Set in Depression-era Illinois (Joliet and Chicago), the action starts with Johnny Hooker (Redford) and his partners in crime Luther Coleman (Robert Earl Jones, James’ dad) and Joe Erie unwittingly and inadvertently running a scam on gangster Doyle Lonnegan (Robert Shaw), bilking him out of a large sum of money. Lonnegan’s henchmen track the grifters down and Luther is murdered. Upon finding out his friend’s fate, Hooker books it to Chicago in search for Henry Gondorff (Paul Newman), who Luther had earlier recommended Hooker seek out if he wanted to learn from the best in the long con.

Hooker vows to avenge Luther’s death; he tracks down and enlists the help Gondorff, who is a little down on his luck when Redford’s character first meets him. After some urging, Gondorff decides to take him up on his offer and under his wing; the wheels are now set in motion for setting up the large-scale con known as ‘the wire’.

He assembles a group of various con men to stage the elaborate trap for Lonnegan. Add to the mix, coppers and federal agents who are hot on the trail of our ‘heroes,’ and what you have is a wonderfully paced caper that entertains and amuses, with various twists and turns at every corner.

As much as the film is memorable for the acting and camaraderie between the lead actors, it is the music, notably for the use of the Scott Joplin ragtime composition, “The Entertainer,” that always sticks with me.

Check out the trailer:

At the time of the film’s release, The Sting was universally well received, receiving 10 Oscar™ nods and winning 7, including awards for Best Picture and Best Director for 1973. Over thirty years later it entered the Library of Congress’ National Film Registry.

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(*) In celebration of Universal Studios’ centennial, I am taking a look back into their catalog to select and discuss a few of my favorite films. The Sting is the first of this series.

 

ANTHONY MACKIE

EDUCATION: New Orleans Center for Creative Arts, North Carolina School of the Arts, The Julliard School

A little more love never hurt anyone, right? I was debating whether to put the ‘spotlight’ on Mr. Mackie, as his career now seems to gaining a little more steam in recent years several years of treading the boards.

A star of stage and screen, the Julliard-trained Anthony Mackie‘s feature film début was in 2002 in the Eminem project 8 Mile, followed by a lead role in the 2003 independent film Brother to Brother; for the latter role he received an Independent Spirit Award nomination for ‘Best Debut Performance.’

ANTHONY MACKIE stars in MAN ON A LEDGE

He first caught my notice in Spike Lee’s She Hate Me (2004), in which he played a man who resorts to an unconventional means of generating income. According to his CV, also in 2004, Mackie had small roles in Jonathan Demme’s remake of The Manchurian Candidate, and Clint Eastwood’s Million Dollar Baby.

2005 saw only one film credit – the forgettable teaming of Samuel L Jackson and Eugene Levy in The Man.

The following year notable roles included appearances in We Are Marshall and the critically acclaimed Half-Nelson, co-starring Ryan Gosling.

Over the past 5 years, his roles have increased not only in frequency but also profile: Eagle Eye, best-picture of 2009 The Hurt Locker, Notorious [the biopic Notorious, playing rapper Tupac Shakur], The Adjustment Bureau (with Matt Damon and Emily Blunt), Real Steel (with Hugh Jackson) and the comedy What’s Your Number?.

I wanted to highlight one release during this period: in 2010, he starred in the drama set in the 1970′s Night Catches Us, which also stars Kerry Washington. But by briefly reading the synopsis, it looks kind of interesting.

This year, he already has one film in release (Man on a Ledge), one film in the can (the lead in Bolden!, based on the life of New Orleans cornetist and jazz musician Buddy Bolden), and two more on the horizon – Abraham Lincoln: Vampire Hunter and The Gangster Squad, co-starring Ryan Gosling, Emma Stone, Sean Penn and Josh Brolin.

Phew! In putting this list together, I see that it is quite impressive – Mr. Mackie sure has crafted a very diverse career for himself – and I have not even mentioned the stage work!

I guess the next step is a few more standout lead roles. If Bolden! or any of these 2012 releases prove very successful, that may very well be what puts him over the top.

RASHIDA LEAH JONES D.O.B. February 25, 1976, Los Angeles, California Education: Harvard University

Rashida Jones first gained my notice in the 2004 Channel 4 (UK) series NY-LON, which aired here in the States on BBC America. Her co-star in the series was another unknown – Stephen Moyer, who would later find fame on the HBO hit series True Blood.

Since then, Jones, the scion of pop music impresario Quincy Jones and The Mod Squad‘s Peggy Lipton, she certainly has not relied on her Hollywood pedigree to pave her path to success. After completing her undergraduate studies at Harvard University, she started off small, including featured roles in shows such as Freaks and Geeks. For two years, she was a series regular on Boston Public. She even appeared in a couple of sketches of The Chappelle Show during its all too brief run.

