I join NewsTalk 1010’s “Moore in the Morning” guest host John Tory to talk about Kevin Bacon’s experiment in anonymity, bring back the voices of Judy Garland and Laurence Oliver and government approved rap songs.
Listen to the whole thing HERE!
On the August 30, 2020 edition of the Richard Crouse Show we have a look at the making of one of the most loved movies of all time, “The Wizard of Oz,” with interviews with some of the actors who were actually on set! Here’s how that happened: “Today I spent a chunk of my day going through closets, finding discs of unlabelled photographs and other bits and pieces that have piled up in the nooks and crannies of my house. I came across a set of interviews I did at a rather loud party at the Tavern on the Green in New York City in 2009 to celebrate the 70th anniversary of the release of The Wizard of Oz.
“That day I mixed and mingled with some of the original Munchkins like Karl Slover, who was just two feet tall when he played the first trumpeter, Villager Munchkin Ruth Duccini, member of the Lollipop Guild Jerry Maren and Judy Garland’s daughter Lorna Luft, while enjoying Wizard of Oz themed drinks like the Gin Tornado. But mostly I soaked up the stories from some of the folks who were there when Judy Garland was swept away to a technicolour OZ.
“Today I banged the interviews together in a podcast, the first project from the newly dubbed Isolation Studios. I enjoyed doing it and somehow the movie makes perfect sense for right now. ‘Someplace where there isn’t any trouble? Do you suppose there is such a place, Toto? There must be. It’s not a place you can get to by a boat or train. It’s far, far away… behind the moon… beyond the rain.'”
Then we check in with “Downton Abbey” star Kevin Doyle, who played the Abbey’s second footman, Joseph Molesley for six seasons on television and in the big screen movie. Doyle is also known for other roles, including DS John Wadsworth in Happy Valley and in the TV series The Lakes, Coronation Street and The Crimson Field. Doyle played valet/footman Joseph Molesley in the TV series Downton Abbey. He is the winner of two Screen Actors Guild awards and a Royal Television Society award for best actor for Happy Valley.
Listen to the whole thing HERE! (Link coming soon)
Here’s some info on The Richard Crouse Show!:
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Ethan Hawke, director Brad Bird, comedian Gilbert Gottfried, Eric Roberts, Brian Henson, Jonathan Goldsmith a.k.a. “The most interesting man in the world,” and best selling author Linwood Barclay.
Click HERE to catch up on shows you might have missed!
Like everybody else I’m self-isolating in this very odd time. With no movies to review and my television show “Pop Life” on hiatus I’m finding things to keep myself busy. Today I spent a chunk of my day going through closets, finding discs of unlabelled photographs and other bits and pieces that have piled up in the nooks and crannies of my house. I came across a set of interviews I did at a rather loud party at the Tavern on the Green in New York City in 2009 to celebrate the 70th anniversary of the release of The Wizard of Oz.
That day I mixed and mingled with some of the original Munchkins like Karl Slover, who was just two feet tall when he played the first trumpeter, Villager Munchkin Ruth Duccini, member of the Lollipop Guild Jerry Maren and Judy Garland’s daughter Lorna Luft, while enjoying Wizard of Oz themed drinks like the Gin Tornado. But mostly I soaked up the stories from some of the folks who were there when Judy Garland was swept away to a technicolour OZ.
Today I banged the interviews together in a podcast, the first project from the newly dubbed Isolation Studios. I enjoyed doing it and somehow the movie makes perfect sense for right now. “Someplace where there isn’t any trouble? Do you suppose there is such a place, Toto? There must be. It’s not a place you can get to by a boat or train. It’s far, far away… behind the moon… beyond the rain.”
Listen to the whole thing HERE!
A powerhouse performer packed into a frail body and even frailer psyche Judy Garland left behind a legacy that is equal parts Hollywood history and cautionary tale. “Judy,” a new film directed by Rupert Goold, examines the declining days of “The Wizard Of Oz” star as she arrives in London to perform a series of concerts.
