Check out an exclusive clip for ‘August: Osage County’, featuring Meryl Streep and Julianne Nicholson. http://imdb.to/1aNCGXZ
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AUGUST: OSAGE COUNTY– 5 STARS
Movies about dysfunctional families, no matter if they are little independent gems or classic favorites populated by Hollywood stars, are always prime landscapes for both drama and comedy. They are successful because they make us feel better about our own family we have at home. We either step back saying “Finally, there’s someone out there who has it as bad as I do” or “Gosh, I guess my family’s not that bad.” We either laugh AT their shenanigans as wildly different or WITH their shenanigans as kindred spirits and fellow gluttons for punishment. One can argue that every family is dysfunctional to some degree and that it’s just a matter of what your definitions are for dysfunctional, unique, crazy, and, most of all, normal. Besides, “That’s how we do it in this house.” always wins.
Five years ago, after getting its start at the famed Steppenwolf Theatre in Chicago, Tracy Letts’ play August: Osage County, centering on the women of a particular rural Oklahoma dysfunctional family reacting to a moment of loss, went to Broadway and won five Tony Awards including Best Play, three Drama Desk awards, and the Pulitzer Prize for Drama as one of the most decorated theatrical productions of the past decade. When a play gets that kind of success, Hollywood was bound to take a stab at it at some point for the big screen. After all, movies, with their endless boundaries of space and location shooting, are supposed to be limitless stages. Successful TV show-runner John Wells (ER, The West Wing, Shameless) is the man who took that shot at August: Osage County and he brought a star-studded cast with him. It’s Chicago premiere occurred this week at the 49th Chicago International Film Festival before its wide theatrical release during the Christmas holiday weekend later in December.
Where movies based on plays commonly fail is when the cinematic expansion of scope and setting ends up stripping away the story and performance intimacy that made it special on the smaller stage. The good films based on plays don’t lose that closeness and connection while still giving us something deeper to see. In every way possible, the film adaptation of August: Osage County is one of those successes. It breathes vigorous life into the stage setting by fleshing out a real location filled with dynamic performances. At the same time, we have this year’s Silver Linings Playbook with a new silver screen dysfunctional family to relish in and size up to our own. August: Osage County, with its uncanny balance between uproarious comedy and striking family drama, is a crowd-pleasing gem and one of the finest ensemble movies you may ever see.
Three-time Academy Award winner Meryl Streep plays Violet Weston, the cantankerous truth-telling family matriarch addicted to the haze her multiple prescriptions drugs give her while dealing with mouth cancer. Violet is full of hateful sarcasm that drives her family crazy. The unfortunate and trapped man married to her is Beverly, a former published poet and steady alcoholic, played by Sam Shepard. They share three daughters and are lifelong residents of Pawhuska, the county seat of Osage County in northeastern Oklahoma, a place more known as a Native American center than anything else. The couple just hired a local Native American woman Johnna (Misty Upham of Frozen River) to cook and clean around the house when Bev runs off and goes missing one afternoon.
After his disappearance extends to several days, Violet’s loudmouth sister Mattie Fae (Justified Emmy winner Margo Martindale) and her calm and homely husband Charlie (Oscar winner Chris Cooper) alert nearby family to come and help with the situation. The first on the scene is Ivy (Julianne Nicholson of Kinsey), the middle daughter and the one that never left Oklahoma. Her guilty patience is what keeps her close by despite constantly being belittled by her mother for never settling down with a man. The other two daughters couldn’t wait to leave back in the day and haven’t come back to Pawhuska in years until now.
