Veteran actress Mary Carver has died following a brief illness. The Arachnophobia star died on 18 October (13). She was 89.
Carver is perhaps best known for her role as Cecilia Simon in long-running TV series Simon & Simon, which starred Gerald McRaney and Jameson Parker as detective brothers.
She also appeared as Goldie Hawn's mum in Protocol and featured in From Here to Eternity, I Never Promised You a Rose Garden and 1995's Safe.
Her TV career included stints on The Donna Reed Show, The Twilight Zone, Gunsmoke, The Man From U.N.C.L.E. and Star Trek: Enterprise.
December 14, 2011 12:53pm EST
Let’s put the cards on the table: I have not read Steig Larsson’s best-selling “Millennium Trilogy” and therefore cannot comment on whether or not Columbia Pictures’ big-budget (American) adaptation of its first novel is a spot-on transfer of the shocking story or if Rooney Mara has lived up to the punk-goth-genius of an anti-heroine he created. This review is about director David Fincher’s craft and the dream cast he has assembled to make The Girl with the Dragon Tattoo one of the most brutal and engrossing films of 2011.
Right from lustrous sexy title sequence evoking torturous S&M imagery to the ultra-cool Karen O/Trent Reznor rendition of Led Zepplin’s “Immigrant Song” the Oscar-nominated filmmaker plunges his audience into a very specific experience. This is not to say that the story itself is notably inventive; Dragon Tattoo is more or less a standard serial killer thriller wherein a pair of investigators attempts to solve a decades-old murder that has ties to other gruesome mysteries and a wealthy Swedish family. It’s the sinister atmosphere and tone he cultivates using color music and lighting that makes this tale so unique and highly watchable in spite of the terrible events that occur throughout.
Perhaps most compelling though is its mixed bag of characters from different walks of life including Mikael Blomkvist (Daniel Craig) a recently disgraced financial journalist in need of an assignment Martin Vanger (Stellan Skarsgard) a yuppie-ish corporate tycoon charged with running the family business started by his uncle Henrik (Christopher Plummer) and Lisbeth Salander (Mara) the alpha-outsider and titular character of this eerie epic. All are emotionally scarred and the actors charged with portraying them go the darkest corners of their own souls to make them their own. Mara in particular must be praised for her ghoulish and extreme embodiment of Salander who suffers physical and emotional torment unlike anything we’ve seen in cinema this year. This more than her scene-stealing presence in Fincher’s The Social Network is no doubt her star-making turn; expect to see her name on a marquee soon. Though she and Craig at times struggle with the Swedish diction (the latter’s native British accent slips through more times than I can count) they more than make up for it with their physical personifications facial expressions etc. Yet it’s Skarsgard who is most impressive as the younger Vanger (he’s of Swedish descent) and delivers a stunning and chilling performance that will rival Mara’s in defining this film in years to come.
Still this is a Fincher film through and through and I cannot think of source material better suited for the maker of Se7en and Zodiac than this disturbing chronicle. Visually he’s given the opportunity to create damp decaying interiors familiar to fans of his work but contrasts them with beautifully filmed exteriors including some terrifying whiteout conditions that are sure to lower your body temperature. In terms of form he and editors Kirk Baxter and Angus Wall effectively lay out dual character arcs (that of Salander and Blomkvist) that run parallel but connect in uncanny ways until their eventual convergence resulting in a highly literary feel. Both Baxter and Wall won Oscars for cutting The Social Network and I’m afraid that their penchant for quick transitions between shots has a decreasing effect on the terror; for a film that so closely treads the line between horror-thriller I felt that letting certain shots play out a bit longer could’ve had more dreadful results.
Still in no way I am saying that The Girl with the Dragon Tattoo doesn’t come with its share of nail-biting suspense. Fincher takes tense situations to the next level using unconventional camera angles and Reznor’s unnerving score making many sequences in the movie hard to watch. It’s a tiring but entertaining task; one that is a pleasure and pain to endure but the auteur’s masterful methods are quite magical even when being used to tell a story as menacing as this one.
There’s nothing else playing at the multiplex this season that’s quite like it and should you choose to view it you’ll carry its shocks with you for days after.
From the moment Hailee Steinfeld enters the frame in Joel and Ethan Coen’s magnificent western True Grit an adaptation of Charles Portis’ 1968 novel (or re-adaptation — John Wayne's 1969 version got to it first) the film belongs to her. This is no easy feat especially for a 13-year-old actress making her feature-film debut but Steinfeld not only holds her own alongside such heavyweights as Jeff Bridges Matt Damon and Josh Brolin she often upstages them.
The film which is set in the 1870s stars Steinfeld as Mattie Ross a pigtailed 14-year-old sent to the frontier town of Fort Smith Arkansas to settle the affairs of her deceased father an honorable man murdered for two gold pieces by a monstrous simpleton named Tom Chaney (Brolin). Mattie also comes seeking justice: Chaney is still at large having escaped to the dangerous foreboding expanse of the Indian Territory and she intends to see to it that he is captured and brought to trial.
Frustrated by the local authorities’ ambivalence toward tracking down her father's killer Mattie turns to Rooster Cogburn (Bridges) a slovenly alcoholic U.S. Marshal renowned for his cruelty and itchy trigger finger. Were there a Miranda warning in 1870s Cogburn would have little use for it; chances are few of his perps would understand it through his grouchy guttural slur anyway.
Pleading to join their makeshift posse is LaBoeuf (Damon) a pompous upright and overly chatty Texas Ranger — the Good Cop to Cogburn’s Bad Cop — who covets Chaney’s Texas bounty which holds more value than his Arkansas bounty. Cogburn agrees reluctantly to take him on recognizing that Chaney now likely holed up with his criminal gang a vicious bunch headed by a spittle-spewing snaggletooth named Lucky Ned (Barry Pepper) is too formidable to approach alone. Cogburn and LaBoeuf are natural rivals and long rides on the trail of Chaney afford them ample time for dick-measuring contests which invariably necessitate the intervention of their teenage mother hen Mattie.
Mattie may be the most mature member of the posse but she is nonetheless still a child — eventually the job of exacting final vengeance must fall upon the men with guns. Here Mattie’s stout heart has an ennobling effect on Cogburn who after briefly giving up during a booze-fueled bout with self-doubt stiffens his resolve to see things through.
Compared to its predecessor the Coen Brothers’ version of True Grit is both funnier and less sentimental. There is little room for tenderness or romance on the Coens’ frontier but opportunities abound for the kind of black humor for which the writer-directors have become so famous. As in Fargo they have a great deal of fun with language; characters speak in a laughably rigid formalized manner almost Shakespearian in its tongue-twisting complexity. The film's ironic conceit that such codes thrive in a land ruled by violence and chaos is best illustrated in Mattie’s constant almost charmingly naive threats of legal action against her adversaries. They react to her threats with a kind of befuddled amusement; the phrase "I'll see you in court" is still several decades away from joining the popular lexicon.
Critics often bemoan the abundance of remakes in modern risk-averse Hollywood. A more productive strategy at least for the cause of quality filmmaking might be to properly exalt the better ones. This True Grit may be the best of them combining the look and feel of a classic western with a distinctly Coens brothers tone. And Ms. Steinfeld is nothing short of a revelation.