Sundance, Cannes and Berlin are just some of the world’s top festivals where major movie sales are completed. But Telluride is mostly a launchpad for Fall awards contenders. Yet, unexpectedly, this 39th edition is drawing a large number of distributors interested in picking up some great deals. Among the titles for sale here are Noah Baumbach’s Frances Ha starring a delightful Greta Gergwig; Canada’s and Sri Lanka’s Midnight’s Children; thriller The Iceman starring Michael Shannon; director Sally Potter’s Ginger And Rosa; the documentary Love, Marilyn based on newly discovered diaries of Marilyn Monroe; and Saudi Arabia’s Wadjda. Of course, 2009′s The Last Station devised an unusual strategy by exclusively premiering in Telluride and also nabbing a Sony Pictures Classics deal plus two major acting Oscar nominations. And in 2010, Fox Searchlight execs saw a secret showing of The Tree Of Life here and quickly nailed rights for the film, which would eventually be nominated for Best Picture of 2011.
The Best Actress race is hot this year.
EXCLUSIVE: The Weinstein Company pulled off a coup at their Sunday night AFI premiere of My Week With Marilyn with a pre-screening recital from Chinese superstar pianist Lang Lang playing composer Alexander Desplat’s “Marilyn’s Theme” before he was literally whisked away by police escort to his anticipated solo concert the same night at …
EXCLUSIVE: After a rousing response to the New York Film Festival premiere of My Week with Marilyn last Sunday, The Weinstein Company has added the film to this weekend’s Hamptons International Film Festival. My Week With Marilyn will screen …
Is Marilyn Monroe finally headed toward that Oscar nomination which eluded her during the actress’ all-too-short film career? In an odd twist of fate, yes. With the world premiere Sunday night of The Weinstein Company’s My Week With Marilyn at the New York Film Festival, another presumed awards contender is out of the gate. And if I were Meryl, Glenn, Charlize, Viola, or any other lead actress Oscar hopeful, I would be nervous: Michelle Williams as Marilyn is that good. Sexy, vulnerable, fragile, alluring, seductive, delectable, complex, and all things in between, she nails it and certainly has claimed a spot among the top five if not frontrunner status for the Oscar itself. She also flawlessly sings a couple of Monroe standards as bookends for the film. Marilyn herself never managed to get any kind of Oscar recognition. Now, oddly, Monroe and her unique appeal could figure strongly in the 2011 Best Actress race as channeled through Michelle Williams.
I saw the film Sunday night at a small last-minute screening in Beverly Hills timed to coincide with its New York premiere. (Sony Classics did the same thing for Carnage when it opened NYFF over a week ago, just as Fox Searchlight did when The Tree Of Life premiered in Cannes.) It makes us die-hard West Coasters feel included in the hoopla, I guess. At the very least it’s smart Oscar strategy: an Academy acting branch member I talked to afterwards was totally under Williams’ spell.
The movie due for release November 4th is directed by British tv producer/director Simon Curtis. It is, along with Midnight In Paris, The Artist and The Descendants, one of the most purely entertaining films I’ve seen so far this year. I would imagine it will have great appeal for the same voters who supported Weinstein’s Best Picture winner The King’s Speech last year. But realistically its best shot is in performance and some below-the-line categories like Costume Design and Art Direction. I have to confess that, after seeing some selected footage that was shown at the Weinstein party in Cannes last May, I had my doubts about Williams as Monroe. But those concerns were completely erased in the context of the entire film where she gets to show three distinctly different sides of the star without ever drifting into impersonation. Williams had doubts, too, when she was making the film last year in England. When I did a phone interview with her between takes and talked about her nominated turn in Blue Valentine, I asked about playing Marilyn. But she fumbled through an answer and could not articulate what it meant then, much like the real Monroe when she was making the real film-within-the-film.