Barbara, played by Oscar winner Julia Roberts, is the oldest daughter. She and her husband Bill (Ewan McGregor) reside in Boulder, Colorado and are going through a painful separation that no one knows about while mutually struggling to control and understand their 14-year-old daughter Jean (Little Miss SunshineOscar nominee Abigail Breslin). Barbara absolutely loathes returning home and has constantly been at odds with her mother ever since she left many years ago. She holds little tolerance anymore for her mother’s drug addiction or antics. The youngest daughter completing the Weston family is the flighty Florida ditz Karen, played by professional flighty ditz and Oscar nominee Juliette Lewis. Her cluelessness comes blazing into town with her Ferrari-driving sleezeball fiance Steve (Dermot Mulroney).
When it turns out that Bev took his boat out on the lake and drowned himself, this momentary family summit turns into a difficult funeral gathering that is going to require a few days. The last to make the trip in for the occasion is Charlie and Mattie Fae’s clumsy and dimwitted son “Little” Charles, played by Mr. Everywhere Benedict Cumberbatch. All together for the first time in a long time and not for a very pleasant reason, the sometime hilarious and sometimes awful warts, flaws, secrets, and old arguments of the Weston clan come bubbling back to the surface, perpetuated and punctuated by Violet’s bombastic rule of the roost.
Another hurdle in transferring Broadway success to a film adaptation is casting. So many movies based on plays reach too high with big names that swoop in for the artistic street cred as “the one that landed the big juicy part,” but end up not being suitable to the large task that is a dialogue-driven ensemble or the richly created character they are supposed to inhabit. The producers of August: Osage County, which include George Clooney, aimed to conquer where others have failed. They went out and got the big names, but then squeezed absolutely incredible performances from just about every single one of them.
Meryl Streep continues to show why she’s the greatest living actress in the world. In her usual fashion which we constantly underestimate and disrespect as her “norm,” she adopts and creates such a compelling and electric character with every possible hue and nuance that an actor can provide. She’s the spark that ignites the best of this film’s comedic and dramatic elements. This role is better than all of her last four Best Actress Oscar nominations (The Iron Lady, Julia and Julia, Doubt, and The Devil Wears Prada). It would be a monumental upset if her name isn’t among the final five in 2014 at the 86th Academy Awards.
There is, however, one person standing in her way from a fourth Oscar win who had the unenviable task of going toe-to-toe with the best in the business. Believe it or not (and many won’t until this see the film), Julia Roberts more than holds her own with Meryl Streep. This is a mature and challenging part that involves none of her megawatt smile and America’s sweetheart charm. She sheds that image masterfully and gets as ugly with her words as Meryl does. If Meryl’s Violet is the spark to greatest hits of August: Osage County, Julia’s Barbara is the dry kindling that allows those moments to burn with fiery intensity. This is, without a doubt, the absolute best Julia Roberts has ever been. Erin Brockovich, her Oscar-winning performance, can’t compete with this. She’s going to give Meryl a major run for her money at the Oscars.
The mere presence of these two heavy-hitters raises everyone else’s game within the August: Osage County cast. Everyone gets their chance to have their loud family spat and flip-out moment and all nail their landings. Margo Martindale and Chris Cooper are perfectly paired oil-versus-water sages of differing tones. Key among the bountiful supporting roles are Julianne Nicholson as Ivy and Benedict Cumberbatch as Little Charles. Both play hopeless romantics who are deeper than their timid exteriors and key to many of the plot twists. Both give substantially solid performances alongside the bigger names. Only Ewan McGregor feels a tad underutilized, especially considering his usual presence and personality. Nevertheless, the end result is an acting fan’s feast from top to bottom.
The makers of August: Osage County succeeded in their goal to encapsulate what made the orginal play such a monster success. Original playwright Tracy Letts adapted his own three-and-a-half hour play into a streamlined two-hour film for director John Wells, in just his second feature directing gig after 2010’s The Company Men. While details and changes were bound to happen, fans of the play should be pleased by the overwhelmingly intact familial tone that has now received a real setting to work with.
