In the Heart of the Sea features less of Chris Hemsworth than we’ve seen on screen before. He’s in virtually every scene, but for much of the film the usually bulked up Thor star is set adrift in a raft, starving and physically much less imposing than usual.
The movie is an old-fashioned whale of a tale. Literally.
Based on the true story said to have inspired Moby Dick, it’s about whalers battling not only repeated assaults from the one whale who fought back, but also malnourishment and dehydration.
At sea for three months in tiny whaleboats the men are pushed to the edge of sanity, taking drastic steps to survive.
To convincingly play a starving sailor Hemsworth trimmed 33 pounds off his already toned 6’2 3/4” frame.
“My crazy diet would make you pass out from exhaustion,” he said. At certain points he was eating just 500 or 600 calories — that’s less than a combo lunch meal at most fast-food places — in the form of a boiled egg, two crackers and a celery stick a day.
Hemsworth and his underfed cast mates passed away the time with conversations “about our favourite foods and what we would eat when we finished the film.”
The actor says losing that amount of weight isn’t something he’d like to do again, but adds, “by those final sequences when we were supposed to be exhausted and emotional. We were feeling that way off screen too, so it helped.”
Dramatic weight loss isn’t new — actors have been yo-yo dieting for roles for years — but doctors say rapid body mass reduction can lead to malnutrition, maladies like gallstones and worse. In other words, as Christian Bale who dumped 60 pounds for his role in The Machinist says, “It ain’t great for your health.”
Still, actors take on dramatic diets to aid in their dramatic work. Anne Hathaway dropped 25 pounds by food deprivation and exercise to make Les Miserables while Matthew McConaughey survived eating only Diet Coke, egg whites and a piece of chicken a day to play AIDS patient Ron Woodroof in Dallas Buyers Club. According to The Playlist he stopped dieting when “people stopped asking if he was all right and started suggesting he seek help.”
Just as common are actors who gain weight. Russell Crowe gained 63 pounds to play a CIA bigwig in Body of Lies, George Clooney gained 35 pounds for Syriana and Renee Zellweger gained 30 pounds for Bridget Jones’s Diary, lost it, only to regain it for the sequel.
Jared Leto who lost 40 pounds to play Rayon in Dallas Buyer’s Club, gained 67 pounds for the film Chapter 27 by drinking melted pints of chocolate Haagen Dazs ice cream mixed with olive oil and soy sauce “to get me bloated even more.”
Why do actors alter their bodies? Some call it dedication while cynics suggest it’s an easy Oscar. Physical transformations (plus acting talent) brought Robert DeNiro, Charlize Theron and McConaughey to the winner’s circle.
But some actors have sworn off manipulating their weight. Jim Carrey turned down a role in the Three Stooges biopic that would have required him to gain 40 to 50 pounds and Tom Hanks blames gaining and losing weight for roles with him developing Type 2 diabetes.
“I’ve talked to a number of actors who have gained weight for roles and — just out of the sheer physical toll on one’s knees and shoulders — no-one wants to do it again,” he told the BBC.
Looks like another actor is taking a page out of Matthew McConaughey’s playbook.
The star’s recent Oscar win for “Dallas Buyer’s Club” was the frosting on the McConaissance cake, the transformation from shirtless rom com star to serious leading man.
Jude Law seems to have taken note, trading in the “pretty young thing” roles of “The Talented Mr. Ripley” and “Alfie” in favor of darker character pieces. His latest, “Dom Hemingway,” is his most noir creation yet.
When we first meet Mr. Hemmingway he’s in jail, a safecracker with anger issues in the midst of a twelve-year stretch. Upon release he looks up best friend Dickie (Richard E. Grant), a one-handed small time crook who reconnects him with former boss Mr. Fontaine (Demian Bichir), an elegant but deadly crime lord. The way Dom sees it Mr. Fontaine owes him a great deal of money for keeping his mouth shut in prison but a near death experience changes everything.
“Dom Hemingway” is not a great movie. It is weirdly paced and betrays it’s hard edge with sentimentality but it is worth seeing despite itself; worth seeing because of Jude Law’s performance.
“I am a legend, a myth, a glorious tale to be handed down from generation to generation,” Hemmingway boasts, with a self worth almost as broad as his vocabulary. He’s an uneducated thug with a way with words and Law brings him to vivid whiskey soaked life in an aggressively comic performance.
