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Battle of the biopics: Eight rival pairings of movies about the same person.

Battle of the biopics: Eight rival pairings of movies about the same person. (photo)

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Sometimes, be it chance, convergence or studio groupthink, interest in making a movie about the life of a public figure re-explodes, and multiple biopics about him/her go into development to capitalize on that interest. Most of the time, one of the parties involved backs down and the victor emerges with no competition. But occasionally, two films emerge in close proximity to another.

Lately, this has been happening a lot: there are rival Marilyn Monroe movies slated for production, with Naomi Watts and Michelle Williams slated as leads, double Miles Davis biopics, three-deep DeLoreans. Most of these movies will never actually be made. Here’s a look at seven such notable cinematic point-counterpoints that actually hit theaters:

06072010_chanel2.jpg“Coco Before Chanel”/”Coco Chanel & Igor Stravinsky” (2009)

There have been four films about fashion designer/legend Coco Chanel so far, and not a single one has yet had the guts to delve into World War II and try to reconcile her status as a fashion icon with her years as a Nazi collaborator, SS contacts and all. 1981’s “Chanel Solitaire” is noted (if at all) as Rutger Hauer’s first English-language movie; the 2008 TV movie with Shirley MacLaine was chided by the New York Times‘ Gina Bellafante for how it “hopscotches right over Chanel’s unsavory wartime affiliations.” So, too, does last year’s “Coco Before Chanel” (how could adorable Audrey Tautou be up to anything so awful?) and, by default (their affair ended long before World War II), “Coco Chanel & Igor Stravinsky,” which opens this week. And they might as well keep making Chanel biopics until someone works up the nerve to include that particular factoid.

06072010_bathory2.jpg“Bathory” (2008)/”The Countess” (2009)

It’s entirely unsurprising that Erzsébet Báthory, a Hungarian countess who supposedly had hundreds of young girls tortured and killed in order to bathe in their blood (believing it would restore her youth), has been a popular figure in films over the years. Is there a handier, gothier metaphor for our aging-averse, product-obsessed culture? Anna Friel vamps as the titular aristocrat in the 2008 “Bathory,” the most expensive Slovak and Czech production of all time. A revisionist take on the legend from director Juraj Jakubisko, the film drops a historically inaccurate Caravaggio into the mix and suggests Báthory was actually a tragic victim who was framed by the power-hungry men in her life. She only killed a few people, y’all, not hundreds! And she was on drugs at the time! The following year’s “The Countess” was written, directed by and stars Julie Delpy — a dream project of the hers for years, it by all accounts offers a feminist spin on the Bathory legend, delving into the woman’s psychology while leaving the verity of her many murders up in the air. “Bathory” remains without U.S. distribution, while “The Countess” was picked up by Empire Film Group last year for an announced Oscar push that never happened.

06072010_capote2.jpg“Capote” (2005)/”Infamous” (2006)

The Truman show shoot-out of “Capote” and “Infamous” was not the first time Douglas McGrath’s work had run into unflattering comparisons with a similar movie preceding it. His 1996 adaptation of Jane Austen’s “Emma” was considered wan and lacking when juxtaposed with the clever updating of the same novel in “Clueless.” “Infamous” didn’t perform as well as “Capote,” although probably because seeing Toby Jones (best known as, well, the voice of Dobby the House Elf in the “Harry Potter” movies) slink into the famous Truman Capote voice didn’t have quite the same sense of showmanship as seeing Philip Seymour Hoffman do the same. In fact, most reviews agreed that the two films were basically worthy of each other, just covering the same material from different sides; I particularly like Kenji Fujishima’s suggestion that watching the two is like “differentiating between two conductors’ interpretations of one particular work.”

