Archive

Posts Tagged ‘James Franco’

Oscar: ‘Slurs are for jerks’

November 10th, 2011 No comments

Is Gervais Golden?

It’s the start of awards season, so Hollywood is gearing up to pat itself on the back. The Golden Globes are just a couple of months away, and the Hollywood Foreign Press Association is still debating whether or not to ask Ricky Gervais to host again. His edgy, ‘knock ’em down a peg’ style of humor last year was equally hailed as a breath of fresh air and reviled as thinly-veiled contempt. Frankly, I thought he was hilarious, but, then, he never made fun of me.

Academy to Ratner: slurs are for jerks

After Brett Ratner made a homophobic slur at a “Tower Heist” Q&A last weekend, calls for his resignation as an Academy Awards producer resulted in Ratner’s quitting the post on Tuesday. This was rapidly followed by the exit of Eddie Murphy, who had been named host shortly after Ratner was made a producer. Academy President Tom Sherak made a statement saying Ratner’s stepping down was “the right thing.” Privately, the Academy was livid at Ratner’s insensitive remarks. (When asked whether he rehearsed his actors before filming, Ratner flippantly responded “Rehearsing’s for fags.”) Since, Ratner has issued a letter of apology, but his recent interview with Howard Stern in which he graphically described his sex life proves that Ratner is still not ready for prime time. To add financial injury to homophobic insult, “Tower Heist” opened very soft this weekend, pulling in only $24 million; B.O. prognosticators had expected at least $25 million, so the film’s opening was weak, and isn’t helping the Ratner ‘brand.’

Bring in a fresh Producer…

Since there are only about 3 months until the Oscar telecast on Sunday, February 26, 2012, the Academy of Motion Picture Arts and Sciences has jumped to replace Ratner. They didn’t have to look far, naming Ratner’s “Tower Heist” producer Brian Grazer as Oscarcast co-producer, along with the previously-named Oscar producing vet Don Mischer.  It’s clear, from the naming of Ratner and his hosting choice Murphy, and now with Hollywood titan Grazer (his “A Beautiful Mind” won the 2001 Best Picture Oscar) that the Academy is looking to ‘jazz up’ its annual spectacle, since recent years have seen a real dip in the famous ceremony’s ratings. Last year’s pairing of James Franco and Anne Hathaway was widely criticized as a transparent move to inject ‘young blood’ into the show – and it proved a real disappointment. It remains to be seen who Grazer will tap to host the awards ceremony, but he has strong ties to a number of comic (and dramatic) stars. Some names already mentioned are Jim Carrey and Tom Hanks. Stay tuned!

Murphy to Oscar: “Oh-Tay!”

September 8th, 2011 No comments

  

I read the news today. Oh boy.

I smell a Ratner…

Still stinging from criticism of the less-than-stellar 2010 Oscars telecast last February which paired actors Anne Hathaway and James Franco as show hosts, the Academy of Motion Pictures Arts and Sciences has announced that Eddie Murphy will host the 2011 Oscarcast. That’s right: Eddie Murphy, the former “Saturday Night Live” cast member turned 80s and 90s box-office powerhouse. While still a recognizeable figure, Murphy’s star has faded substantially in the past decade, despite maintaining a lucrative job voicing the character of Donkey in the “Shrek” films, as well as receiving a Best Supporting Actor nomination for “Dreamgirls” in 2006. Even still, Murphy, whose last film was box office dud “Imagine That,” will be seen in the upcoming “Tower Heist,” opposite Ben Stiller and Casey Affleck, directed by Oscar co-producer Brett Ratner (who works alongside seasoned Oscar producer Don Mischer).

Can “Pluto Nash 3D” or “Re-Meet Dave” be far behind?

Ratner has expressed a desire to resurrect the “Beverly Hills Cop” franchise with Murphy; the 3-film series made nearly a billion dollars in box office receipts from 1984 to 1994. Still only 50, Murphy broke-out in stand-up comedy and was made a cast member of NBC’s “Saturday Night Live” at the age of 19. Two years later, he made his feature film debut in Walter Hill’s successful “48 Hrs.”, then cemented his box office stature with 1983’s “Trading Places,” a bona fide blockbuster hit. A number of hit films followed (“Coming to America,” “The Nutty Professor”), but by 2002 Murphy’s film roles grew increasingly formulaic, and he was saddled with a series of high-profile flops, including “The Adventures of Pluto Nash,”  “Norbit” and “Meet Dave.” Clearly both Murphy and Ratner believe that “Tower Heist,” in which Murphy plays a thief recruited to help steal $20 million believed hidden by a Bernie Madoff-like con man, will revitalize his career. Early buzz on ‘Heist,’ which features a supporting cast filled with the likes of Alan Alda, Gabourey Sidibe and Matthew Broderick, is strong.