Twenty years ago the part would have been played by Bob Hoskins or Ray Winstone, rough and tumble actors with a built in sense of menace. Law, by contrast, doesn’t seem to be an obvious substitute, but it’s the kind of character part that suits him. In retrospect he always seemed an uncomfortable fit in some of his leading man roles that relied more on his charm than talent. Here he brings an unexpectedly dangerous but funny vibe to the film, reminiscent of Ben Kingsley’s work in “Sexy Beast.”
Whether he is bragging that his manhood could save starving children in Somalia, in a bravura opening monologue, or staring moon-eyed at his estranged daughter, Law is better than the movie in a role that could come to redefine his career.
We’re celebrating everyone’s favourite award show in true Drake style. Put on your best threads + play our Oscar pool while snacking on free popcorn from the Drake kitchen. Did we mention the evening is hosted by cinema king Richard Crouse? Meet us here + challenge your friends in a match of cinematic trivia. There’s great prizes to be won + even a special bubbly menu to choose from, while cheering on your picks from the silver screen.
TOP THIRTEEN HITS (click on the title to see trailer)
1. 12 Years a Slave. There’s a key line near the beginning of “12 Years a Slave, “ the new drama from “Shame” director Steve McQueen. Shortly after being shanghaied from his comfortable life as a freeman into a life of slavery Solomon Northup (Chiwetel Ejiofor) declares, “I don’t want to survive. I want to live.” Based on Northup’s 1853 memoir the movie is an uncompromising story about will, suffering and injustice.
2. American Hustle. “American Hustle” is one of the year’s best. It’s an entertainingly audacious movie that will doubtless be compared to “The Wolf of Wall Street” because of the similarity in tone and themes, but this time around David O. Russell has almost out-Scorsese’d Scorsese.
3. Before Midnight. “Before Midnight” is beautifully real stuff that fully explores the doubts and regrets that characterize Jesse and Celine’s (Ethan Hawke and Julie Delpy) love affair. Done with humor, heart and pathos, often in the same scene, it is a poignant farewell to two characters who grew up in front of us.
4. Blue Jasmine. Darker than most of Woody Allen’s recent output, “Blue Jasmine” doesn’t go for laughs—very often anyway—but is an astutely crafted psychological character study. Jasmine is a modern day Blanche Du Bois, a faded bright light now forced to depend on the kindness of strangers. Getting in her way are delusions of grandeur and a continued sense of denial—likely the same sense that kept her guilt free during the years the illegal cash was flowing—that eventually conspire to fracture her psyche. “There’s only so many traumas one can take,” she says, “ before you end up in the street, screaming.”
5. Captain Phillips. I don’t think it’s fair to charge audiences full price for screenings of “Captain Phillips.” While watching this exciting new Tom Hanks thriller I was reminded of the old Monster Trucks ads that bellowed, “You Pay for the Whole Seat but You’ll Only Need the Edge!”It a film about piracy and I don’t mean the sleazy guys who bootleg movies but the real pirates who were responsible for the first hijacking of an American cargo ship in two hundred years.
6. Dallas Buyer’s Club. In “Dallas Buyer’s Club” Canadian director Jean-Marc Vallée has made an emotional drama that never stoops to melodrama. Instead it’s an inspirational film about standing up for what you believe in.
7. Frances Ha. The seventh film from “Greenberg” director Noah Baumbach isn’t so much a traditional narrative as it is a character study of Frances (Greta Gerwig), an underemployed dancer struggling to find herself in New York City. It plays like a cleaned up black-and-white version of “Girls”; an emotionally rich and funny portrait of twenty-something ennui. “Frances Ha” is a collection of details. There is an engaging story, but it’s not exactly laid out in three acts. It feels more intimate and raw than the usual twenty-ish crisis flick and with each detail we get another piece of the puzzle that makes up Frances’ life.
8. Fruitvale Station. It’s important to remember that “Fruitvale Station” isn’t a documentary. Director Ryan Coogler has shaped the movie for maximum heartrending effect, and by the time the devastating last half hour plays out it’s hard to imagine any other movie this year packing such a emotional wallop.
9. Gravity. “Gravity” isn’t an epic like “2001: A Space Odyssey” or an outright horror film like “Alien.” There are no monsters or face hugging ETs. It’s not even a movie about life or death. Instead it is a life-affirming movie about the will to survive.
10. Her. “Her” is an oddball story, but it’s not an oddball film. It is ripe with real human emotion and commentary on a generation’s reliance on technology at the cost of social interaction.
11. Inside Llewyn Davis. “Inside Llewyn Davis” is a fictional look at the vibrant Greenwich Village folk scene. Imagine the cover of “The Freewheelin’ Bob Dylan” come to life. Sharp-eyed folkies will note not-so-coincidental similarities between the people Llewyn meets and real-life types like Tom Paxton, Alert Grossman and Mary Travers, but this isn’t a history, it’s a feel. It gives us an under-the-covers look at struggles and naked ambition it takes to get noticed.
