REVIEW: In Search of Fresh Style, Brighton Rock Loses its Soul

Graham Greene’s 1938 masterpiece Brighton Rock is an enduring curio of fiction: A literary pulp novel ahead of its time, a gangland allegory of sin and the cost of redemption, and perhaps most fascinating, a pre-WWII oracle anticipating the traumatic British century to come. It’s a prism through which all the harrowing perils of class strife, organized crime and romantic love bend and refract into Greene’s glowing white weave of language, which, when projected onto a screen, have yielded both an equally classic 1947 screen adaptation and now Rowan Joffe’s troubled updating. A screenwriter (The American, 28 Weeks Later) here making his feature directing debut, Joffe clearly has deep affection for both Greene’s novel and the earlier film; his feel for the story of the swift rise and fall of vicious teenage gangster Pinkie Brown blends source loyalty with an evident intent to find the deepest cinematic meaning in that source. His film makes lovely use of nature — both human and earthly, both at their most fearsome — in the same broad genre strokes Greene embraced in his prose. But where Joffe purposely departs from Brighton Rock deprives his movie of the book’s most revelatory element: Faith. Gorgeous, ambitious and daring as it often is, Brighton Rock has no soul. The problems start with Pinkie himself, played by Sam Riley. Setting aside the actor’s age (he was 29 when the film was produced; Greene’s antihero is 17, thus cutting his sociopathy with a liberal dose of immaturity, and thus a hint of sympathy), his tormented Roman Catholic has been reimagined as a class-climbing Mod, that secular, supple, scooter-riding and skinny-tie-rocking creature born out of Great Britain’s postwar ruins and emerging to socioeconomic power in the ’60s. Joffe chooses 1964 for his adaptation, the flashpoint of a culture war between Pinkie’s cohort and the slightly older, leather-clad tribe of Rockers. Against this backdrop we are plunged into Greene’s bigger preoccupation: the gang war between posh, effete Colleoni (Andy Serkis) and Pinkie’s beloved war-vet mentor Kite (Geoff Bell), the latter of whose killing by Hale (Sean Harris) commences the film’s — and Pinkie’s — bloody tumble into vengeance. First intimidated by Hale, then driven to murder him in an outburst below the chipped, ancient Brighton pier, Pinkie further imposes his newfound ruthlessness on the gang-leadership vacuum left by Kite’s death. Middle-aged lush Spicer (Phil Davis) isn’t going to accept that, however, despite irresponsibly leaving a witness to their pursuit of Hale on the pier above. This witness, Rose (Andrea Riseborough), becomes the gawky target of Pinkie’s power grab. She’s a tea-room waitress vulnerable to the cheek scar and piercing stare radiating authority over Pinkie’s perpetually coiled chin. Her boss Ida (Helen Mirren), an old flame of Hale’s, has seen it all, and she observes their sham courtship with a skepticism that gives way to suspicion and, finally, full-blown snooping. Before I continue, let me disclose that I’ve never felt like Greene satisfactorily substantiated Ida’s instincts and distaste for Pinkie in the book. It’s true that their conflict had roots in the author’s own ongoing struggle to reconcile the godlessness of his early adulthood and the Catholic faith he adopted in 1926, a clash represented by Ida’s freewheeling street smarts and Pinkie’s fear of damnation at every calculated turn. That’s great for a metaphor, but it never made for much in the way of narrative, if only because Ida’s only purpose seems to be to heighten a more important spiritual paranoia that has already reached its apex. It just reads like Greene piling on, and it’s hard to buy. I only bring it up because Joffe’s adaptation appears to relate to and try to correct this flaw. But in truly making Brighton Rock his own, Joffe downplayed the wrong side of the equation: Pinkie is now a man of wits, preoccupied with God only insofar as He might save him during a sprint from Colleoni’s thugs, or in his bitter acknowledgement to Rose that their relationship is one founded in sin. Adhering to Pinkie’s self-preserving villainy in this context means shifting the religious burden on to Rose, whose own convictions are clouded not by unquestioning faith but rather her unalloyed love for the first man to ever take an interest in her. To the extent she consults with God, her prayers here come off like a betrayal — inconsistent with her worship of Pinkie and ultimately incidental to the viewer. Riseborough is a pleasure to watch in any case — hardly Greene’s “pale, thin girl who was younger than [Pinkie],” but nor is Riley the character Greene’s third-person narrator referred to strictly as “the Boy.” She outclasses him, in fact, a mousy naf made a curious woman despite (and finally because of) his leer and contempt. Joffe’s toying with era is not kind to Rose; “I hope you’re on the Pill, love” the beleaguered Ida says to her, adding with a bludgeoning, foreshadowing thud, “You don’t want to have a murderer’s baby.” (Only Mirren can upstage the young actress here, and not by much.) Yet where it can, Riseborough’s elegant adaptability matches that of Brighton Rock itself. What she brings to everything from Rose splurging on Mod coutour to her escaping life in one of Britain’s hideous postwar tenement towers underscores Greene’s perennial class concerns with a resonance that showier elements like the film’s huge Mods-Rockers riot set piece simply don’t have. But even if we accept an older Pinkie — one whose transgressions and black-eyed fury necessarily shock less than they would were he 17 — it’s hard to get behind Riley here. He’s adrift in the role, anchored to the Angry Young Man mythology of the ’60s but incapable of striking that movement’s crucial balance between rage and rationality. It’s an intriguing, maybe even necessary conceit on his and Joffe’s part; playing Pinkie in the 1947 version, a 23-year-old Richard Attenborough cornered the market on cutthroat equanimity. Here he’s simply an asshole with a switchblade and a bottle of vitriol. The rest of the film is sound enough. Joffe and cinematographer John Mathieson pay vital tribute to Greene’s noir inflections, virtually fetishizing the roiling, moonlit ocean tide and the decrepitude of the pier looming over it. John Hurt does his wheezy, weary John Hurt thing, and Harris brings his usual sinewy nastiness to his brief role. Notably, Joffe trades the novel’s vague coda for the ingenious, devastating twist invented by Greene and co-writer Terrence Rattigan in their original adaptation. Here the necessity and futility of faith square off at last, and finally we hear the beating heart of Greene’s achievement. Quiet as it may be throughout, we can take comfort in knowing it persists.