Have I seen this one before?

The Academy has drawn on comedians to host the Oscarcast many times before: Bob Hope was considered the show’s ‘unofficial host’ for years. Johnny Carson hosted the show numerous times, and Billy Crystal, Steve Martin and even David Letterman have hosted (although Letterman was a one-shot wonder, as were subsequent ‘edgy’ comic hosts Jon Stewart and Chris Rock). It’s hoped that Murphy’s stand-up experience and career longevity will restore the Academy Awards telecast’s steadily declining ratings, but that a tough bet to make, given that Murphy’s dated appeal and R-rated humor may not  translate to a network awards show.

In other Brett Ratner-related news…

Whether by coincidence or design, another Ratner crony re-surfaced this week: Chris Tucker, of “Rush Hour” fame, announced he was set to join director David O. Russell’s comedy “The Silver Linings Playbook,” the director’s follow-up to last year’s box office hit “The Fighter.” Tucker hasn’t been in a film since “Rush Hour 3” in 2007, after hemming and hawing 6 years to make that film. Although he was (and remains) attached to a crime script at Warner Brothers called “The Rabbit,” it seems likely that Tucker’s next two projects will be Russell’s  ‘Silver Linings,’ as well as “Neighborhood Watch,” opposite Ben Stiller, Vince Vaughn and Jonah Hill. Tucker is a mercurial figure who has worked with visionary directors like Quentin Tarantino (“Jackie Brown,”) and Luc Besson (“The Fifth Element”) before finding financial and career stability with Ratner, with whom Tucker has made 4 films: the 3 “Rush Hour” films, as well as “Money Talks,” Ratner’s debut feature. Presently, Tucker is performing a standup comedy tour, set to end in November.

Beverly Hills Cop-out?

Eddie Murphy’s hosting gig at the 2011 Oscars next February probably won’t change much in terms of the show’s ratings decline. Despite Murphy’s $7 billion (with a b) in career box office earnings, what needs to be changed at the Oscars is the show, not its host. The Academy has already decreed that the number of Best Picture nominees will not be the 10-title phone-book list of recent years, itself a promising start. It’s clear the different producers of the last few years have taken stabs at originality, but the Academy Awards telecast remains a real relic of old Hollywood. Like the movie business itself, which is declining in the numbers of ticket buyers, the Academy Awards TV broadcast is going to have to find a new, sustainable model if it wishes to enjoy continued ratings – or relevancy.

Cowboys tie Smurfs

August 1st, 2011 No comments

 

It’s a Tie: The Smurfs win!

As the summer movie season heads into its final month, the preliminary box office report is in for the past weekend, and the winner is… “The Smurfs.” But wait… Didn’t “The Smurfs” tie with “Cowboys & Aliens” at a reported $36.2 million each for their opening weekends? Well, technically, they did. But Sony and Columbia’s animated, 3-D, kid-oriented feature outperformed for its opening, while Jon Favreau’s “Iron Man” series follow-up underperformed. And there’s always the ‘liar’s poker’ aspect of preliminary box office – frequently it turns out that the margin between a ‘tie’ or even a $100,000 ‘squeaker’ finish is far wider than studio ‘estimates’ suggest. In other words, sometimes people inflate figures to enhance their company bottom line. Gee, when did artifice, insincerity and self-interest creep into Hollywood business? Oh, right – never mind. [As this post was being completed, the final numbers came out for the weekend: “Cowboys & Aliens” $36.4 million, “The Smurfs” $35.6 million.]

Favreau got smurfed like nobody’s business

“Cowboys & Aliens,” which cost $163 million to make, is writer/director Jon Favreau’s “Iron Man 2” follow-up, and producing partners Universal, DreamWorks, Reliance and Relativity were depending on Favreau’s mojo with fanboys to drive the film’s opening. The movie participated at Comic-Con last weekend, and its stars Daniel Craig and Harrison Ford have been grouchily honoring their publicity obligations, but this project seems to have fallen on Favreau’s shoulders, and getting gang-smurfed at the weekend box office probably came as a rude surprise to him. It doesn’t help matters that “Cowboys & Aliens” was shot in (apparently now passe) 2-D, so it did not get the 3-D premium coin its diminutive blue Belgian competitors enjoyed. Western films, in general, have been poison at the box office in the last few decades, with a few notable examples like last year’s remake of “True Grit” or 1990’s “Dances With Wolves.” Just a handful have made it past the $100 million dollar B.O. mark, and “Cowboys & Aliens” will have a tougher time making it there now that it has opened lower than hoped. Let’s face it, though: “Cowboys & Aliens,” a genre mash-up, is about as much a ‘Western’ as next year’s “Abraham Lincoln: Vampire Hunter” can be called a ‘Lincoln biography.’