A breakthrough came in 2006 when she played regular Karen Filippeli on the NBC sitcom The Office. This must have captured the attention of NBC execs and in 2009 led to a lead role in Parks and Recreation. In the same year, she played Paul Rudd’s intended in I Love You, Man. In 2010, she had a slightly more dramatic turn in the award-winning The Social Network. Last year’s film highlights include Our Idiot Brother and The Muppets.

Most recently (this week to be exact) she has been making waves at the Sundance Film Festival. Her film, Celeste and Jesse Forever, just got picked up for distribution and is being hailed as one of the breakouts of the festival. Not only is she starring in the film (with Andy Samberg), but she also co-wrote and is a producer on the project.

Rashida Jones, Andy Samberg in "Celeste and Jesse Forever"

She has definitely built a solid comedic career for herself. Here’s hoping that she has continued success including a career as a comedy writer. A lot will depend on the mass response to Celeste and Jesse. Goodness knows we need more witty people producing material for the masses.

UPDATE (2.03.2012): I stumbled upon a great article in American Jewish Life magazine, profiling Ms. Jones from 5 years ago. Enjoy!

RUTH WILSON

D.O.B. 13 January 1982 in Ashford, Surrey, England

Education: University of Nottingham, London Academy of Music and Dramatic Art

Ruth Wilson first caught my attention in the 2006 BBC production of Jane Eyre, for which she received Golden Globe and BAFTA nominations. Since then, the former model’s credits have principally been on the London stage or television.

In addition to Jane Eyre, she was also a featured performer in the drama Small Island, an adaptation of the Andrea Levy novel of the same name. American audiences may recognize her from the AMC television miniseries The Prisoner, starring Jim Caviezel and Sir Ian McKellan. More recently she appeared as psychotic killer/sidekick Alice Morgan opposite Idris Elba’s Luther in the critically acclaimed series, Luther.

Her work on stage includes performances in Tennessee Williams’ A Streetcar Named Desire (as Stella, winner of 2010 Olivier Award for Best Actress), Through a Glass Darkly (as Karin) and Eugene O’Neill’s Anna Christie (as Anna Christie, co-starring Jude Law).

The movie industry has taken notice of this talented young woman. This year, she will feature in Joe Wright’s Anna Karenina, which stars Keira Knightley and Jude Law and in 2013 she will be in Gore Verbinski’s The Lone Ranger starring Johnny Depp and Helena Bonham Carter.

Here’s hoping that her career goes from strength to strength.

That got me thinking about the genre of exploitation films – and what films would fit the bill. I cannot absolutely declare a personal love for the genre, but I have never shied away from seeing any of the films if the opportunity presents itself, which to be honest, is not too often.

So in the small window of time I had to prepare this post, I decided to do a little ‘research’ on the subject. This research revealed that my limited exposure to the exploitation genre was only the tip of the iceberg. Based on what I have seen or read, I make the following observations:

• During the earlier days of cinema films like Reefer Madness (1934), Freaks (1932), Marihuana (1936), Assassin of Youth (1937) and the Road to Ruin (1934) stand out as favorites of mine. Road to Ruin has the dubious distinction of being made TWICE (there was a silent version made in 1928).
• Among the various and sundry sub-genres, there is one called ‘Canuxploitation’ (Canadian B-Films); there is even a website dedicated to the films of the genre
• Some of the titles, however odd they may appear, may actually end up on my Netflix queue in the not too distant future … namely Vanishing Point.
• While several renowned filmmakers have remained in or on the periphery of what would be classified as exploitation cinema (George Romero, John Carpenter, Roger Corman, to name a few) there are a few who transitioned to more mainstream fare, such as Jonathan Demme, who directed the ‘women in prison’ flick Caged Heat (1974).

Others have their own opinion on the topic of exploitation films as well. If you get a moment check out these links:

• Complex Magazine’s 10 Sickest Exploitation Movies: On this list, I have only seen Two Thousand Maniacs
• Rotten Tomatoes’ Top Ten Death Proof Exploitation Films: this list is a little more ‘mainstream’ with selections such as Foxy Brown and Shaft; there is also the more comprehensive Grindhouse Guide.
• Wired magazine gets in on the action with their choice of The Best Exploitation Flicks; this list also features (the aforementioned) Two Thousand Maniacs, Freaks and another favorite of mine, Night of the Living Dead (another one my dad had me watch). 
• Another Wired piece takes it to the readers and asks them which films they think are the best exploitation films.

And now I take it to you: Are any of you a fan of exploitation films? If so, what are your favorites?

