When the recent announcement came that Dennis Quaid and Julianne Moore had been cast as Bill and Hillary Clinton, respectively, in The Special Relationship, Peter Morgan’s third film involving the Premiership of Tony Blair (played once again by Michael Sheen, who previously portrayed the former British Prime Minister in the Morgan-scripted films The Deal and The Queen), many of us began wondering if Monica Lewinsky would appear as a character, and if so, who would play her. Anne Thompson even provided an hilariously implicit visual aid for why Anne Hathaway would be great for the part.

Unfortunately, it’s been revealed that Lewinsky will only be included in the made-for-HBO film via archival footage. But that isn’t going to stop us from imagining who should have been cast in Morgan’s film had he decided to focus more directly on the Lewinsky scandal. Because we’d all much rather see that film, right? And although a low-budget depiction of the affair, titled The Blue Dress, is already in the works, it certainly won’t be as much fun as a high-profile picture featuring big stars as the infamous figures involved with the scandal.

So, we’ve cast the second-term Clinton movie we’d prefer be made. And as always we welcome you to suggest your own casting ideas — whether to substitute for those we’ve selected or to play characters we’ve forgotten — in the comments.
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For all the media speculation on how the Obama presidency will affect pop culture, it’s surprising that Barack and Michelle’s marriage is not discussed much. This is a couple who embrace often, and not just for camera opportunities. She has even been seen wearing his coat as if it were a high school varsity jacket. Have we ever seen a happier presidential marriage? Seriously, if the Clinton era birthed a film like American Beauty, it’s no wonder that Revolutionary Road can only earn about an eighth of that film’s domestic gross now that the Obamas are in the White House.

But can Barack and Michelle inspire happier onscreen marriages? And can that in turn influence marriage in America? Although the divorce rate was higher thirty years ago than it is now, the marriage rate in this country is at an all-time low. And that’s probably because young people haven’t had an ideal married couple they could look up to. So, in order to help Hollywood produce more loving movie marriages, we’ve selected five onscreen pairings that may serve as models.
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The Obama Movie: so inevitable, it’s as if it is already among us. You know that Will Smith will play Obama and that Oliver Stone will write and direct. John Williams and Quincy Jones will tag-team the musical score, a soulful, all-American gumbo that samples gospel, Aaron Copland and snap music. Kerry Washington will essay Michelle Obama.

No, Steven Spielberg will direct, with Chiwetel Ejiofor as Obama, same composers. Twelve Nobel, Pulitzer and Oscar winners write the screenplay. Special afro effects by Industrial Light and Magic. Spielberg intercuts between Barack cumming and Blackwater snipers pinned down in Mosul.

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It’s been almost two weeks and Hancock has grossed almost $350 million, so it’s time to start the academic discussions — with spoilers, of course (anyone who wants to avoid knowing the “twists” should discontinue reading now). Maybe it’s just the film scholar in me, but I have been desiring a good analysis of the film’s allegorical meaning since viewing the less-than-perfect superhero movie last week. While others may feel that the movie is hardly worth reading into (especially over-reading, as I’ve always felt my M.O. to be) or that it’s too obvious that the first half is really about the role of the U.S. as a superpower, I’m nevertheless eager to figure it out.

Basically, I’ve been wracking my brain trying to understand where the allegory goes, or was meant to go, once Charlize Theron’s character is introduced as Hancock’s super-powered wife. Does she somehow fit in with or in response to Hancock’s representation of America (the patriotic name, the eagle emblem on his uniform, etc.)? I’m still at a loss, but I’ve come up with 5 possibilities (some a lot less likely than others) for what screenwriters Vincent Ngo and Vince Gilligan intended for her character to be.

