Gary Oldman is under attack from officials at America's Anti-Defamation League after voicing his thoughts about Hollywood's high-powered Jews. In a fiery new Playboy chat, The Dark Knight star says he believes Hollywood is "run by Jews", and revisited Mel Gibson's drink-driving arrest when the actor was ostracised for anti-Semitic remarks he made to a Jewish police officer.
Oldman feels Gibson fell victim to "political correctness" and was treated like an "outcast" in the aftermath of his racial slur scandal.
The Brit adds, "He (Gibson) got drunk and said a few things, but we've all said those things... We're all f**king hypocrites. That's what I think about it. The policeman who arrested him has never used the word n**ga or that f**king Jew? I'm being brutally honest here. It's the hypocrisy of it that drives me crazy...
"He said the wrong thing because he’s actually bitten the hand that I guess has fed him... You have to be very careful about what you say."
Oldman's representative Douglas Urbanski has since clarified the actor's comments, insisting the actor was not condoning what Gibson said to arresting officer James Mee, who has also taken issue with the British star's remarks.
But that's not enough for Anti-Defamation League bosses, who insist Oldman should have known better to say what he did.
Organisation director Abraham H. Foxman released a statement on Tuesday (24Jun14), which read: "Mel Gibson's ostracization in Hollywood was not a matter of being 'politically incorrect', as Mr. Oldman suggests, but of paying the consequences for outing himself as a bigot and a hater. It is disturbing that Mr. Oldman appears to have bought into Mr. Gibson's warped and prejudiced world view."
Weinstein Company via Everett Collection
Gary Oldman is convinced Mel Gibson fell victim to "political correctness" and was treated like an "outcast" in the aftermath of his infamous racial slur scandal.
The Braveheart star hit the headlines in 2006 after launching into an anti-Semitic rant while he was being booked for drink-driving by a Jewish police officer in Malibu, California. Gibson publicly apologised, calling the incident a "moment of insanity", and the arrest was expunged from his record in 2009 after he had served three years probation.
However, Oldman is adamant Gibson was unfairly ostracised by the Hollywood community in the wake of the scandal. He tells Playboy magazine, "We all hide and try to be so politically correct. That's what gets me... I don't know about Mel. He got drunk and said a few things, but we've all said those things... We're all f**king hypocrites. That's what I think about it. The policeman who arrested him has never used the word n**ga or that f**king Jew? I'm being brutally honest here. It's the hypocrisy of it that drives me crazy... Mel Gibson is in a town that's run by Jews and he said the wrong thing because he's actually bitten the hand that I guess has fed him - and doesn't need to feed him anymore because he's got enough dough. He's like an outcast, a leper, you know? But some Jewish guy in his office somewhere hasn't turned and said, 'That f***ing kraut' or 'F**k those Germans,' whatever it is? We all hide and try to be so politically correct. That's what gets me. You have to be very careful about what you say."
Oldman's representative Douglas Urbanski has since clarified the actor's comments and insisted The Dark Knight star is not condoning Gibson's behaviour. He tells Britain's The Independent newspaper, "On the topic of Mel Gibson, Gary does not 'defend' him... Political correctness is a thing that drives Gary and many many others crazy... In this interview, Gary is doing what many intelligent people do: he is illustrating the absurd by being absurd."
Gary Oldman's business partner and publicist Douglas Urbanski has landed another role in one of the actor's films - he plays Mayor Durant in the new Robocop remake. Urbanski's connection to Oldman earned him a BAFTA in 1998 as a producer of the actor's directorial debut Nil By Mouth, and he has since appeared in The Contender alongside his pal. He also produced Oldman's Tinker Tailor Soldier Spy.
Columbia Pictures via Everett Collection
Treading water at the very surface of RoboCop, there is an idea. A dense concept, ready and willing to provide no dearth of dissection for any eager student of philosophy, psychology, political science, physics — hell, any of the Ps. To simplify the idea on hand: What separates man from machine? It's a question that is not just teased by the basic premise of José Padilha's remake of the 1987 sci-fi staple, but asked outright by many of its main characters. And then never really worried about again.