06072010_prefontaine2.jpg“Prefontaine” (1997)/”Without Limits” (1998)

Two movies about Olympic runner Steve Prefontaine that bombed independently of one another, both “Prefontaine” and “Without Limits” represented big ventures for their directors. “Prefontaine” was the first post-“Hoop Dreams” project for director Steve James, and its failure didn’t discourage him: he made two more sports-based TV movies (1999’s “Passing Glory” — black vs. white high basketball teams in the ’60s — and 2002’s “Joe and Max” — Louis and Schmeling, respectively) before getting back to what he does best. 1998’s “Without Limits” was only the third film legendary screenwriter (and highly paid script doctor) Robert Towne (“Chinatown”) had managed to get made, and it too flopped — as would the careers of their two respective stars, Jared Leto and Billy Crudup, neither of whom ballooned up into the acting A-list as promised. Both movies were admirably focused on pointing out what a difficult, uncoachable jerk Prefontaine could be, and both received respectful if lukewarm reviews. There’s a great moment in “Limits” when Crudup is interrupted mid-first-time coitus, is asked if he has “blue balls” and answers “yes,” as human a moment as any sports bio has ever achieved. Still, Prefontaine was simply too difficult and heroically unheroic to qualify for the standard Biopic of Sports Greatness treatment.

06072010_nixon2.jpg“Kissinger and Nixon”/”Nixon” (1995)

Cable television was nowhere near the level of commercial ubiquity it is now in 1995, which makes it somewhat odd to recall that TNT’s “Kissinger and Nixon” airing ten days before the release of Oliver Stone’s “Nixon” was viewed as something that could credibly disturb the latter’s commercial prospects. The reason had less to do with common sense than with a dubious sense of causality — two years earlier, a TNT biopic about Geronimo had aired before Walter Hill’s own version and the latter underperformed, therefore people were wondering if basic cable could ruin movies. But both films were dubious commercial prospects from the start: “Nixon,” unlike “JFK,” didn’t really have any controversial bait to offer the public, yet was still three hours long and beyond hallucinatory. The victor in the long run is probably Stone’s movie (which didn’t come close to recouping its budget in release, but became something of a cult movie for Stone fans), though the cable film is by all accounts really more about Kissinger — in the role, Ron Silver received excellent notices. Kissinger himself sent in a 42-page list of objections to how he was portrayed; Silver would later become a post-9/11 Republican, making his performance here prescient. As you can see in the clip here, at least he’s less inadvertently hilarious than Paul Sorvino’s distractingly dead-on, hyper-caricatured Kissinger in “Nixon.”

06072010_earp2.jpg“Tombstone” (1993)/”Wyatt Earp” (1994)

Hardly the first but, to date, the last movies made about the enduring Western figure of Wyatt Earp, neither “Tombstone” nor “Wyatt Earp” made any grand aspirations towards historical accuracy. Both, however, grasped for magisterial grandeur. According to “Tombstone” star Kurt Russell (who claims to have secretly directed the film), before it was recut by the studio it was “a Western ‘Godfather.'” “Wyatt Earp,” meanwhile, also reached for myth (Jonathan Rosenbaum also noted naked ambitions towards “Godfather” status), but mostly through sheer length (expanded from 191 minutes to 212 in its director’s recut). It’s best remember as the first moment at which Costner’s carefully honed star status began to crash under the sheer weight of his hubris. “Wyatt Earp” emerged only because Costner thought the “Tombstone” screenplay should focus on Earp (which says nothing about his ego, natch) but was far less profitable. In any case, it was an inglorious end to Wyatt Earp’s on-screen mythology, one of the great continuities of the genre, which gave us “My Darling Clementine” and other lesser lights still beloved by connoisseurs, like “Doc” and “Gunfight At The OK Corral.”

