I had planned on taking the day off from the Bloggery today, but I was drawn in by the odd attention being paid to some new photos of Dakota Fanning on the set of the girl group biopic The Runaways. I guess it fits to end the week with another look at rock and roll pedophile bait, since I already devoted one day to the Chipettes. But it’s not like this is actually the first look at the 15-year-old former child star as singer Cherie Currie. It’s not even the most scandalous. Still, the fact that the media is focusing on Fanning and ignoring the full band shots (this is apparently the first look at all the Runaways actresses, if not the first look at Fanning) is either because people are obsessed with the maturation of a female child star or, due to the near-equal concentration on Kristen Stewart, they’re trying to get traffic from Twilight fans.
Anyway, I’m still waiting for the re-creation of this costume to really spark talk of “kiddie porn,” and I’m still wondering if we’ll end up with a “leaked” shot of the Fanning/Stewart lesbian kiss once that scene is shot. It would rival the Vicky Cristina Barcelona kiss as far as media attention goes. Otherwise, there’s not much reason to discuss these latest images, other than to hope that it makes teenyboppers curious about Iggy Pop.
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Most vampire movies suck like most porn, the pleasures of the flesh drained of all life. Fortunately there’s Daughters of Darkness, starring the intoxicating Delphine Seyrig as the blonde, femme fatale Countess Elizabeth Bathory. Harry Kümel’s very-70s flick is a sexy roundelay akin to Radley Metzger’s 1973 soft-core Score, only in this case the hungry horny couple are the blood lusty Countess and her secretary/lover/protégé Ilona Harczy played by Andrea Rau (with lips to rival Angelina Jolie’s – someone get Brangelina a vampire movie already!), looking like a knockoff Lulu with her flapper haircut. The objects of their carnal obsession, newlyweds Stefan (John Karlen, resembling a cross between Michael J. Fox and Andrew McCarthy but, alas, born a decade too early for a John Hughes film) and Valerie (Danielle Ouimet — think Elke Sommer with a French accent) may be unwitting, but Stefan especially is far from innocent. Which gives the standard vampire set up of Daughters of Darkness a compelling mystery twist.
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Britney Spears to play lesbian killer in Quentin Tarantino film!!!!!!
The exclamation points are mine, but they’re implied in this Telegraph headline, which is quickly making the rounds of the “publish first, conveniently forget to retract later” gossip blogs. The rumor is that Britney has been hand-picked by Quentin to “play dancer Varla in a remake of the 1965 cult film Faster Pussycat! Kill! Kill!”
The reality check: as far as I can tell––Tarantino has never even confirmed a Liz Smith report from way back in January claiming that he’s making a remake of the Russ Meyer schlock classic. And, since that story mentioned that Britney was in the running, even if there is something to it it’s kind of old news. It might be a strategic PR drop (I don’t know by who––does Britney even have a publicist anymore?) to counteract the Page Six item from last week, which suggested (without comment from the Tarantino camp) that porn star Tera Patrick was getting the role. But I have a hard time believing that this is anything other than a publicity game at this point, considering that Tarantino hasn’t even finished casting the epic that he plans to screen in seven months at Cannes.
That said: if it’s between Spears and Patrick, we definitely vote for the former. She needs it more.
UPDATE: Access Hollywood has denials from both Tarantino and Spears. And Media Morgue says Quentin’s agent told them way back in March that the remake was just a rumor.
The Brave One’s U.S. poster was a gimme for the Jodie Foster’s massive lesbian fan base: it featured a full body shot of the star in a tight, midriff-skimming tee, holding a big, phallic gun down by her tight-jeaned nether-regions. It blatantly sexualized Foster’s quest for vengeance, and it didn’t go unnoticed: AfterEllen.com summed it up with the headline, “Best. Jodie. Movie. Poster. Ever.” But what works for the queer blogosphere does not necessarily an international blockbuster make, and thus Warner Brothers has gone with a very different brand identity for the international rollout. The Risky Biz Blog pegs the change as ratings-board motivated:
In the U.S. — where the MPAA frowns on ads where guns strike too threatening a pose — the main image featured Foster, looking distraught, her head bowed and her gun hanging limply by her side. But in its foreign make-over, The Brave One’s poster…features a full head shot of Foster with her gun raised, aiming to kill. Nothing shy about it.
In other words: the idea that Foster is conflicted about killing has been wiped clean from this ad campaign. It’s gone from “what have I done?” to “look what I’m doing.” It makes sense: when complexity fails to sell, it’s time to go binary.
[Via Movie Marketing Madness]
The New Line Fallout 