We have principal parties on both sides of the ethical quandary that would place the security of our crime-ridden cities in the hands of automatons. Samuel L. Jackson plays a spitfire Bill O'Reilly who wonders why America hasn't lined its streets with high-efficiency officer droids. Zach Grenier, as a moralistic senator, gobbles his way through an opposition to the Pro-boCop movement. We hear lecture after lecture from pundits, politicians, business moguls (a money-hungry Michael Keaton heads the nefarious OmniCorp...) and scientists (...while his top doc Gary Oldman questions the nature of his assignments while poking at patients' brains and spouting diatribes about "free will"), all working their hardest to lay thematic groundwork. Each character insists that we're watching a movie about the distinction between human and artificial intelligence. That even with an active brain, no robot can understand what it means to have a heart. But when Prof. Oldman tempers his hysterical squawking and Samuel L. Hannity rolls his closing credits, we don't see these ideas taking life.
In earnest, the struggle of rehabilitated police officer Alex Murphy (Joel Kinnaman) — nearly killed in the line of duty and turned thereafter into OmniCorp's prototype RoboCop — doesn't seem to enlist any of the questions that his aggravated peers have been asking. Murphy is transformed not just physically, but mentally — robbed of his decision-making ability and depleted of emotional brain chemicals — effectively losing himself in the process. But the journey we see take hold of Murphy is not one to reclaim his soul, although the movie touts it as such. It's really just one to become a better robot.
Columbia Pictures via Everett Collection
Meanwhile, RoboCop lays down its motives, and hard: Murphy's wife and son (Abbie Cornish and a puckish young John Paul Ruttan) lament the loss of Alex, condemning his dehumanization at the hands of Raymond Sellars' (Keaton) capitalistic experiments, and sobbing out some torrential pathos so you know just how deep this company is digging. Weaselly stooges (Jay Baruchel, Jennifer Ehle, and Jackie Earl Haley) line the OmniCorp roster with comical wickedness. Overseas, killer combat bots take down peaceful villages, unable to work empathetic judgment into their decision to destroy all deemed as "threats." And at the top, figures of power and money like Sellars and Pat Novak (Jackson) speak the loudest and harshest, literally justifying their agenda with a call for all naysayers to "stop whining." Clearly, RoboCop has something to say.
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And when it's devoted to its outrage, RoboCop is terrifically charming. The buzzing political world is just a tiny step closer to ridiculous than our own; the pitch meetings at OmniCorp are fun enough to provoke a ditching of all the material outside of the company walls. And one particular reference to The Wizard of Oz shows that the movie isn't above having fun with its admittedly silly premise. But it loses its magic when it steps away from goofy gimmicks and satirical monologues and heads back into the story. We don't see enough of Murphy grappling with the complicated balance between his conflicting organic and synthetic selves. In fact, we don't see enough "story" in Murphy at all. First, he's a dad and a cop. Then, he's a RoboCop. But can he also be a RoboDad? With all of its ranting and raving about the question, the film doesn't seem to concerned with actually figuring out the answer.
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Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
Actor Gary Oldman looks unlikely to reprise his role as Sirius Black in the next Harry Potter offering, after reports he has been mysteriously axed from the wizard franchise.
Oldman, who has appeared in the last two movies adapted from J.K. Rowling's popular children's books, has yet to be signed for a third term—even though filming for Harry Potter and the Order of the Phoenix has already begun.
The actor's manager, Douglas Urbanski, tells British newspaper The Sun, "You will be shocked to learn there are no plans for Gary to appear in the film.
"To say we are puzzled is an understatement at the very least! We are left with no choice but to pursue other employment for him."
Vanessa Davis, spokeswoman for production company Warner Brothers, confirms no deal has been reached, but insists there is still time to resolve the confusion.
She says, "With any film the priority is confirming the cast who will be on the set from the outset."
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