ABC sets drama from Shonda Rhimes

RhimesABC is back in business with Shonda Rhimes, who has set up a new drama project set in 19th century New York with scribe K.J. Steinberg.Rhimes, who already has three series on the Alphabet's schedule, will executive produce "Gilded Lillys," which is set in the first luxury hotel ever built in New York City circa 1895. Narrative will follow the family who owns it, the staff who work it, and the people who pass through.ABC Studios script will be penned by by "Gossip Girl" writer/producer Steinberg. Betsy Beers of Rhimes' shingle Shondaland is also on board as exec producer.Once verboten in primetime, period dramas have begun to seem worthy of experimentation in the wake of the AMC hit "Mad Men." Two such series are on the fall schedule, ABC's "Pan Am" and NBC's "The Playboy Club."Rhimes is executive producer of ABC's "Grey's Anatomy," "Private Practice" and new midseason entry "Scandal."Steinberg's past credits include the short-lived ABC drama "The Nine." Contact Andrew Wallenstein at andrew.wallenstein@variety.com

Arnold Schwarzenegger's 'Last Stand' Starts In October

Arnold Schwarzenegger says hasta la vista to California and going to New Mexico to film his comeback flick, "The Final Stand." The Valencia County News-Bulletin has learned the film will begin shooting in Belen, NM in October, which provides Schwarzenegger a great month . 5 to improve on his acting abilities. This is the very first leading role the Governator has already established since 2003's "Terminator 3: Rise from the Machines." Fortunately, "The Final Stand" returns Schwarzenegger to his action-movie roots. The Western is slated for any The month of january 18, 2013 release, with no other cast people happen to be introduced yet. Location manager Paul Roberts told this news-Bulletin casting is going to be performed by September, so I am speculating we are likely to be listening to lots of stars scrambling towards the Jee-woon Kim-directed movie within the next couple of days. Recently the official plot synopsis for "The Final Stand" was launched. The film seemed a little a lot more like a "Fast & Furious"-style thriller than the usual american, however with Schwarzenegger towards the top of the cast it ought to be fun in either case. He's set to star as Sheriff Owens, a guy that has been feeling relaxed inside a border town after departing his existence using the LAPD. However, a well known drug kingpin has steered clear of from the prisoner convoy right near Owens' set-up in Sommerton Junction, which is as much as him to avoid the cartel leader from leading to any mayhem. The plot synopsis promises it will likely be "probably the most daring face offs in cinema history." Are you currently searching toward "The Final Stand"? Inform us within the comments section below or on Twitter!

