Jude Law // Current

Final Sherlock Holmes Trailer

A final trailer for the upcoming “Sherlock Holmes” movie directed by Guy Ritchie... more

allanford
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Warner’s use free game to advertise Sherlock Holmes movie

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A Study in Dread: Sherlock Holmes (2009)

+Read the entire article and film/tv adaptation recommendations at the link!

There is a consuming sense of dread deep in the pit of my stomach regarding the Sherlock Holmes as envisioned by Guy Ritchie. Many fans of Holmes I am sure feel this way, but I would like to put down exactly why I feel the way I do so maybe the not-as-initiated can understand the trepidation experienced by those who ‘get’ Holmes.

*Yuk! Girls!*

The first red flag of any Holmes pastiche is the inclusion of Irene Adler. Adler was directly involved in one Original Canon (OC) story and was barely referenced in three others. That’s it. Holmes was not obsessed with Adler; Holmes only thought of Adler as a worthy opponent – indeed the only opponent in the OC that beat Holmes; There was no secret crush, no infatuation, no wistful belly-aching.

Holmes was very Zen regarding emotions. Attachments and emotion got in the way of pure reasoning, hence he had no use for it. To quote the man himself:

-- “It is of the first importance,” he said, “not to allow your judgment to be biased by --personal qualities. A client is to me a mere unit, — a factor in a problem. The emotional --qualities are antagonistic to clear reasoning. I assure you that the most winning woman I --ever knew was hanged for poisoning three little children for their insurance-money, and --the -most repellant man of my acquaintance is a philanthropist who has spent nearly a --quarter -of a million upon the London poor.”

Holmes had no care for women other than how they were involved in the chain of reasoning to a problem. He considered them the weaker sex, was very gender-biased, and Adler was the one exception. End of story.

I am assuming that Adler will somehow be mis-used in the story. I think it is safe assumption because, frankly, the only way to use Adler is to mis-use her. She simply has no place in a Holmes narrative. I’m betting on a love interest angle, but even if not, it is an un-needed complication and distraction.

*Holmes. Sherlock Holmes.*

Based on the trailers for the upcoming movie, “Sherlock Holmes” appears to be more of a Victorian era James Bond or Jason Bourne than anything resembling Sherlock Holmes. Gadgets, explosions, physical humor, and – inexplicably – some type of fight club seem to haunt every piece of footage released regarding this movie.

I’m not sure how many great explosions there were in London in the mid to late 1800s, but I am guessing that there were less than the amount shown just in the trailer for “Sherlock Holmes.” Dr. No type villains with an arsenal of nuclear weapons did not exist in Victorian times England. This seems to be a case of villain absurdity nearing Wild Wild West proportions if the released scenes are any indication.

+Read the entire article and film/tv adaptation recommendations at the link!+Read the entire article and film/tv adaptation recommendations at the link! There... more

drunkenhopfrog
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19 days ago
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Jude Law descended from Bakers, Guy Ritchie related to royalty

New research has revealed interesting family connections for celebrities. Jude... more

sophosthegreat
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27 days ago
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Robert De Niro and Jude Law for 'Thor'? (UPDATE: They're not)

In an interview to the german edition of GQ, Matthias Schweighöfer reveals that he is... more

smurph25
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29 days ago
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Jude Law comes to Broadway and brings Hamlet to life. Really. I wouldn't kid you

Live theater has a symbiotic relationship with celebrities. Hollywood and television... more

writa
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One Last Taste of Heath

October 16th marks an important day, the release date for the last film of the late... more

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1 month ago
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Jude Law Opens in "Hamlet" on Broadway

Photographs from opening night for William Shakespear's "Hamlet" on Broadway at the... more

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Don't Tap This Look, Sadie

There is no excuse to tap this look unless you are homeless and can't afford a top... more

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1 month ago
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Documentary Film: One Day of Peace

Against all the odds an individual manages to create an annual global 'Peace Day'; but... more

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Wendy Williams: Train Wreck TV

The Wendy Williams Show is one of the newest talk shows on the air. Expect lots of... more

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2 months ago
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Jude Law: My Take On Peace Video Contest

Peace One Day founder Jeremy Gilley has proven that film can make history. Now it's... more

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2 months ago
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Broadway Looks Harder At London Connections

"Rather than consuming the months or years that are usually required to plan a Broadway production, the deal to transfer Jude Law’s “Hamlet” from the West End to New York next month came together in a mere 10 days this summer and with a relative ease that demonstrates why Broadway has been awash in London productions in recent years.

Taking a page from Hollywood, several major London theater companies have formed first-look agreements with New York producers, like the pact between Donmar Warehouse in London, the producer of “Hamlet,” and Arielle Tepper Madover, a Broadway producer. Ms. Tepper Madover flew here in late spring to see “Hamlet” before the critics’ reviews, and she and Donmar’s executives had dinner to discuss whether a transfer to Broadway was possible.

Transferring productions, especially plays, from London to New York is becoming more common, with the incentives increasingly abundant at a time when creating a Broadway production from scratch is growing more expensive. Moving a show often means saving money on sets, costumes, rehearsal time and other production costs, not to mention the psychic savings for producers who transfer a hit, since they have reason to hope that a well-received London show will prove to be a hit on Broadway too.

In recent years London exports like “Billy Elliot,” “God of Carnage,” “The Norman Conquests,” “Boeing-Boeing,” “The Coast of Utopia” and “The History Boys” have dominated the Tony Awards, recouped investments or turned profits. It is no wonder then that more and more New York producers are showing up in the restaurant or second-floor library of the Covent Garden Hotel — the hotel of choice in London for Broadway producers — for meetings with British producers and directors to strike deals and forge the sort of arrangement that Ms. Tepper Madover has with Donmar.

“I like the concept of having a relationship with people and building a show out of that,” Ms. Tepper Madover said. “It’s just different than in New York. In New York so many producers are vying for the same show.”

Ms. Tepper Madover formed her first-look deal with Donmar about five years ago. In exchange for having first rights to transfer a Donmar show to Broadway, she makes a contribution to the theater’s budget. She declined to provide the precise sum, except to say that it was in the low six figures. Donmar’s annual budget is about £3.8 million, or $6.3 million. Since then she has transferred Donmar productions of “Frost/Nixon” and “Mary Stuart” to Broadway.

Another New York producer, Bob Boyett (“The Seagull,” “Passing Strange”) has had a first-look deal with the National Theater for about five years. He also declined to say how much money he pays the National, noting that the theater had a confidentiality restriction that prevents him from disclosing details.

But both he and Ms. Tepper Madover said the agreements do not empower them to take artistic control over the productions. Mr. Boyett said his arrangement allows him to invest up to 25 percent in any National production that moves to the West End, while the National can invest up to 25 percent in any transfer that he produces on Broadway.""Rather than consuming the months or years that are usually required to plan a... more