The year is 1968. Stateside Garland (Renée Zellweger) is at a low ebb. She lives in hotels she can’t afford, is fighting for custody of her children and playing in nightclubs for $150 a show, a fraction of her former superstar salary. She is an unemployable legend. “Unreliable and uninsurable,” she says. “And that’s what the ones who like me say.”
When she’s offered a five-week run at the ritzy Talk of The Town at the Palladium in London, England, she’s reticent. She doesn’t want to be separated from her kids for that long, but she’s broke. She decides to leave her children so that she can make enough money to return and put a roof over their head.
in London she is treated like royalty, packing the club night after night but her insecurities eat at her. “What if I can’t do it again,” she says after her wildly successful opening night. Drink, pills, self-doubt, on-stage meltdowns and a quickie marriage make for an eventful but uneven series of shows. In the press parlance of the time she is often “exhausted and emotional.”
Flashback to young Judy (Darci Shaw) on the MGM backlot set the stage for the tragedy that follows.
“Judy” often veers into sentimentality—the finale clumsily documents the moment when the singer finally got the kind of support she always needed from an audience—but doesn’t shy away from darker aspects of Garland’s life. Bringing the story to vivid life is Zellweger in a career best performance. She looks and sounds enough like Garland to be convincing, but this isn’t just mimicry. The actress digs deep, finding the humour and humanity in a person often regarded as a tragic figure. “I am Judy Garland for an hour a night,” she says. “I want what everybody else wants but I seem to have a harder time getting it.” Zellweger makes us understand how and why Garland spent a lifetime trying to please people who repaid her by always asking for more.
“Judy” is at its strongest when Zellweger is onscreen. Off stage she captures Garland’s complexity; on stage, in numbers like “I’ll Go My Way by Myself” or “The Trolley Song” she is a musical tour de force. The flashbacks, while nicely done, feel like information we already know and don’t add much to the overall movie. We learn just as much about Garland’s psychological unrest from Zellweger nuanced performance as we do from the broadly written flashbacks. This is, after all, a character study, not a history lesson.
“A Star is Born” was originally filmed in 1937 and subsequently remade three times, most famously (until now) as a rock musical starring Barbra Streisand and Kris Kristofferson in 1976. Bradley Cooper directs and stars in the latest version, one that hits all the right notes.
Cooper plays Jackson Maine, a rock star with magnetism to spare but carrying around a guitar case overflowing with personal problems. Drug addicted and alcoholic, he’s a troubled guy who falls for Ally (Lady Gaga) after seeing her perform a tour de force version of “La Vie En Rose“ in a bar. It’s love at first sight. He’s attracted to her talent and charisma; she is wary but interested. Soon they become involved, personally and professionally. As their romance blossoms her star rises meteorically as his fades slowly into the sunset.
It’s a familiar story given oxygen by rock solid direction, music with lyrics that forwards the story and two very good, authentic performances.
Cooper, all easy charm and weathered smile, digs deep to play a good man undone by his addictions but Lady Gaga equals him. Gaga sheds the theatricality of her pop persona, creating a soulful character that mixes vulnerability and combative independence. Stripped down, she is rawer than we’ve seen her before in a performance that feels authentic and not a musician playing a musician. It helps that she and Cooper have chemistry to spare—from their mentor and student relationship to their romance—but make no mistake this is a performance that stands alone.
In addition to the romance and music “A Star is Born” has something to say about art. In a time when the arts are under siege by government cuts and pre-packaged pop culture the film emphatically reminds us, both in practice and in its themes, that artists are here to actually say something. Everything else is just product. “Music is essentially twelve notes between any octave; twelve notes and the octave repeats. It’s the same story told over and over. All any artist can offer the world is how they see those twelve notes.”
“A Star is Born” could have been product, a glitzy film with a heartthrob and a pop star in the leads but instead resonates with real feelings and heartfelt emotion.
From CTVnews.ca: “Despite being two completely different genres appealing to very different moviegoers, Lady Gaga’s fans are reportedly trashing Sony Pictures’ ‘Venom’ supervillain film online because it’s opening on the same day as the pop star’s own romantic drama ‘A Star Is Born.'” Read the whole article HERE!
Watch the CTV News report HERE!