Mega producer Harvey Weinstein bought an actual Pawhuska farm house instead of shooting on a L.A. soundstage. The idyllic property and Oklahoma plains become an extra character to join the human ensemble and successfully hold the closeness and intimacy that gets lost in a play’s translation to film. The signature family funeral dinner scene, shot in the house with everyone on scene, is exactly as paced and written for the film as it was for the play. Not a single line of dialogue was changed. On Broadway, that crucial scene ran twenty minutes and it runs the exact same twenty minutes in the film.
That is just one enormous example of this film’s efforts to retain what made August: Osage County a successful and intimate play. August: Osage County brings an outstanding story peppered with howling laughs and poignant family drama that blend tremendously better than expected. The film is fantastically acted to make this popular story very absorbing. This film is tailor-made as a holiday hit-to-be upon its upcoming December holiday weekend release and a sure-fire Oscar contender in many categories come next year. It is undoubtedly one of the best films of 2013 and will be among this website’s “10 Best” of the year.
LESSON #1: THE PECKING ORDER OF WHO LEANS ON WHO IN A DYSFUNCTIONAL FAMILY— Each of the three Weston daughters approach Violet, Beverly, and coming home in different ways. They were tight growing up, but have evolved and changed since then. Violet is bold enough to admit that any parent that says they don’t have favorites is lying. We see the varying degrees of each daughter’s favor. When support is needed both up and down the family hierarchy, each person involved gravitates to different places to find strength. There’s a constant shift as to who is leaning on who and who is holding other people up.
LESSON #2: WHAT UNEARTHED FAMILY SECRETS SHOULD HAVE STAYED SECRET OVER OTHERS THAT NEEDED TO BE KNOWN— Beverly, the father of the family, had always been the calming factor and filter for Violet’s vitriolic behavior. He kept the family direction positive and dusted conflicts under the rug. With him passed on, the defensive shield is gone and the filter is off. The cross-hairs are out. Old mistakes and hurtful secrets reemerge in multiple directions threatening the already frayed family fabric. Everyone has scissors, but few bring the fixing needle and thread.
LESSON #3: WHEN THE LIMITS OF TELLING THE TRUTH ARE EXCEEDED— Violet sees very few of her overwhelming flaws. She was yelled at and berated as a child and has been at peace with doing the very same with her chance as a parent. Her sister does the same with Little Charles with her endless harping. Both piss and moan about how hard their lives are compared to their offspring. Violet feels that she’s just “truth-telling” and saying what no one else has the gumption to say. She lacks the care of what should or shouldn’t be said for decency’s sake. Everyone, particularly Barbara as the oldest, has their limits of how much “truth-telling” they can swallow before they react, cross the line of parental respect, and fight back with equally hateful words. There’s love in the Weston family, but it’s thickly coated in disdain and disappointment.
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Film set for into the woods pic.twitter.com/3QPsPLgEqF
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First day of shooting on Into The Woods today! Feel incredibly lucky to be part of it! Here we go…!
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In some cosmic switcheroo, Taylor Swift may just have been the perfect megawatt replacement for Meryl Streep last night at Grey Goose Soho House. Streep had been the most anticipated guest of TIFF 2013 in connection with her latest sure-to-be Oscar nominated leading role in August: Osage County, but bowed out at the last minute due to illness. There were tears for many, especially one pint sized fan who wore a “Meryl in training” T-shirt to the film’s screening at Roy Thompson Hall earlier that evening. Not for the film’s cast and Gucci and Holt Renfrew’s hosted after-party guests however—they all seemed thrilled by the surprise appearance by Swift, who showed up in a wowza Calvin Klein Collection number after walking the red carpet of One Chance. Flanked by Harvey Weinstein and a dapper Brenton Thwaites who I’m sure will be the talk of the blogs all day long (he’s about to be a Disney prince!), Swift held court on the second floor for most of the night, that is, while she wasn’t busy hanging with the film’s star studded cast, aka. the fixtures of the rip-roarious festivities.