U.S. Open Nets Expanded 3D Coverage

Host broadcaster CBS Sports, sponsor Panasonic and the U.S. Tennis Association will broadcast the U.S. Open Tennis Championships in 3D for a second year.our editor recommendsWimbledon in 3D: 5 Things You Need to KnowLondon Olympics To Get 3D Treatment Expanded 3D coverage this year will include all Arthur Ashe Stadium matches that are broadcast in HD both on Labor Day weekend and on finals weekend, as well as select matches from Louis Armstrong Stadium. The 3D broadcasts will use a separate crew and equipment from the HD broadcasts. Court coverage will again be based around broadcast cameras using the Shadow 3D rigs designed by the Cameron Pace Group, the company co-founded by James Cameron and Vince Pace. A preproduction model of Panasonic's soon to be released handheld Full HD 3D professional camcorder will be used as part of the match and grounds coverage. "With our additional cameras and enhanced camera positions, including low, court-level positions, viewers will feel like they're actually on the court with some of the world's greatest players," said Harold Byrant, executive producer and vp production at CBS Sports. Last year's 3D production of the U.S. Open was recognized with a 2010 Emmy Award for technical achievement. The 3D telecasts of the U.S. Open will again be available on DirecTV's n3D. This year, Comcast will also carry the 3D feed on Xfinity 3D. The men's and women's finals will be streamed live in 3D on USOpen.org. A key question surrounds the potential size of the audience for 3D. Research firm DisplaySearch projects that about 20 million 3DTVs will be sold worldwide by the end of 2011. At the U.S. Open, Panasonic will host 3D public viewing areas featuring its Viera Full HD 3DTVs. Earlier this summer, Sony, All England Lawn Tennis Club, and Wimbledon host broadcaster BBC, offered 3D coverage of the Wimbledon Tennis Championship. ESPN3D carried the 3D coverage in the U.S., along with select digital cinema venues. Related Topics 3D James Cameron Comcast

Emmy Watch: Burning Questions Clarified

Ryan Seacrest Using the Emmy Honours just days away, TV Academy voters are because of submit their final ballots on August 26. Then it is onto the an accounting firm, who'll tabulate the outcomes over time for that live Emmy telecast, located by Jane Lynch (September 18 on Fox). Listed here are a couple of burning questions being released of the year's Emmys.Is the entire year that The American Idol Show finally wins?The singing competition might actually be the Susan Lucci from the reality competition world. Despite its reign as TV's undisputed primetime champion, Idol does not fare nearly too within the Emmy election. The show continues to be up for that top reality-competition Emmy a consecutive nine occasions, but has lost each year (an Emmy record).A part of that streak has related to The Astonishing Race, which centered the course until this past year, when Top Chef won. This season, Idol's renaissance and resilient rankings could finally have the desired effect, hopes executive producer Nigel Lythgoe. "We have got such strong vibes in the last season, and the like good will in the public and also the press," he states. "As we don't win it this season, we'll never win it."Lythgoe hopes the television Academy will consider splitting the truth-competition Emmy into two groups: One for on-location, publish-created shows like Race and Top Chef, and the other for live studio shows like Idol and Dwts.So why do some comedies and dramas appear to stay in the incorrect category?Nurse Jackie star Edie Falco ruffled a couple of down this past year when she known as her win as well as comedy actress "absurd... I am not funny." But this season, she's in the course, together with Laura Linney, the star from the Large C - another half-hour that isn't a conventional comedy. About the switch side, Andre Braugher is nominated like a supporting actor inside a drama series for Males of the Certain Age, a show with lots of comedy.As comedy dramas and dramatic comedies ton the airwaves, determining which Emmy category to put individuals shows is definitely an ongoing conundrum for that TV Academy. The group is detest to include anymore groups, like a "dramedy" competition, towards the mix. For the time being, which means it's as much as producers to determine where their show fits. This is exactly why Desperate Average women continues to be considered a comedy, yet Grey's Anatomy is really a drama.How did questionable miniseries The Kennedys land 10 nominations?For any little-seen network like ReelzChannel, which acquired The Kennedys after History left it, the miniseries was an chance to go in the large leagues. Because of the negative press all around the Kennedys, the project might have faded away with little Emmy attention. But ReelzChannel elected to cover a large campaign that incorporated trade magazine advertisements and DVD mailers to any or all 15,000 TV Academy people. The network also posted The Kennedys in 22 different groups, also it compensated served by individuals 10 nods, including best movie or miniseries."We felt a duty to help with some kind of effort," states Boss Stan E. Hubbard, who nevertheless credits the work for the nomination haul. "The Kennedys was by itself and gained individuals nominations."Exactly why is Louis C.K. this type of hot shot this season?The comedian's standup act and the acclaimed but low-budget Forex series Louie wouldn't appear like Emmy fodder. But as experts still rave about everything Louis C.K., TV Academy voters was up and observed. Not just did he land a nomination for the best actor inside a comedy, for Louie, however the Forex show also arrived him a comedy series writing nomination.Meanwhile, the standup's Epix special Louis C.K.: Amusing arrived him an Emmy nomination for writing a range, music or comedy special, in addition to another jerk four outstanding picture editing (yes, he is doing this too). It's Louis C.K.'s first four nominations, all-in-one year. "It's crazy," he states. "It's for doing four completely different things, and everything I actually do, essentially. I wasn't expecting much.InchSign up to TV Guide Magazine now!