The (small) Blue Man Group

It’s pretty clear Sony’s marketing machine revved-up and ‘got its smurf on’ in a big way. In addition to a huge advertising campaign, the company pacted with Build-a-Bear, FAO Schwartz and McDonalds to grow awareness of the film among the Smurf set. Neil Patrick Harris dilligently performed his PR duties with a smile, appearing across the TV channel spectrum. As a result, the $110 million production resonated with youthful audiences, who, accordingly, dragged along at least one parent to pay enhanced 3-D prices for their tickets. Tellingly, “The Smurfs” was on 355 fewer screens than ‘Cowboys,’ so the final B.O. totals should be interesting, to say the least. The end result was a happy weekend for director Raja Gosnell and the folks at Sony and Columbia – at least until the final B.O. figures come out. [See the end of the first paragraph for ‘Cowboys” narrow margin of ‘victory.’]

‘America’ comes in third; ‘Love’ loses big…

Last week’s number one film (it opened at $65 million), “Captain America: The First Avenger,” slipped dramatically (62%) into 3rd place, with $24.9 million, but its box office take (and B.O. stalwart Harry Potter – see below) bested the only other film opening last weekend, the adult-skewing “Crazy, Stupid, Love.” Disapointingly for Warner Brothers, ‘Love’ brought in only $19.3 million from more than 3,000 screens, earning it 5th place  for the weekend, behind the ‘boy-wizard-who-could,’ Harry Potter. Although it claimed most of the adult audience (and a more-than-half female audience), “Crazy, Stupid, Love” simply couldn’t beat the world’s love affair with Potter, “Harry Potter and the Deathly Hallows, Part 2” earned $21.9 million over the weekend, giving the final picture in the Potter series the notable achievement of being its first of the Potter franchise to make over $1 billion at the box office. ‘Hallows Pt. 2”s domestic total is $318 million, but the film has earned over twice that overseas, with $690 million (and counting!).

Coming Soon: Even More Remakes!!

If you haven’t gotten enough of Hollywood’s ‘creativity’ in terms of re-inventing (exploiting?) franchises they already own, get ready for next weekend’s “Rise of Planet of the Apes,” from Twentieth Century Fox, starring graduate degree record holder James Franco. In the alternative, if quality adult drama appeals to you, there’s “The Whistleblower,” starring Rachel Weisz.

See you at the movies!

ARE MOVIES GETTING smaller?

February 17th, 2011 No comments

In our last For Bards blog post, we posed the question “Are movies getting bigger?,” citing the number of sequels, prequels and reboots coming down the pike for the next couple of movie seasons. Everything looked to be bigger! better! (And more of the same!!)

But there’s change afoot in the cinema. By the looks of this year’s Academy Award nominees, movies may be getting smaller. A quick look at the ten nominees for the Academy Award for Best Picture reveals that at least 6 of them are smaller-budgeted, character-driven ‘arthouse’ films: “Black Swan,” “The Fighter,” “The King’s Speech,” “The Kids Are All Right,” “127 Hours” and “Winter’s Bone.” And another Best Picture nominee, “Inception,” is a contradiction in terms: a  huge-budgeted, arthouse film made by a studio (which returned the favor by delivering blockbuster global box office).

But a strange thing happened on the way to making these ‘small’ pictures… For starters, they actually got made – truly a testimony to the creative talents behind the projects. Their budgets were squeezed for every dollar – and the filmmakers often suffered for their art; the entire “Winter’s Bone” budget was $2 million, yet that picture has earned Academy Award nominations for Best Picture and Leading Actress (Jennifer Lawrence). The highest-budgeted (with the exception of Christopher Nolan’s anomalous “Inception”) of these so-called arthouse films is $25 million for “The Fighter,” but Lisa Chodolenko managed to make her “The Kids Are All Right” for a little over $4 million, and that garnered Academy nods for Best Picture, Leading Actress (Annette Bening) Supporting Actor (Mark Ruffalo), and Best Original Screenplay. “The King’s Speech” cost $15 million to make, but this past weekend it walked away with 7 British Academy of Film and Television Arts (BAFTA) awards (in addition to receiving 12 Oscar nominations).

But something even stranger happened – something few folks predicted: these films made money. “The King’s Speech” is rapidly closing in on $100 million in the US, and has made $86 million overseas. “Black Swan” has earned nearly $100 million in the U.S.,  “The Fighter” has earned $82 million in the US, and another $11 million abroad, even Chodolenko’s “The Kids Are All Right” made about $20 million domestically. The micro-budgeted (by Hollywood standards) “Winter’s Bone” made a significant profit, returning $10 million in B.O. receipts. Ironically, the one ‘small’ Best Picture nominee that has underperformed is Danny Boyle’s ultra-intense “127 Hours,” which was budgeted at $18 million and has brought in only $15 million domestically, and another $13 million at the box office overseas. Poor word-of-mouth is probably to blame: while audiences thrilled at Boyle’s bravura filmmaking and James Franco’s charismatic (and Leading Actor Oscar-nominated) performance, word of the picture’s emotional climax, in which Franco’s character cuts off his own arm, hurt potential sales. It didn’t help that the media picked up stories of people fainting at screenings, although Boyle’s films have always tested audience’s fortitude – think ‘plumbing-diving’ sequences in “Trainspotting” and “Slumdog Millionaire” (and don’t forget: for the latter, Boyle – and his film – won Academy Awards).

It’s not uneard-of for a ‘small’ film to make money – studios are always looking for the next money-making phenom like “Paranormal Activity,” “Napoleon Dynamite,”or “Fahrenheit 9/11,” but it takes a certain sensibility to find and nurture these off-the-radar projects. It’s rare that a studio gets behind such a project – it used to be the province of the studios’ ‘specialty film’ units, but most of those have closed since every studio began throwing money at ‘small’ films, effectively turning them into conventional studio product. In the case of this year’s ‘small’ nominees, every film represents the vision of a strong-minded director and a solidly-written script, and, despite this, many of these projects struggled for years to find funding and support to get made.

The lone exception is Christopher Nolan’s “Inception,” which resembles an ‘arthouse’ film in its mind-bending originality, but is betrayed by its $160 million budget. It speaks volumes that Warner Brothers executives greenlit Nolan’s film, a convoluted puzzle-within-a-puzzle, but it is very representative of the filmmaker’s work: turning genre works on their head is Nolan’s specialty – just watch “Memento,” “The Prestige” or even “The Dark Knight” to see how this cinephile subverts conventional storytelling to elevate the antagonist and invert audience expectations. He may be too ‘smart’ or original for conventional Hollywood fare, but Nolan’s auteur sense suggests a keen understanding of art and commerce; after all, despite critical brickbats, “Inception” has gone on to make $824 million at the world box office. Not bad for a giant ‘arthouse’ picture!

So – are movies getting smaller? The simple answer is no. But as long as ‘small’ films make money, look for studios to hedge their big tentpole bets with lesser-budgeted projects in hopes of landing ‘the next big thing.’

2010 – The Year in (moving) Pictures…

January 5th, 2011 No comments

Charles Dickens wrote in “A Tale of Two Cities” “It was the best of times, it was the worst of times…” but he might as well have been talking about the film year just passed. 2010 brought us pronounced Hollywood highs and lows, from the (continued) historic box-office success of 3-D juggernaut “Avatar” to the cringe-worthy release of “Sex and the City 2,” but perhaps the biggest story all year has been the public’s perceived paucity of quality entertainment coming from Hollywood. For every success like “Toy Story 3,” there were scads of expensive failures, from “The Chronicles of Narnia: Voyage of the Dawn Treader” or “The Sorceror’s Apprentice” to “Prince of Persia: The Sands of Time” (the latter two films being rare flops from mega-budget producer Jerry Bruckheimer). And then there was “The Last Airbender,” which offended fans of the series and struck out both artistically and at the box office, despite being 3-D retrofitted by Paramount.

But the news wasn’t all bad: there were big-budget successes (other than Fox’s “Avatar,” which made $477 domestically in 2010), like Tim Burton’s 3-D opus “Alice in Wonderland,” which earned Disney $334 million, as well as the think-piece of the year, Christopher Nolan’s “Inception,” which simultaneously thrilled and confounded audiences with its reality-bending storyline, pulling in $293 million domestically for Warner’s. Harry Potter made a return to America’s movie screens in “Harry Potter and the Deadly Hallows: Part 1” and pulled-in $273 million, but the film couldn’t be made into 3-D by its already-set release date, so Warner Brothers sacrificed B.O. bucks while gleaning praise by purists for not cutting corners. Unfortunately, the same couldn’t be said for Warner’s “Clash of the Titans,” which, like ‘Airbender,’ retrofitted itself to 3-D, with predictably bad artistic results (although being the first at the trough helps, since ‘Titans’ made over $163 million domestically).