1. The United Kingdom - So sue me if part of my reasoning is inspired by Theron’s role on Arrested Development, in which she also seemed to be harboring a secret from beau Jason Bateman (if only Hancock had stolen Jeffrey Tambor from Hellboy II, it could have been considered a reunion), but if Hancock represents America, then Mary (Theron) is some other superpower, right? I don’t recall any hints that she signifies the Soviet Union, so she must be a stand-in for the British. Is her desire to be a housewife representative of a desire by the British to no longer be a world-stomping empire? Is Mary’s defending of the French boy a nod to Britain-France relations in contrast to U.S.-France? But then is the movie also saying that the UK and the U.S. are less powerful when united together? History would say otherwise.
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I was really into that video that was going around last week, of the scene from Downfall transformed via subtitles into the story of Hillary Clinton’s last stand––not just because I dislike Hillary Clinton, but because there’s a goofiness to it that makes it seem more clever than your typical “this politician is just like Hitler!” joke. A lot of my favorite parts are too obscene to excerpt, although I do like it when s/he slams “those fainting sissies over at MoveOn.org” for “choking on their tofu because I voted for the Iraq war!” But I think I was most impressed by what I thought was the novel choice of material––a 3-year old German film detourned into YouTube propaganda? How imaginative!

Um, turns out, it’s not as novel as I thought. A twitter from Chuck Tryon alerted me to the news that Downfall has been the basis of YouTube parodies long before the Hillary clip came to light. Many of these parodies reconfigure Hitler as a frustrated Xbox user; Hitler also has problems using Vista, is unhappy to hear that his favorite soccer team has lost the Champions League Final, and is absolutely irate at an underling’s suggestion that he buy a new Mustang. There are so many Downfall spoofs on YouTube that I’m almost positive I was the last one to know that spoofing Downfall was, like, a thing that people did.

Almost all of these clips have view counts on YouTube in the six or seven figures. Downfall was the second-highest grossing foreign language film of 2005, but it still only made about $5.5 million. Almost certainly, more people in this country have now seen a clip from the film wrangled into a new context than would have ever seen the film in its original state. Downfall thus becomes part of the cultural conversation, but at the same time, it seems unlikely that any of these clips could effectively function as commercials for the film. Maybe it’s sad or maybe it’s totally appropriate, but it seems clear that the general YouTube user would be able to summon way more excitement for the concept of Hitler on the phone with Microsoft tech support, than they would for the concept of Hitler…doing Hitler stuff.

Your Blogger is having some computer issues this morning. While I get sorted, check out this blog post from Roger Ebert , in which he ponders the never ending Democratic primary in cinematic terms. “It must have been a species of torture for the anchors at CNN, who seemed caught in a Groundhog Day loop… The problem with a screenplay based on these events is that there would be a merciless sameness.” That quote brought to mind two things. First, this has probably been done already, but someone should do some kind of linguistic/historical study, charting the evolution of references to that movie as a universally identified synonym for eternal recurrence. Also: YouTube! The above clip, Groundhog Day in 5 Seconds, which reduces the Bill Murray classic to nothing but merciless sameness.

Michael Moore could be the kiss of death for Barack Obama, after pledging his support for the Democratic nominee on his website today. Going back over the last few elections, you may recall that Moore endorsed Nader in 2000 and John Kerry in 2004. Neither of those guys became President.

In fact, Moore only seemed to be lowering his liberal standards four years ago in shockingly urging Nader to call it quits. So, aligning himself with a candidate, one whom he may very well want to lampoon in a future documentary, could be a kiss of death for himself, too.

But he just couldn’t stay quiet any longer:

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In continuing to use his movie blog as a platform for Hillary Clinton hate wrapped in the thinest of pop cultural guises, is Jeffrey Wells doing some kind of brilliant, absurdist theater, or has the presidential election simply driven him insane? First, when Baby Mama was announced as the opening night film for the Tribeca Film Festival, Wells admitted “a certain part of me would like to see Baby Mama go down as a kind of karma payback for [Tina] Fey’s Hillary shilling.” I went to SXSW and ignored Wells’ blog for a week; when I came back, I discovered a post titled “Funny Games = Hillary Campaign.” Note the lack of prevaricating question mark in the headline: this is an unequivocal statement.

So what’s Wells’ evidence that Michael Haneke’s English-language remake of his own 1997 thriller has anything materially or spiritually in common with the troubled campaign of the first serious female presidential candidate? It’s specious, of course––amongst other things, he notes that the antagonists played by Michael Pitt and Brady Corbett “are clearly monsters, a term that has recently been used to describe Senator Clinton by former Obama foreign policy adviser Samantha Power”; they and Hillary also have “similar” haircuts!––but Wells’ balls-out committment to his own craziness is, as always, engaging.

Over the weekend, a video called Jack and Hill appeared on YouTube. The clip strung together clips from Jack Nicholson films (including A Few Good Men, Five Easy Pieces and Tim Burton’s Batman) with white-on-black title cards summarizing Hillary Clinton’s qualifications to be president. Though first thought to be the work of the Clinton campaign, the Politico reported on Sunday that it was the brainchild of a number of Hollywood figures, including Rob Reiner and Nicholson himself, who produced it independently of the Clinton camp.

In the film blog world, the general consensus was that however Jack and Hill was produced, as a campaign video, it was pretty bad. “Just utterly pathetic,” was how Michael Newman put it in a comment on Chuck Tryon’s blog, and FILMMAKER editor Scott Macaulay sighed, “This election is getting too bizarre.” Beyond the obvious ideological problem that the clip has Hillary being endorse by various Nicholson villains, there’s something exceedingly lazy about the way it’s been put together. None of the characters repeat, and there’s barely a connection between their pullquotes and the titles on screen. It seems as though the idea was to stack one clip on top of the next in the hopes that, out of context, they’d play as a series of punchlines. Instead, as Tryon notes, anyone who can bring the context of the excerpted films with them to the viewing experience will be unable to refrain from doing so, and at that point, the whole thing backfires: ultimately, this is a clip in which the implication is that Hillary Clinton is going to make life better for the axe wielding psycho of The Shining, whilst restoring the Joker’s trust in the political system.

But of course, there’s already a reaction clip, one which, in particular, puts scenes from that Kubrick film to good use.

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Either the URL is broken or the post has been removed, but according to my Google Reader, the horror site Bloody-Disgusting did a post this morning titled “Barack Obama Loses Our Vote, Insults Horror Genre,” in response to some comments the presidential candidate made at Thursday night’s Democratic Debate. Here’s the text of the post, from the RSS feed:

Democratic presidential hopeful Sen. Barack Obama (Ill.) said Thursday that he is concerned about TV content and that he believes as president, it would appropriate to “work with the industry” to address issues of sex and violence, including the marketing of violent films in TV shows, but he believes parental control, not government control, is the best response, reports Broadcasting Cable. Obama literally “calls out” our genre and indicates it’s a problem.

I actually took notes on that part of the debate, in the hopes that there would be a discrepancy between Clinton’s answer and Obama’s that might reveal something about which candidate is more beholden to Hollywood donors. Unfortunately, Hillary wasn’t given a chance to answer the questions. Reviewing my rough transcription of Obama’s comments today, what’s amazing is how it transitions from typical, weaselly politician non-response––which seems uncharacteristic for Obama––into a minor strike against the Hollywood publicity machine. But of course, he’s not actually pledging to do anything, and any horror fan who takes this as the sole evidence that Obama doesn’t deserve their vote probably shouldn’t be voting in the first place.

My rough transcription of the debate quote follows after the jump.

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The Gene Siskel Film Center in Chicago has canceled two screenings of Senator Obama Goes to Africa, a documentary by Bob Hercules & Keith Walker about the presidential candidate’s “emotional homecoming to Kisumu, Kenya - his father’s former home.” Even though the film is already available on DVD, with interest in the Illinois senator higher than ever (despite or because of his marginal loss to Hillary Clinton last night, “Obama” is today’s Top 3 search term on Technorati, and “Barack Obama” is #2 on Yahoo), you can be sure the Film Center wasn’t going to have trouble selling tickets. So what’s the problem?

