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David Poland

By David Poland poland@moviecitynews.com

A Monster Musical

Some of the remake shows, including the jukebox musicals, reach well beyond their roots. The Lion King does. So does Jersey Boys. And of course, The Producers. For me, Spamalot is the example of where the line is clearest. The show is at its best when it uses the Python movie as a starting point for its wonderful musical hall style humor, way off the narrative. The show is at its worst when pandering to the audience that is expecting to see

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8 Responses to “A Monster Musical”

  1. Aladdin Sane says:

    What we really need is a Blazing Saddles musical.

  2. jeffmcm says:

    Ultimately leading to a Silent Movie musical?

  3. IOIOIOI says:

    Which is followed by SPACEBALLS: THE OPERA. May the Schwartz be with us ALL!

  4. The Carpetmuncher says:

    I think ethically, if they sell tickets to a show, it’s open season for reviews.
    This is a lot different than reviewing a test screening in movies.
    Though I do miss the idea of the Boston/New Haven road to Broadway, those days are long gone.
    This production is of only mild interest to me. Maybe if it comes to LA. But it does sound like something built on an assembly line. Even as great as the film was/is.
    As for the film – I nominate it for best photographed comedy EVER!
    Any takers? Who you got?

  5. The Carpetmuncher says:

    OK, I’ll bite.
    Best photographed comedies?
    Fargo
    Big Lebowski
    Hudsucker Proxy
    Dr. Strangelove
    Royal Tenenbaums
    Manhattan
    Fight Club
    American Beauty
    Amelie
    OK, I’m stretching the genre of comedy by putting in Fight Club, but….who ya’ll got?

  6. The Carpetmuncher says:

    How could you put up that list, Munchy, without mentioning Adaptation?
    And how can you mention well-photographed Coen Bros. films without mentioning Raising Arizona????
    Clearly someone hasn’t taken their self-medication today.
    Somebody slap somebody!

  7. CaptainZahn says:

    I like Sutton Foster, but she looks kind of contrived done up as Inga to me. I think Kerry Butler or Jane Krakowski would’ve been much better choices.

  8. Cadavra says:

    Best photographed comedy: THE HALLELUJAH TRAIL. (Go ahead, look it up.)

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon