Hollywood Playbook: Friday's Top 5 News Items

Hollywood Playbook: Friday's Top 5 News Items

Gosnell Movie Billboard Is the Greatest Thing Ever

This billboard pictured below now stands right outside the offices of Kickstarter, the crowd-funding site that attempted to censor the Gosnell Movie project and then lied about the censorship.

The audacious awesomeness of the billboard just inspired me to contribute another $50 on top of the $100 contribution I made earlier this month.

With 11 days to go, the Gosnell Movie is almost there — a little under $400,000 short of an ambitious $2.1 million goal. Award-winning filmmakers Ann McElhinney and Phelim MacAleer have already broke a number of crowd-funding records and did so for a worthy cause: to tell the story the mainstream media and Hollywood won’t.

Kermit Gosnell is a vicious serial killer who practiced his horrific trade openly for decades thanks to a demonic abortion movement and the government that enables it.

This story needs to be told and Hollywood needs to see that times have changed. They no longer control what stories will and will not be told.

Contribute here.


‘Godzilla’ Plays Hide the Monster

Hoping to replicate the glorious anticipation of “Alien,” “Jaws,” and “Jurassic Park,” director Gareth Edwards apparently plays hide the monster in “Godzilla,” a big budget tentpole that hits theatres May 16:

This reboot, then, is the sort of exercise in anticipation that recalls movies like Jaws, Alien, and Jurassic Park, and Edwards said it was the latter film in particular — which, like Godzilla, holds back the big Tyrannosaurus Rex reveal until an hour has passed — that served as his primary touchstone in several ways. …

“[If] you throw everything you can at the screen, you’ve got nowhere else to go,” said Edwards after the screening, when Vulture asked him about his bold approach to the film, which holds back the first reveal of Godzilla — and the first full-fledged fight — for as long as possible. His goal, said Edwards, was “not to frustrate the audience, but to tease them. It’s kind of like cinematic foreplay.”

Obviously, Edwards set a pretty high bar for himself. And “Jaws” was a happy accident for Spielberg. The only reason it took so long for us (and poor unsuspecting Sheriff Brody) to see the shark was due to the maddening malfunction of the mechanical shark.

Thanks to all kinds of computer problems this week, I did get a chance to sit down and watch Edwards’ “Monsters,” his feature debut — the one that put him on the map and convinced a studio to hand him an armored car full of money for a “Godzilla” reboot. It is streaming on Netflix if you are interested.

Edwards definitely plays hide the monster in “Monsters.” The film opens with a shaky-cammed attack scene where we catch glimpses of something that looks like a Godzilla-sized octopus. A long time then seems to pass before we get a couple of other glimpses — one obviously inspired by the T-Rex jeep attack in “Jurassic Park.”

“Monsters” proves without question that Edwards is a capable filmmaker; a real talent who knows where to put his camera and how to build a scene. I was especially impressed with how he created a world that has gotten used to having giant aliens among us. This is all the more impressive when you learn about the low-budget conditions of the production.

“Monsters” also drags. The story is way too focused on the budding relationship and arcs of the two central characters, and its liberal themes about America’s border politics and selfish warrior mentality are not fully formed and even confusing. The climax is a real letdown.

The bottom line, though, is that Edwards’ first feature is VERY ambitious and he still managed to hit a standing double. Impressive.


James Franco Pulls Down His Underwear in Racy Instagram Picture–Then Deletes It

Other than this left-wing push to meterosexualize men and erase masculine cool, nothing has contributed to the downfall of the movie star more than the freedom they now enjoy to be their terrible selves. This of course has only gotten worse with social media. For example, in just the last couple of months, James Franco has been caught on social media trying to bed an underage 17 year-old girl and now there is this.

People have always been people. The iconic stars of yesteryear were just as classy and unclassy and decent and indecent as those who populate Hollywood today. But back in the Golden Age, studios controlled the stars and their images. The Louie B. Mayers and Daryl Zanucks understood that image mattered; that you could create Mighty Giants by controlling that image.

I get why a James Franco doesn’t want to be controlled by a Howard Hughes. But look at Robert Mitchum today and look at how no one will remember Franco in 60 years.  In his day, Mitchum was a piece of work.  You have to read about it in biographies, though, because it never infected his public image or his work. Mitchum was managed. He hated it. But when he was busted for pot the goodwill he had built up with the public got him through it unscathed.