According to this Chicagoist story, as a non-profit the Film Center couldn’t risk “creat[ing] a perceived aura of support for any political candidate.” More than that, screening a pro-Obama film during an election could actually “jeopardize [the center's] not for profit status.”

Would the better solution be to run films representing each of the candidates? I mean, sure, maybe you wait until later in the season, when the race is down to just a couple of frontrunners in each party. But it shouldn’t be hard finding material.

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With the New Hampshire primary upon us, and in response to the results of last week’s Iowa Caucus, I’ve been thinking about the possible influence of pop culture on Democratic voters. Is it possible that Obama performed better than Clinton because 24 is a more popular TV show than was the short-lived Commander in Chief? The former has so far featured two African American Presidents, played by Dennis Haysbert and D.B. Woodside, while the latter was about a female President, portrayed by Geena Davis. The next season of 24, which is set to premiere once the WGA strike is finished, will actually feature a female President, played by Cherry Jones, but it may be too late. Americans could already be set on nominating a black man, because they’re more familiar with seeing such a President on both the big and small screen.

And what a crop of African American actors we’ve seen as the leader of the United States: Morgan Freeman (Deep Impact); James Earl Jones (1972’s The Man); Tommy ‘Tiny’ Lister (The Fifth Element); Chris Rock (Head of State); Terry Crews (not so well known, but extra points for playing a porn star-President in Idiocracy); and of course Haysbert and Woodside. Now, let’s see who we’ve got for white female Presidents: Polly Bergen (1964’s Kisses for My President); Lisa Simpson (in a flash-forward episode of The Simpsons); Dulcie Smart (a TV movie called Post Impact); Ernestine Barrier (1953’s Project Moon Base) and of course Davis. Which group has more star power? Exactly. Even Robert Zemeckis chose to exclude the female President featured in Carl Sagan’s novel Contact when the director made his film version. Anyway, Clinton at least has a better chance than an African American woman. The only black female Presidents I can find in TV and film include one played by Melanie Henderson on an episode of The Electric Company and reference to one in a deleted scene from Star Trek V: The Final Frontier, which features the woman as an added fifth face on Mount Rushmore.

• J.J. Abrams says he will “honor his contractual obligation to work as a director” on his upcoming Star Trek reinvention, but will also serve some time in the picket lines outside Paramount, where writers are apparently chanting things like “Who’s got more money than they can count? Paramount!” (There’s no indication as to who raised their pencil to write that one.) Also seen on picket lines yesterday: James L. Brooks, Tina Fey, and the writers of Lost.
• Meanwhile, Hollywood’s two most beloved presidential candidates both issued statements yesterday in support of the writers. Barack Obama characterized the fight as “a test of whether media corporations are going to give writers a fair share of the wealth their work creates or continue concentrating profits in the hands of their executives.” Hillary Clinton was, predictably, a little less acerbic in her criticism of those executives. “I support the Writers Guild’s pursuit of a fair contract that pay them for their work in all mediums,” Clinton said. “I hope the producers and writers will return to the bargaining table.”
• American Film Market is the last event where indie producers can close projects that will be wrapped before the SAG and Directors Guild reach their own pre-strike deadline in March, and so far it looks like slow going. Said Mark Urman of ThinkFilm: “Actors normally on a one on/one off indie/studio film schedule now are looking for big paydays in big, stupid Hollywood movies.”

I’m getting ready to see a four-hour Tom Petty documentary directed by Peter Bogdanovich (yes, seriously) so I’ll have to be brief, but bits of news are trickling out that indicate Warner Brothers has essentially sabotaged its already half-assed wide-ish rollout of The Assassination of Jesse James By The Coward Robert Ford by making it nearly impossible for critics in mid-size cities to see the thing. The evidence follows after the jump; if you’ve seen/heard similar stories from your part of the country, do post links in the comments.

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