Bob Denver, who was best known for portraying the lovable but klutzy castaway Gilligan in the massively popular '60s TV show Gilligan's Island, has died. He was 70.
Denver died Friday at Wake Forest University Baptist Hospital in Winston-Salem, North Carolina of complications from treatment he was receiving for cancer, his agent Mike Eisenstadt told The Associated Press Tuesday.
His wife, Dreama, and children Patrick, Megan, Emily and Colin were with Denver, who also had undergone quadruple heart bypass surgery earlier this year.
"He was my everything and I will love him forever," Dreama Denver said in a statement.
Denver's signature role was certainly Gilligan, but even before he accepted that role, Denver was already well-known as Maynard G. Krebs from The Many Loves of Dobie Gillis, the hit CBS show that ended a year before Gilligan started up. The castaway show was eventually cancelled in 1967 but gained a resurgence in the '70s and '80s with its syndicated reruns.
And Denver never truly walked away from the role of Gilligan. In one of his top 10 list--"the top 10 things that will make you stand up and cheer"--Late Show host David Letterman once simply shouted out Denver's name to raucous applause.
"As silly as it seems to all of us, it has made a difference in a lot of children's lives," Dawn Wells, who played castaway Mary Ann Summers, once said. "Gilligan is a buffoon that makes mistakes and I cannot tell you how many kids come up and say, 'But you loved him anyway.'"
"It was the mid-'70s when I realized it wasn't going off the air," Denver told The Associated Press in 2001, noting then that he enjoyed checking eBay each day to keep up on the prices Gilligan's Island memorabilia were fetching.
"I certainly didn't set out to have a series rerun forever, but it's not a bad experience at all," he added.
Denver also starred in other TV series, among them The Good Guys and Dusty's Trail, and appeared here and there in films and TV shows.
As the opening song belts out fast cars champagne and caviar are what professional basketball player Jamal Jeffries (played by Miguel A. Nunez Jr.) is all about. In fact Jeffries is so taken by his own success that he doesn't sign autographs but uses a stamp. His Dennis Rodman-style antics however reach a breaking point when he strips during a game in front of millions of fans and flings his jock strap into the seats. The stunt gets him thrown out of the league and before he can say "slam-dunk " Jeffries loses his house his cars and his girlfriend. Desperate to work again at the one thing he does best Jeffries comes up with the mother of all schemes: He shaves his legs dabs on mascara and tries out for the women's league--and it works. But as he builds friendships and gains the trust of the women on his team he feels torn between his obligation to his team the Banshees and his need to return to a normal life. If you've seen the 1982 comedy Tootsie you know exactly how this film plays out. Surprisingly Juwanna Mann is not crammed with bad slapstick humor but is an entertaining twist on an old classic with a delightfully sweet storyline.
Nunez (Nutty Professor II: The Klumps) not only pulls off the Jamal/Juwanna character with ease but he pretty much steals the show here. His character comes off as endearing rather than obnoxious because he takes his role as a woman seriously and is never condescending about playing in the women's league. Nunez also delivers some great one-liners the best being when he is fighting off advances from the gold-toothed Puff Smokey Smoke. Vivica A. Fox (Two Can Play That Game) plays Michelle a fellow player whom Jeffries develops feelings for. Although it's hard to buy the sweet and almost delicate Fox in such an athletic role she pulls it off--but there is not all that much chemistry between her and Nunez. As Jeffries' crass sports agent Lorne Daniels Kevin Pollak (3000 Miles to Graceland) is seedy with just the right touch of humanity so his character is not completely despicable. The most cartoonish and unlikable character is Tommy Davidson's (Bamboozled) Puff Smokey Smoke. He has some funny lines but is too far-fetched to be believable.
Jesse Vaughan who directed a season of In Living Color makes his directorial debut with Juwanna Mann. Judging from the trailer I thought the film would be a low-brow comedy with a lot of overdone men-in-heels humor. I was instead pleasantly surprised by the film's storyline which--although it is a complete take on Tootsie--is short sweet and non-offensive. While some characters like Puff Smokey Smoke are a bit over the top Nunez's Jamal/Juwanna character is never clownish and well developed enough that you can't help but feel for his/her predicament. Some scenes appear to have a Klumps influence like the scene in which Jeffries is playing cards with his aunt and a gang of her senior friends but the overall effect is a moderately funny film peppered with some slightly funnier moments. Newcomer Bradley Allenstein had the sense to deliver a sweet comedy screenplay that was short enough and knew when to quit.