Julia Roberts, breathtaking in raspberry Dolce & Gabbana, chatted animatedly with co-stars Ewan McGregor, Juliette Lewis, Abigail Breslin, Julianne Nicholson and Dermot Mulroney (My Best Friend’s Wedding 2.0!) for most of the evening. Her million dollar smile and signature cackle were as omnipresent as you’d, or say a little gal watching Pretty Woman on repeat a million times, imagine. Everyone was hugging. Everyone was so huggy! Nearby, Chris Cooper, whose performance instigated applause multiple times throughout the screening, ate dinner with wife Marianne Leone.
The cast seemed to be genuinely enjoying themselves, spending hours in and around the club. I even found Roberts, McGregor, Mulroney and Swift making use of Soho House’s photo-booth, conveniently located beside the women’s bathroom. “It’s a good look, you should keep it,” said Mulroney to Swift as I meekly shuffled by. (I had to touch her back. It was soft. And awkward.)
Later that night, the party got even wilder as more celebs packed in. Juliette Lewis, who swapped into a white off-the-shoulder cocktail dress after the premiere, toasted with friends on the newly opened rooftop as the familial-y blessed Jack Huston and the familial-y famous Jason Bateman hung out at tables nearby. Back on the club floor, we were thrilled to see that IRL, Mad Men’s Lane Pryce aka. Jared Harris, was very much alive. Felicity Jones was there too, cause why the heck not.
And because that wasn’t all, I witnessed Ralph Fiennes showing off his moves to Daft Punk’s “Get Lucky” as an impromptu dance party broke out on the main floor. Devil may care? More like wizard can dance, am I right?
I literally bumped into Meryl Streep @ David Pecaut Square. We were both trying to avoid the crowds! Hahahaha #TIFF13
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Showed Meryl Streep to her seat tonight at the theatre. It was pure unadulterated awesome…
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A casting notice has gone out in anticipation of a reported on location UK shoot as part of director Rob Marshall’s big screen adaptation of the Stephen Sondheim & James Lapine fairy tale-themed musical INTO THE WOODS, starring Meryl Streep and Johnny Depp.
Scheduled for the end of this month, Disney is now casting people in the UK ages 16 through 90 with “easy access to Dover or Canterbury.”
Given the location and its proximity to landmark Dover Castle, it appears Cinderella’s castle as seen onscreen – and as portrayed by Anna Kendrick – may very well have a real-life historical background.
Additionally, as for the casting notice itself, producers are seeking “men who are between 5ft 6in and 6ft 2in tall and ladies of dress sizes ranging for six to 14”.
And, as for the payment? A minimum of £102 per day.
According to the announcement, “applicants must be available for filming in Dover on Wednesday, September 25, and Thursday, September 26.”
Also, casting will reportedly be completed “immediate[ly] to allow costume fittings”.
The confirmed complete cast for INTO THE WOODS is as follows: Meryl Streep as The Witch, James Corden as The Baker, Emily Blunt as The Baker’s Wife, Johnny Depp as The Wolf, Anna Kendrick as Cinderella, Chris Pine as Cinderella’s Prince, Billy Magnussen as Rapunzel’s Prince, Mackenzie Mauzy as Rapunzel, Lucy Punch as Lucinda, Tammy Blanchard as Florinda, Christine Baranski as Cinderella’s Stepmother and Tracey Ullman as Jack’s Mother, now with Sophia Grace Brownlee as Little Red Riding Hood and Daniel Huttlestone as Jack.
Just saw a screening of August: Osage County. I have no words for Meryl Streep’s performance. She went from the best, to incomprehensible!
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Meryl Streep in A:OC is crazy good. The most wonderful kind of scenery chewing. Shocking, surprising, harrowing, funny, sad, amazing perf.
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I also loved Margo Martindale as the aunt. Everyone was good, actually. But it’s Meryl’s movie.
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I love the play so much, so I was nervous to see it. But I was happily surprised. Dinner scene is incredible.
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