But when the Motion Picture Academy announces its Oscar nominees on January 25, 2011, don’t expect to hear too many of these films being mentioned. For starters, “Avatar” was a 2009 release, and it did OK at the 2010 Oscars, but James Cameron’s ex-wife Kathryn Bigelow walked away with the statuettes for Best Picture and Best Director for “The Hurt Locker,” and that film also won for Mark Boal’s original screenplay. This year it’s about critically acclaimed movies (think  either low-budget or so-so box office), like The Weinstein Company’s “The King’s Speech,” whose ad campaigns seem eerily reminiscent of “Shine,” probably because of star Geoffrey Rush, or Sony’s David Fincher-directed, Aaron Sorkin-scripted “The Social Network,” which packs so much dialogue into its two hour running-time that the shooting script was 180 pages long. Another  potential nominee is Danny Boyle’s ultra-intense “127 Hours,” but after his manic “Slumdog Millionaire,” it’s doubtful he’d win again so soon, but James Franco seems a lock for a Best Actor nomination. While you’re at it, add “Black Swan” and Natalie Portman to the list, as well as Lisa Chodolenko’s “The Kids are All Right,” which seems destined to earn a few acting nominations for its stars. David O. Russell’s “The Fighter” falls into this group of critically-lauded but low-performing films.

One of the year’s best reviewed films is also its longest and hardest to find. “Carlos,” a 5 1/2 hour epic by Olivier Assayas about the international terrorist known as ‘Carlos the Jackal.’ The film was made for Canal Plus; it’s a demanding biography that travels through the history of international terrorism of the 1970s and 1980s. Because Assayas’ film was initially made for television (and already aired, last October, on the Sundance Channel) it won’t be earning any Oscar nominations. Even still, “Carlos” consistently placed highly on critics’ year-end ‘best’ lists, and was an audience favorite at last year’s Cannes Film Festival.

2010 wasn’t really a year for the record books – domestic box office receipts dropped along with ticket sales, approximately 5%. But the 3-D ‘premium’ ticket price kept things nearly even. Even still, of the top ten films at the U.S. box office in 2010, 6 of them were 3-D – but only 2 of those were live-action films: “Avatar” and “Alice in Wonderland.” The remaining films were all animated: “Toy Story 3,” Universal’s “Despicable Me,” and Paramount’s “Shrek Forever After” and “How to Train Your Dragon.” So although 3-D is credited with bringing additional change into studio coffers, that trend seems to be slipping, with audiences growing more picky about whether they spring for the extra bucks to see “Yogi Bear” in 3-D. Although more 3-D films are in the works, it’s still not clear whether 3-D is a technological advance in filmmaking – or a way for the studios to grab a few extra bucks.

With more big-budget films coming your way for 2011, there should be plenty for everyone. Did I mention Sony’s “The Green Hornet” opens in 3-D next week? See you at the movies!

Oscar’s Hosts, Hollywood Hit? and Passings…

November 30th, 2010 No comments

And the Oscar Comes From…

The Academy of Motion Pictures Arts and Sciences has announced its hosts for the 83rd Annual Academy Awards, which are scheduled for Sunday, March 7, 2011. As with last year’s choice of “It’s Complicated” co-stars Steve Martin and Alec Baldwin, producers Dan Jinks and Don Mischer opted for Hollywood star wattage over comedy hosting credits this year and cast Hollywood stars (and potential nominees) James Franco and Anne Hathaway as show co-hosts, the Academy announced yesterday. Neither actor is a newcomer to the Oscars: Franco was a presenter in 2009, and performed in a filmed spoof of his stoner character with “Pineapple Express”  co-star Seth Rogen. And Anne Hathaway proved a pleasant surprise when she ‘spontaneously’ sang and danced with  Hugh Jackman during his opening number the same year.

