My Own Guy
I spoke last night to a guy who caught a research screening of Extremely Loud and Incredibly Close last Sunday night at Leows’ Lincoln Square (B’way at 68th). And he agrees with Kris Tapley’s guy that Max Von Sydow‘s wordless performance as Thomas Horn‘s grandfather “will certainly get an Oscar nomination, perhaps the award itself.”
And he has a slight dispute with Stu Van Airsdale’s guy about the opening with “falling bodies, crushing thuds, and other vividly horrifying reminders of the initial scene at the World Trade Center.” My guy’s dominant impression is “an obliquely falling body in a white suit. If this wasn’t a 9/11 film, it could easily be mistaken for a Cirque Du Soleil routine.”
“One surprising thing about the film,” he adds, “is that James Gandolfini, credited in both the trailer and the poster, has had his role entirely cut. John Goodman‘s role is reduced as well, adding up to a few short scenes.” I don’t know how he’d know that Goodman’s role has been reduced unless he’s read a draft of Eric Roth’s script or whatever. I forgot to interrogate about this.
“And as for all those folks that pointed out that there’s snow on the ground in a few scenes in the trailer, it’s important to note that the film takes place a few years after 9/11; those scenes aren’t meant to reflect 9/11.” But of course the trailer, despite the MD80 thing, is looking to evoke precisely that.
I can see Von Sydow and Christopher Plummer launching negative whisper campaigns against each other and getting all catty on TMZ.
If it does indeed come down to Max Von Sydow and Christopher Plummer, I still see Plummer with the edge. But that’s a tough call when you’re talking about acting greats who are “due” some recognition.
I’d probably give Plummer the edge too (or until I find out Von Sydow has something like the villain from THE SILENT PARTNER in his list of characters played) but with the awareness that US/English-speaking audiences probably haven’t seen a lot of his best work. On the other hand, where’s Plummer’s THE SEVENTH SEAL? If you’re talking about overall quality of the movies they’ve appeared in, I’d say Von Sydow wins in a walk.
All that aside, there is very little about EXTREMELY LOUD AND INCREDIBLY CLOSE – starting with the stupid title – that makes me want to see it. It’s not a matter of “too soon,” it’s a matter of not wanting to see another turgid, hand-wringing melodrama when our country is going through enough heavy crap in reality, outside the movie theatre.
f@c$, meant US/English-speaking audiences probably haven’t seen a lot of VON SYDOW’S best work…
Von Sydow is excellent as the assassin in THREE DAYS OF THE CONDOR (and as Ming in FLASH GORDON).
They’re interestingly similar careers. Plummer has more paycheck crap on his resume, not that Von Sydow doesn’t have some unfortunate credits, too. But he was THE EXORCIST for audience recognition, and there are those years wiith Bergman to consider, so qualitatively I’d give Von Sydow the edge if they were both in contention.
“…Max Von Sydow’s wordless performance as Thomas Horn’s grandfather…”
This worries me. Not because it reeks of Oscar pandering (I don’t have a horse in that race) but because either your guy at the research screening gave you some faulty information or Eric Roth mucked around too much in his adaptation.
Spoiler alert…
As I remember it from the novel (and keep in mind, I could be wrong; I read the thing when it first came out in 2005), the Max von Sydow character is not Oskar’s grandfather but rather a lonely elderly man who helps Oskar during his journey through New York. The book does feature the grandfather, but he and Oskar share no scenes together; in a separate epistolary narrative, he describes his experiences during the Dresden bombing.
So, either your source got his details confused, or Roth decided it might be “cute” to conflate the two characters into one, a change which doesn’t bode well for the film–part of why the grandfather narrative conceit works in the novel is that a) his reflections on a catastrophic tragedy nicely contrast Oskar’s, and b) he represents yet another family figure separated from Oskar. Oskar’s dad is dead, his mother functions almost like one of the adults from a “Peanuts” cartoon, and his grandfather, who endured a similar experience like the one his grandson is going through and could possibly lend some much-needed guidance, never physically interacts with Oskar, leaving the child to his very-limited devices.
We’ll see.
Did Gandolfini ask for it to be cut, like Sean Penn from Crossing Over?
Von Sydow and Plummer should take advantage of how much 85% of people my age think they’re the same person.
Here at extremelyloudandincrediblyclose.com, we think Von Sydow has a real shot at the gold.
But seriously, overuse adverbs is a signpost of amateurish bad writing, so to have them in the title must mean the source material is extremely precious and incredibly aware of itself.
Did Gandolfini not ask for it to be cut, like Sean Penn from Tree of Life?
(kidding)
I was at the screening. Joe Gillis – the two characters are now one. Jeff – your guy is right about the opening, There were no crashing thuds.
Maybe spoiler, I’m not sure.
Joe Gillis, I’ve recently read the book and Oskar and his grandfather do share the scenes together without Oskar realizing he was his grandfather, but later he does realize. That is in the book. Oskar is first accompanied by an older man named Mr. Black, and after Mr. Black deciede not to go with him any longer, Oskar met “the guest” at his grandmother’s apartment. The guest is the grandfather, but he doesn’t tell Oskar that.
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Here at extremelyloudandincrediblyclose.com, we think Von Sydow has a real shot at the gold.
But seriously, overuse adverbs is a signpost of amateurish bad writing, so to have them in the title must mean the source material is extremely precious and incredibly aware of itself.
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So, either your source got his details confused, or Roth decided it might be “cute” to conflate the two characters into one, a change which doesn’t bode well for the film–part of why the grandfather narrative conceit works in the novel is that a) his reflections on a catastrophic tragedy nicely contrast Oskar’s, and b) he represents yet another family figure separated from Oskar. Oskar’s dad is dead, his mother functions almost like one of the adults from a “Peanuts” cartoon, and his grandfather, who endured a similar experience like the one his grandson is going through and could possibly lend some much-needed guidance, never physically interacts with Oskar, leaving the child to his very-limited devices. Expert Author | dating
So, either your source got his details confused, or Roth decided it might be “cute” to conflate the two characters into one, a change which doesn’t bode well for the film–part of why the grandfather narrative conceit works in the novel is that a) his reflections on a catastrophic tragedy nicely contrast Oskar’s, and b) he represents yet another family figure separated from Oskar. Oskar’s dad is dead, his mother functions almost like one of the adults from a “Peanuts” cartoon, and his grandfather, who endured a similar experience like the one his grandson is going through and could possibly lend some much-needed guidance, never physically interacts with Oskar, leaving the child to his very-limited devices. Expert Author | dating
why was James Gandolfini cut from the film? Property Management Gold Coast
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