Burnett preps for Emmy kudocast

This Years Emmys got on a rousing begin with a performance of Bruce Springsteen's 'Born to Run' featuring top TV stars. The down-side to significantly acclaimed honours shows is needing to produce the next. Most honours shows are eviscerated by critics' scalpels last year's Emmy ceremony, located by Jimmy Fallon and professional created by Don Mischer, would be a rare exception. So following it, states Mark Burnett, producer of the year's Sept. 18 kudocast, confers "much more pressure" on him."I am so happy the Emmys were so well accepted this past year, however it puts more pressure on me. I do not want to up it by any means, but Among the finest watching people it to savor it as being much."It's Burnett's first whack in the Emmys after success using the MTV Movie Honours from 2007 and also the past two Individuals Choice Honours. He's most widely known, obviously, for his hit reality programming, from CBS' "Survivor" to NBC's recent hit "The Voice." He's had reality skeins on each one of the Large Four nets and an array of cablers. After being named Emmy producer, Burnett immediately broke from tradition. Rather than employing a standup comic or talkshow host to preside within the ceremony, he chose "Glee" star Jane Lynch. He made a decision with Fox, obviously, that will telecast the 2010 Emmys."I did not think about Jane being an outdoors-the-box choice," describes Burnett, who states Lynch was his first choice. "I figured, Who is indeed a star, has been doing stage work, is extremely funny and may roll using the punches? It isn't a snarky evening, it is a fun evening." That will appear to stay in direct contrast to Lynch's "Glee" character, Sue Sylvester, to whom withering insults come as naturally as breathing."If there's any jerk to file a lawsuit (within the show), it will likely be very minor," Burnett vows. Burnett calls live television "an adrenaline hurry" and states he'll be remaining from the chaos when putting the show together -- or at best remaining away as well as possible."I'm going to be hiding within the truck, being unsure of who's likely to win," he states.The majority of the work may have been done before hands, Burnett states, making the development as pre-planned and incident-free as you possibly can. "You'll need a wide open, a few fun onstage music performances plus some short films," Burnett states from the secrets to putting the show together. "Shorter pieces assist with pace. They enable you to get with the three hrs." Burnett indicates the process now's to pare an abundance of material lower to ceremony-size programs."It's dependent on selecting what we are likely to do and what we should can squeeze into individuals three hrs," he states. "The authors and Jane have develop some incredible bits. We now have a lot more than we want.InchHe adds having a smile, "Maybe we'll avoid wasting for (next year's) Emmys."Route To THE EMMYS: Lower Towards The WIRE:Emmy gold: Doorways of perception Burnett preps for Emmy kudocast Lynch readies for Emmy host responsibilities An abundance of top end Emmy parties Contact the range newsroom at news@variety.com

Smurfs 2 Scheduled for Summer 2013

Deep down in your soul, you knew it was coming as soon as The Smurfs stood toe-to-toe with Cowboys & Aliens at the box office: Sony has staked out Aug. 2, 2013 for the release of Smurfs 2, a sequel to this summer’s popular CG reboot. A plot and director has yet to be announced, but Neil Patrick Harris did promise Movieline he’d float the idea of bringing in a socialist Smurfy slant should sequels happen. Make it so, NPH. [Deadline]

Michael Jackson Live in Bucharest The Dangerous Tour

For over four decades, Michael Jackson has been entertaining the world. From his many #1 smash hits to his incredible short films that dominated MTV, Michael is one of the greatest performers of our lifetime. But to truly experience the creativity and genius of Michael Jackson, you must experience him live. Here is your chance!