promoting anti-Semitism.

"The Monster Among Us" is a must-see. It will be shown again Wednesday, 4:30 p.m., at the Angelika.

SO HOW'S MEL?: Sorry, folks, I know it's old news, but any forum on anti-Semitism brings Mel Gibson to mind. He's publicly apologized for his July 2006 drunken anti-Semitic tirade. But the words still sting enough to generate a few after-thoughts.

Many anti-Semites like to characterize Jews as rich, stingy and obnoxious. Because Gibson's anti-Semitic remarks were so widely publicized, other statements made that night have been underplayed. He reportedly yelled at the arresting officers, "Don't you know who I am? I own Malibu!"

How's that for "rich and obnoxious"?

On several occasions, Variety editor Peter Bart has taken Gibson to task for not giving bonuses to those who toiled on the difficult, sometimes painful filming of "The Passion of the Christ," often for smaller paychecks than they usually receive. Bart pointed out that when "Star Wars" hit so big, George Lucas gave extra dividends to many of the film's participants.

"Stingy," anyone?

I first became suspicious of Gibson's inner bigot when reading his Playboy interview over a decade ago. He said that Steven Spielberg had offered him the lead in "Schindler's List," but he declined because he felt "the Holocaust had been done to death." A rather cavalier way to dismiss the 20th century's most horrific tragedy.

Later, I asked Spielberg if he had offered "Schindler" to Gibson. The usually discreet director emphatically stated, "No! Never!" I had the distinct impression that Spielberg was restraining himself from saying more.

I've interviewed Gibson often through the years and found him charming and chatty during group interviews but defensive and edgy during one-on-one sessions. His most revealing interview came in 1993 for "The Man Without a Face," which he directed and starred in two years prior to "Braveheart."

In it, he played a disfigured burn victim with the soul of a poet. During group interviews, he seemed sincere when saying that he hoped his film would make people more tolerant and not judge people so harshly.

But I had heard of a Spanish publication that printed a Gibson interview containing anti-Semitic and homophobic remarks. (I hate to admit it, but I heard about it on Joan Rivers' old late-night show.) I brought it up during our one-on-one interview.

At that time, he denied being anti-Semitic, saying that he had been quoted out of context. But he admitted believing that gays would "burn in hell" because their way of life went against God's plan for procreation.

I left the interview thinking that "The Man Without a Face" should be re-named "The Man With Two Faces."

STRONG "LULLABY": Film festivals are ideal showcases for fresh talent, and first-time feature director Jeffrey Goodman has a winner with "The Last Lullaby."

The film has a classic noir plot. Tough guy Tom Sizemore shows his soft side as a hitman hired to murder a young woman who may present damaging testimony at an upcoming trial. As you might expect, Sizemore falls in love with his prey, but the unraveling of the surrounding mystery provides solid entertainment.

Shot in a remarkable 22 days, "The Last Lullaby" has taut dialog and dynamic action scenes. It also has stronger human interaction than many films of this type.

Director Goodman lists "The French Connection," "Straight Time," "The Killing of a Chinese Bookie" and "Heat" among his inspirations. But the unveiling of family secrets may remind many of "Chinatown."

The AFI Dallas film fest will repeat "The Last Lullaby" Friday, 4:15 p.m. at the Magnolia.

'Struck' highlights strong AFI opening weekend

By PHILIP WUNTCH
Film Critic Emeritus
The second annual AFI Dallas International Film Festival is off to a triumphant start. At least judging from its opening weekend, it's what a film festival should be -- a rousing and robust celebration of movie going and movie making.

With Angelika Mockingbird Station, Magnolia, Inwood and AMC NorthPark as venues, it offers an abundance of intriguing selections and intelligent Q&A sessions. Well, OK, maybe Mickey Rooney rambled a bit when honored opening night Thursday at the Majestic. But anyone who saw the veteran ham at the latest SAG Awards can't have been overly surprised.