CHIWETEL UMEADI EJIOFOR

OBE (Order of the British Empire)

DOB: 10 July 1977, London England

Education: Dulwich College, National Youth Theatre

In my book, Chiwetel ‘Chiwe’ Ejiofor is due some series props. His face has graced the stage and the screen with equal measure. Granted not all of his roles have been big ones, but they have certainly provided fertile ground for some of his larger roles.

Film credits include (in no particular order):

• Amistad, directed by Steven Spielberg
• Dirty Pretty Things, directed by Stephen Frears (Winner: Best Actor, British Independent Film Awards)
• Endgame (TV) (Nominee, Golden Globe Award for Best Actor – Miniseries or Television Film)
• Melinda and Melinda, directed by Woody Allen
• American Gangster, directed by Ridley Scott
• Redbelt, written and directed by David Mamet
• Kinky Boots, directed by Julian Jarrold (Nominee, British Independent Film Award for Best Actor – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy)
• Children of Men, directed by Alfonso Cuarón
• Tsunami: The Aftermath (TV) (Nominee Golden Globe Award for Best Actor – Miniseries or Television Film, Image Award for Outstanding Actor in a Mini-Series, TV Film or Dramatic Special)
• The Inside Man, directed by Spike Lee
• Talk to Me, co-starring Don Cheadle (Independent Spirit Award for Best Supporting Male, Nominee, Image Award for Outstanding Supporting Actor in a Motion Picture)

Some of these films are quite popular, while others came and went with little mainstream mention. It is no wonder then as I was starting to work on this list it was only then that I realized just how prolific he is, yet still manages to fly under the radar.

And I have not even mentioned his highly lauded stage career. In 2008, he received the Laurence Olivier Award for Best Actor for his portrayal of the title character in Shakespeare’s Othello. Another notable stage performance was in the 2007 Royal Court Theatre production of Chekhov’s The Seagull alongside Kristin Scott Thomas, Mackenzie Crook and Carey Mulligan.

With a CV like this, he is slowly being raised to the status of ‘national treasure.’

It should come as no surprise having mastered TV, film and stage, that he has been conferred an Order of the British Empire (OBE) for his body of work.

Next up for Mr. Ejiofor is a role in the completed film Savannah and, in 2013, a film that I cannot wait to see: Twelve Years a Slave, directed by Steve McQueen and produced by Brad Pitt, who will also feature in the film.

 Source for Article: Wikipedia 

My Week With Marilyn is based on the memoirs of Colin Clark, The Prince and the Showgirl and Me. At the age of 23, Colin was the 3rd Assistant Director of the film, The Sleeping Prince itself a play starring Sir Laurence Olivier and then-wife Vivien Leigh  (played by Kenneth Branagh and Julia Ormond, respectively). While the accuracy and detail of his writings is something to be debated, one thing is for sure – the story has the makings of an interesting movie.

And although it is called My WEEK With Marilyn, the film does in fact span the majority of the troubled production of the film that would later become known as The Prince and the Showgirl. This film also chronicles Clark’s account of his own complex relationship with Monroe during this time.

The troubled dynamic between Olivier and Monroe is perfectly summed up by Colin (Eddie Redmayne) – Olivier was an actor who wanted to be a movie star and Monroe was a movie star who wanted to be taken seriously as an actress. Unfortunately for Ms. Monroe, her crippling insecurities and dependence on chemical substances sabotaged those plans.

To add to the problem, her behavior was enabled, by a series of sycophants; the film singles out Paula Strasberg (Zoë Wanamaker) in particular. At times, she seemed aware enough to reach out and pull people in who could help her such as recent husband Arthur Miller (Dougray Scott). But alas, she was too needy and her desire for love made her unbearable and ultimately drove people away.

This is what Williams’ performance was able to capture; she hit all the right notes. In saying this, I am in no way attempting to diminish the work of the supporting cast that includes appearances by Dominic Cooper, Emma Watson, Toby Jones and Judi Dench; they all basically do an admirable job. But this is clearly Williams’ film.

And now for the bad news: as a narrative, the film feels a bit all over the shop. Although I have not read the memoirs/diaries on which the film is based, it felt like, at times, that the film ‘read’ too much like a diary would read, with all the loose-ends and random incidents that take away focus from the central plot.

Overall, I would say I enjoyed the film, based on the strength of Williams’ performance. But I do feel like the film could have benefited from a much tighter narrative.

Production Photos Credit: The Weinstein Company 

Okay so playing on the words audacious and ostentatious may be a little much – let’s just say that the 1999 adaptation of Austen’s Mansfield Park is certainly a different take on the piece.

However, if taken exclusively on its own merit, I found it an engaging and entertaining viewing experience. Normally, I am a little sensitive (and critical) of the cinematic liberties taken with books that I cherish (e.g., 1940 MGM Pride and Prejudice). But for some reason, probably because it was so well executed, Mansfield Park receives a special dispensation in my book.