That's how Ali came out in his Christmas Day bout at the box office.
The Michael Mann-directed biography overcame mixed reviews to punch up $10.2 million on its first day in release. That was not enough to knock out reigning champ The Lord of the Rings: The Fellowship of the Ring, which earned $11.4 million at 1,000 more theaters, but Ali did break the record for a Dec. 25 opening.
The mawkish Patch Adams held the previous record, opening on Christmas Day in 1998 with $8 million, on its way to a healthy $135 million.
Ali, dropping to $5.8 million on Wednesday, now has $16 million.
The future of the $105 million-plus Ali rests predominately on the beefed-up shoulders of a former Fresh Prince of Bel Air and whether audiences accept him as Muhammad Ali. Critics failed to enthusiastically embrace Will Smith's portrayal of arguably one of the most famous of all sports icons, although he did receive a Golden Globe nomination for his noble but flawed attempt to float like a butterfly and sting like a bee.
Still, Ali should serve as a strong springboard for Smith to free himself of kicking alien butt and explore other dramatic possibilities.
With the legendary fights against Sonny Liston and George Foreman serving as bookends, Ali tries to be more than the typical recount of a real-life athlete's path to glory. Mann employs Ali's life as a means to explore racial and religious tension in the mid-1960s to the mid-1970s, with the boxer's conversion to Islam given as much thought and detail as his efforts to gain and defend his heavyweight title.
Other recent race-driven sports biographies have gone the distance at the box office, including a pair of Denzel Washington offerings, The Hurricane ($50.6 million) and Remember the Titans ($115.6 million).
Ali, and the upcoming Men In Black 2, will allow Smith to regain his position as one of Hollywood's sure things. Smith became Mr. July Fourth when Independence Day and Men In Black opened huge in the summers of 1996 and 1997, respectively. Wild Wild West, another July Fourth holiday opening, tarnished Smith's reputation when the witless western failed to make more than $113.8 million.
Last year's The Legend of Bagger Vance, marking Smith's first dramatic endeavor since 1993's Six Degrees of Separation, could not muster more than $30.6 million.
Ali delivered a bruising blow to Kate & Leopold, pairing workaholic Meg Ryan with 19th-century blueblood Hugh Jackman. Miramax yanked the slow and corny time-traveling romantic comedy from Dec. 21 to avoid getting lost amid a slew of new releases. The ploy didn't work as well as expected, given that Kate & Leopold opened Dec. 25 with a quiet $2.5 million and has $5.1 million through Wednesday.
Kate & Leopold finds itself in the unique position of being the only mainstream offering for couples in the mood for love. Yet Ryan and Jackman face stiff competition for the adult audience in the form of Ali, the sturdy Ocean's Eleven, the waning Vanilla Sky, and such limited release offerings as A Beautiful Mind, The Royal Tenenbaums and Amelie.
Plus, even though she is very much in her element, Ryan looks extremely tired and bored with the notion of being wooed by a man from another time. Maybe she knew that hopping from one century to another didn't work not once, but twice, this year with Just Visiting and Black Knight. That's tough, because Ryan's not enjoyed a hit since 1998's You've Got Mail. Is it time for Ryan to call in a favor from Tom Hanks?
The jury is still out on Jackman, who shot to fame in 2000 as Wolverine in X-Men. He failed to sizzle opposite Ashley Judd in Someone Like You, which made just $27.3 million, and he got cuaght with his pants down in the repugnant cyberthriller Swordfish, which went offline at $69.7 million. Still, Jackman is Kate & Leopold's sole saving grace. The very personalization of charm and gallantry, Jackman could set many hearts on fires as the nobleman inadvertently removed from the New York City of his day.
Little doubt lingers now about the risk New Line took in sending director Peter Jackson off to New Zealand in 1999 with $270 million to film all three of The Lord of the Rings books back to back. Jackson's masterful adaptation of the first book, The Lord of the Rings: The Fellowship of the Ring, won over J.R.R. Tolkien fans and those completely unfamiliar with the quest to save for Middle-earth.
After debuting Wednesday, Dec. 18, with $18.1 million, The Lord of the Rings: The Fellowship of the Ring seized the mantle as the biggest December weekend opening with its $47.2 million haul. The film broke the $100 million on Wednesday, and stands tall with $107.9 million in company coffers.
Jackson's epic looks set to dominate the box office for weeks to come, with $150 a certainty by the end of the year. Unlike Harry Potter and the Sorcerer's Stone, The Lord of the Rings: The Fellowship of the Ring can count on the awards season to keep audiences spellbound by the adventures of Frodo Baggins.