Other honorees, such as Bill Paxton, Helen Hunt and Josh Brolin, were just as friendly and less long-winded. Brolin reportedly made many media friends when "No Country for Old Men" played last year's Cannes Film Festival. And all reports were positive for his Dallas appearance regarding his short film "X."

One of the weekend selections, Stuart Gordon's "Stuck," had strong local interest, being "loosely inspired" by the notorious Chante Mallard case. Mallard, a Fort Worth nurse's aide, hit a homeless man, who remained lodged in her windshield when she refused to give him any aid.

Gordon's customary dark humor lightens the Mallard tragedy, and sensitive locals needn't worry. All names have been changed, plot elements restructured, and the action re-located to Providence, R.I.

Screenwriter John Strysik visited the festival, along with Stephen Rea, who stars as the homeless man "stuck" by Mena Suvari's shockingly selfish predator. Rea, of "The Crying Game" fame, had little to say but seemed like a charming eccentric. Strysik was loquacious.

"[The film] is not just about what happened in Fort Worth," the screenwriter said. "It has several inspirations. It's an Everyman story. It's also a medieval morality play. And one of the movie inspirations was [Alfred] Hitchcock's "Lifeboat" (released in 1944, starring Tallulah Bankhead). Hitchcock created enormous suspense with one claustrophobic setting. Much of "Stuck" takes place in the garage where Mena keeps her car with Stephen stuck in the windshield."

When asked about spending much of the shoot with his bloody body stuck in a windshield, Rea succinctly replied, "It was horrible. Horrible."

Anyone who's seen Gordon's 1985 "Re-Animator" knows how skillfully he can mix squishy mayhem with sticky merriment. A bit involving a nosy dog will generate groans and guffaws. With "Stuck," the director is in top form, and so are his main players. Suvari, the teen vixen of "American Beauty," never tries to soften her basically despicable character, while Rea brings wounded dignity to his scenes as a homeless city dweller and as Suvari's victim.

Another strong entree was Lee Kazimir's documentary "More Shoes," which he directed, produced, photographed, wrote and edited.

Stuck in a dead-end job, Kazimir yearned to be a filmmaker and was inspired by legendary director Werner Herzog's advice to skip film school and embark on a 1,500-kilometer trek on foot. So Kazimir set out from Madrid to Kiev, accompanied only by his camera, his curiosity about human nature and an occasional change of footwear.

"I didn't bring along any books," he said. "I didn't want anything to take me out of it. I just wanted it to be me and the road."

Along the way he meets a troupe of traveling Christian evangelists, a group of neo-Nazis who espouse Aryan supremacy as well as lovable oddballs of all ages and nationalities. Yet after the experience was over, he felt a strong sense of depression.

"It all gave me a sense of the world, which is really hard," he said.

The hardest part of the actual film making was editing 100 hours of footage to 75 minutes.

"Editing it was much harder than walking on foot for six months. But the result of it all is, I think, a film of memories. It's not cut like a chronological story. It's cut like a group of memories."

And those memories are earthy, ribald and poignant.

The AFI Dallas Film Festival continues through Sunday. For more information, log on to afidallas.com or call 214-720-0555.

GOOD "JOB": If you're in the mood for non-festival film going, check out "The Bank Job" before it's too late. It's a jolly good heist film that opened three weeks ago to modest business. Strong-of-mouth has allowed it to gain momentum. But in today's movie biz, opening weekend is what it's all about.

The movie is inspired by a famous 1971 bank robbery which resulted in no arrests and no refunds. Incriminating bank vault deposits reached up to the upper tiers of royal Brits.

"The Bank Job" is witty, violent, twisty and suspenseful, with splendid performances by Jason Statham, as a relatively decent bank robber, and the seductively androgynous Saffron Burrows.

It's also Australian director Roger Donaldson's best film since his 1981 breakthrough "Smash Palace." Considering the director's spotty resume over the last 27 years, that's scant praise indeed. But trust me. This "Bank Job" is a winner.