Plot-wise, the film version is more ‘loosely based on’ than a facsimile of the source material; in the end, the finished product comes across as more of a social justice commentary/female empowerment piece, as envisioned by writer/director Patricia Rozema (Kit Kittredge: An American Girl, Grey Gardens).

The principal cast features Frances O’Connor (Fanny Price), Embeth Davitz (Mary Crawford), Lindsay Duncan (in dual roles of Mrs. Price and Lady Bertram), Alessandro Nivola (Henry Crawford), Jonny Lee Miller (Edmund Bertram) and Harold Pinter (Lord Bertram).

The basic fact that Fanny Price is sent away from a life of poverty in Portsmouth to be brought up by her wealthy aunt and uncle is one element that remains intact from text to screen.

Also consistent is that within the household, Fanny holds an inferior position to that of her cousins (Tom, Edmund, Maria, Julia). Tom, Maria and Julia are spoiled and frivolous, but it is Edmund, the gentle soul whose calling is the church, who shows any kindness to Fanny.

However, unlike Austen’s shy and retiring Fanny, Rozema has made her Fanny witty, self-assured and one who gives her opinions very decidedly.  In many respects, these are aspects taken from the life of the author (Jane Austen) herself.

But I digress – back to the story. Years pass and Lord Bertram, must travel to Antigua on an urgent business matter. This event, combined with  the arrival of the worldly Crawfords (Mary and Henry), and the return of reckless Tom and his desire to put on a performance of Lovers’ Vows, throw Mansfield and its inhabitants’ into total chaos. Fanny is way in as all that is happening around her.

Aside from the changing of Fanny’s nature, another deviating element in this adaptation is the depiction of some social ills, as seen in Lady Bertram’s use of drugs and what some have described as a homoerotic element to the relationship between Mary Crawford and Fanny Price.

Perhaps the most pronounced, and startling insertion into the film is the subplot of the ills of slavery. This storyline finds its way into Mansfield’s drawing room conversations as well as serving as a means of dividing Tom Bertram and his father.

These modern touches to Mansfield Park may have turned some people off, but I for one, really enjoyed seeing a period piece with some contemporary ‘embellishments;’ they were well written and convincingly delivered by the actors.

Have you seen this version of Mansfield Park? If so, what did you think of it?

ROMOLA SADIE GARAI Born: 6 August 1982 Place of Birth: Hong Kong Education: London University; The Open University Profession(s): Model (former); Actress (current)

Although some may remember her as the young Judi Dench character in Last of the Blonde Bombshells (2000), Romola Garai first caught my attention in the BBC production of Daniel Deronda as the somewhat reckless, fortune-seeking Gwendolen Harleth, ‘soul mate’ of the eponymous character. While the performance itself was not necessarily noteworthy, there is no doubting that her striking appearance would garner notice and give her some plum opportunities in the near future.

The next couple of times I saw her were in the Kenneth Branagh production of Shakespeare’s As You Like It (2006), and as the 18–year old version of Briony Tallis in the critically acclaimed Atonement (2007), directed by Joe Wright. In Atonement, she had the task of bridging the performances of the pre-adolescent Briony (Saorsie Ronan) with Briony in her later years (Vanessa Redgrave).

Also in 2007, Romola played the lead role of Angel Deverell in the period piece Angel, directed by François Ozon (Swimming Pool, 8 Femmes). I only recently have caught this film, and it is a very strange picture, indeed. It took me some time, but eventually I have come to a place where I fully understand the irony and kitsch factor of this little-seen film was totally intentional. Her performance as a writer whose meteoric rise and later downfall is part bombastic, ridiculous and sometimes, even a bit grotesque. One moment you pity her, and in the next, you cannot believe she would be so daft.

For my part, I believe that her portrayal as meddlesome matchmaker Emma Woodhouse in Emma (2009) is the best interpretation of the character that I have seen in a while. For her efforts, Garai received a Golden Globe nomination.

In general, the response to her performances has been mixed to favorable, even if the project she was involved in was less enthusiastically received. Even in a movie like the universally derided Dirty Dancing: Havana Nights she was spared the worst criticism (at least by Roger Ebert).

Recently, she was seen in the television dramatic series The Hour, and the films Glorious 39 (2009), One Day and Junkhearts (both in 2011). She is also rumored to be starring in Muse (2013) alongside Armin Mueller-Stahl.

Personally, I think she is talented enough that given the right material – particularly the right balance of drama and light comedy – she would find her niche. Although I have not seen I Captured the Castle (2003) or Rory O’Shea Was Here/Inside I’m Dancing (2004), these films seem to fit this description. In both films, her performances received positive reviews.