| Comments: |
This past week, VH-1 has been running a
Behind the Music on the musical "Hair," both the play and the film version.
There's about a two minute segment where Milos Foreman, the director of the film talks
about the auditioning process and the fact that he didn't want to simply make a film of
the play, that the play had already been done. Of course the film didn't reach an audience
as vast as the play did (I'll date myself and say I remember the days when it seemed to be
running forever at the Aquarius Theater in Hollywood). I think in retrospect it's easy to
say that Foreman made a bad choice, but I think his point of view is very typical of most
film directors and studio people.
First of all, we've pointed out time and time again that film and stage are two different
animals...fair enough. In most cases, the creative team wants to "open up" a
play, take advantages of the pictures that can be made with a wide angle lens and use it
to enhance the story. In some cases it's worked (the Ascot scene and the Embassy Ball in
My Fair Lady) and in some cases it was pointless (no pretty pictures could save the film
version of Paint Your Wagon). When Fox did The King and I, there was an opportunity to
make much more use of the Cinemascope feature with lingering establishment shots and so
forth, but they didn't do it. Why? It would have dragged the story down. One of the things
that killed Evita on film was the constant use of establishing shots. Coupled with
silence. You would get some energy going and bring it to a dead halt in moments flat. And
how many times did we need to see the same goons trashing the newspaper office? Again and
again. The Buenos Aires number which had been one of the most energetic and lively in the
stage production was dull, dull, dull. What does this teach us?
A) We need a director who has plenty of stage experience and knows how to keep the
momentum going. May I respectfully suggest Sam Mendez (American Beauty). He also directed
the highly respected (and attended) stage revival of Cabaret in London, NY and LA. If he's
in good health, Stanley Donen (Singing in the Rain) is another great choice. He did a
fabulous song and dance at the Oscars last year.
B) Stick close to the original source material. In POTO, you have the most successful
musical of all time. Yes, some of the songs can use a little polishing in the lyric
department. Christopher Hampton (Sunset Blvd, Les Liasons Dangerous) is the best choice
there. He could also do a fabulous job of writing a screenplay that would keep the
essential elements intact and not insult our intelligence.
C) As we learned in My Fair Lady, The King and I, Okalahoma and some other play to film
transitions, KEEP THE ORIGINAL STARS. Can you picture Dustin Hoffman playing the MC in
Cabaret? Could you picture Bing Crosby as Henry Higgens? What about Lulu as Sally Bowels?
I know, let's do Evita over again starring Marie Osmond. Get the picture? Yeah, these
people could sing and dance probably just as well as the originals, but they just don't
work...
So, WB, RUG, and ALW...here's the deal. Hire Christopher Hampton to do the screenplay and
burnish the libretto. Hire Sam Mendez or Stanley Donen (or even Frank Oz) to direct. They
all know how to pace and are known to bring projects in under budget. They also have made
some gems of films. Next, sign Michael Crawford, Sarah Brightman and say...Ricky Martin
(as Raoul) to iron clad contracts, let them do what they do best. Keep Maria Bjornson for
production design, ok Andrew, you do the orchestrations and vocal arrangements,DON'T drop
MOTN, but add another song for the Phantom...something Oscar worthy. Hire the best chorus
from both America and Europe, and film the majority of the piece in the Paris Opera
Garnier...bingo...ready made sets, you have the spectacular scenery for those lovingly
shot wide angle pictures, and Maria only need do sets for the lair, the dressing room and
the offices. Film the cemetary scene at Pere Lachase...what better place? What will we end
up with...an absolute masterpiece with all the eyecandy that the audience wants, Michael
Crawford who the audience DEMANDS, a new song, new dances and lots of acclaim. Personally,
I think it's a formula for a billion dollar success.
|