12. Nebraska. The humour doesn’t come in the set-up-punch-line format but arises out of the situations. A scene of Woody’s gathered family—his elderly brothers and grown sons—watching a football game redefines the word taciturn but the subject of the sparse conversation, a 1974 Buick, is bang on, hilarious and will likely sound familiar to anyone with a large family.
13. Wolf of Wall Street. “Wolf of Wall Street” makes for entertaining viewing, mostly because DiCaprio and Jonah Hill are able to ride the line between the outrageous comedy on display and the human drama that takes over the movie’s final minutes. Both are terrific, buoyed by the throbbing pulse of Scorsese’s camera. With its fourth wall breaking narration, scandalous set pieces and absurd antics “The Wolf of Wall Street” is an experience. At three hours it’s almost as excessive as Balfort’s $26,000 dinners. It feels a bit long, but like the spoiled brats it portrays, it will not, and cannot, be ignored.
TOP FIVE MISSES
TREND: Big stars don’t guarantee box office!
1. The Fifth Estate – Budget: $28 million, Global box office: $6 million, Return: 21% Late into “The Fifth Estate” Guardian investigative journalist Nick Davies (David Thewlis) says, “most good stories start at the beginning.” I argue that he’s right– about 99% of the time. Unfortunately this look at WikiLeaks and hacker-turned-whistleblower Julian Assange falls into the 1%.
2. Bullet to the Head – Budget: $25 million, Global box office: $9 million, Return: 36% With a name like Bullet to the Head you know the new Sylvester Stallone movie isn’t a romantic comedy. Although he paraphrases the most famous rom com line of all time, “You had be at BLEEP BLEEP!” the movie is nothing but an ode to testosterone.
3. Getaway – Budget: R180-million, Global box office: R105-million, Return: 58 percent. On a scale of zero to stupid, ”Getaway” ranks an eleven. It is what we call in the film criticism business a S.D.M. (Silly Damn Movie). OK, I made that last part up, but I couldn’t really think of any other category to place this movie under. Maybe E.S.D.M. (Extremely Silly Damn Movie).
Matthew McConaughey plays Ronnie Woodruff a rough and tumble Texan oilrig electrician who is diagnosed with HIV. In 1985 this is a death sentence and his doctor matter-of-factly tells him he has only thirty days to live. His first reaction is denial, and for several of the precious days he wallows, doing drugs and drinking.
A second visit to the hospital, this time hoping for a cure, he sees Dr. Eve Saks (Jennifer Garner) in hopes of buying some AZT, an HIV drug seeking approval by the Food and Drug Administration. Turned down, he leaves, the words, “Screw the FDA, I’m gonna be DOA,” hanging in the doctor’s office.
His search for a cure—or at least something to make him feel better—leads to Mexico and a non-FDA approved holistic approach to controlling his symptoms. With the help of cross-dresser Rayon (Jared Leto), he establishes the Dallas Buyer’s Club, an exclusive arrangement where customers buy a $400 monthly membership in return for unlimited access to Woodruff’s stash of illegal but effective vitamins and concoctions.
His operation soon catches the attention of the local law enforcement and the FDA so Woodruff must step up his efforts to keep his club open.
Based on a true story, “Dallas Buyer’s Club” raises many questions regarding a person’s right to treat terminal illness in whatever way they see fit. It’s a David and Goliath story with Woodruff battling against bureaucracy and big pharma to extend his life and the lives of his customers.
At the core are dual powerhouse performances from McConaughey and Leto. They play polar opposites, bound by a disease that neither understands. Woodruff is brash, obnoxious, quick to anger but obsessed with finding answers. McConaughey, who is startlingly thin here, leaves behind the movie star grin that made him a star and relies on the acting chops that have kept him in the top tier.
Rayon is troubled, a drug addict with a heart of gold. Leto delivers a heartbreaking performance that will make you wish he’d find a way to balance his creative life between his band 30 Seconds to Mars and his acting with more emphasis on making movies.
They spend much time together on screen, but it is one quick, wordless embrace that is their most effective moment. It’s a poignant and totally earned tear jerking scene that illustrates their bond and Woodruff’s slow change from selfish redneck to altruistic man.
In “Dallas Buyer’s Club” Canadian director Jean-Marc Vallée has made an emotional drama that never stoops to melodrama. Instead it’s an inspirational film about standing up for what you believe in.
By Richard Crouse – Metro In Focus