It’s  no coincidence that the Academy aimed younger and more mainstream for its hosts this year; the ratings for the Oscar telecast, a mainstay of Academy funding, have eroded in recent years, and clearly the Academy hopes to stanch this loss. Franco is a likely Oscar nominee for his lead role in the intense “127 Hours,” and Hathaway will soon appear – with an emphasis on appear – opposite Jake Gyllenhaal in Ed Zwick’s “Love and Other Drugs,” in which the pair perform explicit nude scenes together. Owing to Hathaway’s character’s developing malady, she, too, stands a chance of an Oscar nomination. It’s a fervent hope of the Academy powers-that-be that this year’s telecast will reverse the trend of slipping ratings – and making the hosts younger and sexier is obviously a strategic move toward that goal. Will it work? Check in on Monday, March 8, 2011…

Beverly Hills Murder Mystery

Hollywood is still talking about the murder of successful publicist Ronni Chasen, who was shot multiple times early Tuesday, November 16th,  as she waited for a traffic light in her Mercedes on Sunset Boulevard in a quiet stretch of Beverly Hills. The murder of the diminutive publicist, who was hailed by clients and studio heads alike as tops in her field, has shocked the moviemaking community. Chasen was returning home from attending a premiere and after-party for Screen Gems’ “Burlesque,” when she was apparently targeted at the traffic light at Whittier Drive. Beverly Hills Police, who rarely see homicides, are keeping mum, although they have reportedly turned down offers of assistance from the Los Angeles Sheriff and the L.A.P.D.. Within hours of the killing, B.H. Police confiscated computers and other items from Chasen’s home and publicity firm office, but in the weeks that have passed no further information has been forthcoming. Even still, rumors circulate, including a disputed suggestion today that red-light cameras at the intersection had been tampered with to make them inoperable.  

Chasen, 64, was credited with creating the modern ‘Oscar’ campaign that is so ubiquitous at year’s end in Hollywood. The “For Your Consideration” ads that pepper Hollywood trade publications are a testimony to Chasen, whose publicity efforts brought Oscar gold (and instant credibility and higher salaries) to actors, producers and composers involved with films like “Driving Miss Daisy,” “Shakespeare in Love,” “Slumdog Millionaire” and “The Hurt Locker,” to name a few. In a rare show of Hollywood unity, six major film companies joined to honor Chasen with a memorial service a week after her death. She is survived by her brother, filmmaker Larry Cohen (“Q,””Phone Booth”).

Darth is Dad? Surely You’re Not Serious…

As the year winds down, there are more losses from old Hollywood… Irvin Kirshner, perhaps best known as the director of “The Empire Strikes Back,” died Saturday at age 87. Kershner, who studied film at USC, began his career producing documentaries for the U.S. Information Service in the Middle East, then turned his attentions toward television, where he directed documentaries and episodes of popular shows like “Ben Casey” and “Naked City.” Kirshner transitioned into feature films, earning a distinction as one of producer Roger Corman’s first proteges when he was handed the directing reins for 1958’s “Stakeout on Dope Street.” A-list films (and stars) followed, including “A Fine Madness” and “Never Say Never Again” with Sean Connery, “Up the Sandbox” with Barbra Streisand, and “Eyes of Laura Mars,” with Faye Dunaway (featuring a young Tommy Lee Jones as a killer). But Kirshner had his greatest commercial success with “The Empire Strikes Back,” a substantially darker film than its “Star Wars” predecessor; while critical reaction was muted at the time of its release, now the film is often referred to as the best of the original three “Star Wars” movies.

Leslie Nielsen, whose career as a dramatic leading man took a left turn to embrace comedy stardom in his mid 50s, died from complications of pneumonia in Fort Lauderdale, Florida. He was 84. Born in Canada, the handsome young Nielsen studied acting at the Academy of Radio Arts in Toronto, and later at the Neighborhood Playhouse in New York City. Live television roles followed on shows like “Goodyear Playhouse,” “Tales of Tomorrow” and “Kraft Theatre.” Before long, the much-in-demand Nielsen was making feature films, including “Forbidden Planet,” while he continued working steadily as a TV guest star for the next 20 years. Although he remained busy, his roles grew increasingly colorless until he was cast in 1980’s “Airplane!” as Dr. Rumack. His deadpan delivery of lines like “Don’t call me Shirley” and “I’m a doctor, you can tell me anything” revitalized his career, and Leslie Nielsen was ‘rediscovered,’ at age 54, as a comedic star. He went on to star in a TV series, “Police Squad!,” as well as 3 “The Naked Gun” feature film spinoffs starring that series’ main character, Police Lieutenant Frank Drebin. All told, Nielsen’s career covered over 60 years and resulted in 239 TV and movie roles; his credits ranged from the ridiculous to the sublime, but he will surely be remembered for making us laugh.