Not that a certain apprentice wizard should worry. Harry Potter lost much of its magic this Christmas weekend--conjuring up an OK $10.7 million from Friday through Tuesday--but it now ranks as the year's top earner. Harry Potter's $271.1 million puts it slightly ahead of Shrek's $267.6 million, with $300 million a strong possibility.
Monsters, Inc. continues to close in on Shrek. The Disney/Pixar animated yarn scared up $5.6 million from Friday through Tuesday, with its total now at $227.9 million through Wednesday. Toy Story 2, released in 1999, remains the best grosser of all Disney/Pixar collaborations at $245.8 million.
Harry Potter and Monsters, Inc. no doubt lost some plenty of toddlers--and their parents--to the animated Jimmy Neutron: Boy Genius. Based on its name recognition, the Nickelodeon TV spin-off rocketed to a $13.8 million opening and has $22.5 million through Wednesday. That's well below the $27.3 million and $22.7 million openings of, respectively, The Rugrats Movie and Rugrats in Paris. But the boy genius looks like he has the smarts to zoom off with some serious cash.
Director Steven Soderbergh enjoyed his third consecutive $100 million smash Tuesday when Ocean's Eleven shot past $102 million in swag. The cool remake of the Rat Pack comic crime caper cashed in $106.6 million through Wednesday. Ocean's Eleven looks to head into 2002 and surpass Soderbergh's Erin Brockovich ($125.5 million) and Traffic ($124.1 million) at the box office.
Tom Cruise can't look forward to a good start to the New Year. As expected, Cruise's Vanilla Sky lost more than half its audience in its second weekend, dropping from $25 million to $12 million. Director Cameron Crowe's remake of the Spanish psychological thriller Abre los ojos (Open Your Eyes) has $52.5 million through Wednesday, almost equal to what Cruise's Eyes Wide Shut made in 1999. Lousy reviews and word of mouth will likely to thwart any chance of Vanilla Sky becoming Cruise's ninth film to top $100 million.
How High, with rappers Redman and Method Man as the 21st-century answer to Cheech & Chong, swiped away much of the audience from the spoof Not Another Teen Movie. How High, playing at a modest 1,266 theaters, smoked up $7.1 million in its opening weekend and has $11.2 million through Wednesday.
Not Another Teen Movie collapsed in its second weekend, dropping from $12.6 million to $5.2 million. Its total through Tuesday is $23.3 million.
The Majestic marked Jim Carrey's second consecutive dramatic flop, following 1999's Man on the Moon. Perhaps, post-Sept. 11, audiences are more interested in America engaging the enemy--hence the jingoistic Behind Enemy Lines' $45.1 million through Tuesday--than watching a community come to terms with the sacrifices required to win a war.
The Majestic opened with $4.9 million, and has $7.3 million through Tuesday, a low for Carrey since making a splash with Ace Ventura: Pet Detective. Man on the Moon, with Carrey as the late comedian Andy Kaufman, opened with $7.5 million on its way to $34.5 million.
Nobody put Joe Somebody on their must-see list. The workplace comedy, with Tim Allen battling bullying colleague Patrick Warburton, managed a terrible $3.5 million opening and has $5.3 million through Tuesday. That ranks as Allen's worst opening, well behind the $6 million opening that For Richer or Poorer cobbled together in December 1997. Little wonder Allen is suiting up for The Santa Clause 2.
In limited release, director Ron Howard's A Beautiful Mind has $4.2 million through Wednesday. Excellent reviews, and a slew of Golden Globe nominations, will help this biography of mathematical genius John Forbes Nash Jr. to place high in the Top 10 when it expands Jan. 4. The same should apply to The Royal Tenenbaums when it goes wider this weekend. Director Wes Anderson's third quirky comedy, with Gene Hackman, amassed a regal $1.9 million from Friday through Tuesday at just 40 theaters, with its total at $2.4 million.
Director Lasse Hallstrom's bleak adaptation of the Pulitzer Prize-winning novel The Shipping News opened to a so-so $318,000 at 186 theaters. Perhaps this is a sign that few may want a dose of the News when it expands Jan. 4.
The final spate of Oscar contenders arrive in a limited number of theaters this week, including Ridley Scott's Black Hawk Down; Robert Altman's Gosford Park; I Am Sam, with Sean Penn; Monster's Ball, with Billy Bob Thornton; and Charlotte Gray, starring the hardest working new mother in Hollywood, Cate Blanchett.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.