No one’s managing Franco and he’s revealing himself to be a lout and a creep. He’s shooting down his own image and that in turn will affect the work  he gets and eventually his legacy.  

It is the same with the divisive political stuff. Golden Age actors were political. They just weren’t assholes about it.


Tonight’s Double Feature

It gets a little hard when the weather is warm and the sun is out; there’s grass to cut and the porch calls to me, but I like to celebrate the end of the work week with a double feature. So, even though the grass is a little long, I’m hoping to rationalize a screening tonight of “Electra Glide In Blue” (1973) followed by “Dirty Mary Crazy Larry” (1974) .

I thought about “Easy Rider” (1969) and “Electra Glide In Blue,” because intentionally or not, “Electra Glide” is a direct reply to Dennis Hopper’s glorification of two hippie drug dealers. But I really want to see “Dirty Mary Crazy Larry” on the big screen.

If I were anything close to a young man, I would make it a triple feature with the addition of “Race With the Devil” (1975). But I gotta work tomorrow morning, and if I don’t get my 14 hours…

P.S. Peter Fonda is a god and was robbed of a Best Actor Oscar in 1998.

P.P.S. I love “Easy Rider.” It is one of the most beautiful tributes to human liberty, the promise of America, and what it means to be free ever put on film. In Obama’s and Pelosi’s and Reid’s and our mainstream media’s America, “Easy Rider” is as conservative as I am.

Speaking of movies turned into conservative by our Fascist Overlords, I am very excited to announce the upcoming release of….


Blazing Saddles: 40th Anniversary Blu-ray Arrives May 6th

Mel Brooks’ masterpiece hits the street next Tuesday and is not only one of the funniest comedies in history, it is also famous for being a comedy that would have no chance of being made today. Political correctness has not only destroyed smart, creative comedy, it has turned it into two hours of d*ck jokes.

For a short time, though, after the fall of the Production Code and before the rise of the Sensitivity Fascists, a “Blazing Saddles” could sneak through.

Warners does a FABULOUS job with these packages. On top of a new extra feature, Blaze of Glory: Mel Brooks’ Wild, Wild West, the extra features found on previous releases are all there, including Mel Brooks’ feature-length commentary, which is a must-listen. Brooks touches on the difficulties he had with the studio, the problematic genius Richard Pryor, and the state of comedy today.

Just go ahead and carve out three hours to watch the film and then start over to watch it with Mel.

You know, a lot of my fellow conservatives look at the sixties and the hippies and the seventies as a terrible time for our country. And in a way it was. The drug and sexualized culture has resulted in five decades of untold misery and shows no sign of slowing down.

But for a time there, maybe 8 years,  we were about as free of a country as we’ve ever been. Unfortunately, we hung on to all the bad stuff (sex, drugs, statism, narcissism) and killed the good: the artistic freedom; the universal mockery of everyone, the relentless questioning of authority, and always, always, always rebelling against Power.

In 40 short years we went from the rebellious and naughty Brooks and Pryor to the Palace Guarding Stewart and Colbert.

You might want to buy two copies of “Blazing Saddles”: One to keep, and the other to turn over to the Bureau of Land Management’s SWAT team when they come to burn it.


Bonus #6: Instagram Bans Boobs, Not Berettas

Instagram has this exactly right and this chowderhead at the Daily Beast has it exactly wrong:

What’s More Obscene Than Rihanna’s Boobs? Instagram’s Kids With Guns

No, sexuality is actually much more harmful than guns. Sex kills more people through AIDS and in the womb than every madman armed to the teeth ever could.

Moreover, a society that doesn’t protect the innocence of its children for as long as possible is doomed.


Quick Hits

10 TV Pilots Likely to Score Series Pickups

‘X-Men: Days of Future Past’ Clip Explains How Professor X Walks Again

The Best Superhero Animated Series on Netflix

The Other Woman & Neighbors – Inside the Psychology of the Revenge Comedy

Quentin Tarantino refiles suit against Gawker over ‘Hateful Eight’ script leak


Send tips, requests to jnolte@breitbart.com

Follow  John Nolte on Twitter @NolteNC