06072010_liberace2.jpg“Liberace”/”Liberace: Behind The Music” (1988)

In a crass display of naked ambition entirely befitting the subject, Liberace’s death in 1987 prompted two dueling made-for-TV movies that aired a week apart in 1988. The main difference was that the first was authorized (or, as one “Snicks” writes, “whitewashed”), the second unauthorized. The main issue of contention, of course, was Liberace’s sexuality, which remains such a contentious issue (one apparently vigilantly monitored by his estate) that even the Wikipedia entry dances around it, merely noting that he was sued for palimony by chauffeur/alleged live-in boyfriend Scott Thorson, who’d apparently received plastic surgery to look more like the star. Regardless of the truth, Liberace’s image (down to a museum he built himself including the world’s largest Austrian rhinestone) is certainly gay enough to make him an easy punchline in “Good Night, And Good Luck,” where archival footage of him mentioning his heterosexuality conspicuously is an easy audience laugh-getter. The first film danced around the issue; the second, judging by the clip below, made it the main point of focus. (Worth noting: the first film’s Liberace was Andy Robinson, the serial killer from “Dirty Harry.”)

06072010_harlow2.jpg“Harlow”/”Harlow” (1965)

There were two competing Jean Harlow biopics in 1965: the cheaper one opened May 14 in New York, Paramount’s more expensive version on June 23. Paramount had Irving Shulberg’s “controversial” (read: lurid) biography to their name and the overqualified services of Hitchcock screenwriter John Michael Hayes (“Rear Window,” 1956’s “The Man Who Knew Too Much”); the Magna Pictures cheapie had Ginger Rogers’ last performance. Neither film was overly commended for accuracy (though at least the cheap version mentioned her likely affair with William Powell, which Paramount scrupulously overlooked) or for an overload of good taste, but perhaps the Paramount version has the edge, if only because it was actually shot on film. The Magna Pictures version was shot on Electronivision (i.e., a glorified ’60s TV process) in eight days, and boy does it look it.

[Photos: Naomi Watts in “Mulholland Dr.,” Universal Pictures, 2001; “Shutter Island,” Paramount Pictures, 2010; “Coco Before Chanel,” Sony Classics, 2009; “Coco Chanel & Igor Stravinsky,” Sony Classics, 2009; “Bathory,” Eurofilm Stúdió, 2008; “The Countess,” Empire, 2009; “Capote,” Sony Classics, 2005; “Infamous,” Warner Independent, 2006; “Prefontaine,” Buena Vista, 1997; “Without Limits,” Warner Bros., 1998; “Kissinger and Nixon,” TNT, 1995; “Nixon,” Buena Vista, 1995; “Tombstone,” Buena Vista, 1993; “Wyatt Earp,” Warner Bros., 1994; “Liberace,” ABC, 1988; “Liberace: Behind The Music,” CBS, 1988; “Harlow,” Magna, 1965; “Harlow,” Paramount, 1965]

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Scarface Movie Al Pacino

Wanna Play?

Say Hello to Our Scarface Quiz

Play along with movie trivia during "Scarface" tonight at 8P on IFC.

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Photo Credit: Everett Collection

Tony Montana is all about money, power and respect. And while we can’t promise you’ll get money or power by taking our Scarface quiz below, you will get respect if you get a perfect score. One out of three ain’t bad. Click below to take the quiz, and catch Scarface this month on IFC.

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Hank Azaria Commencement

Best Speech Ever

Hank Azaria’s Simpsons Advice For Grads, Questionable Shark Facts and More of This Week’s Funniest Videos

This week we're laughing at Hank's Tufts commencement speech, Jason Alexander's shark facts and more.

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Photo Credit: YouTube/Tufts University

We’ve made it! Memorial Day weekend! But before we can complain that it’s over too quickly, take a moment to bask in the pre-break lack of productivity and enjoy some lighthearted videos.

From Hank Azaria channeling Chief Wiggum and other Simpsons characters while talking to college grads to “Shark-spert” Jason Alexander sharing questionable shark facts, here are five funny things from this week you need to watch.

1. Kermit Informs Fozzie Bear That They’ve Been Canceled

It’s never easy to see someone receive bad news, much less a Muppet. But if anything, Kermit’s poise and acceptance during a time of crisis is impressive, admirable even. Fozzie Bear, on the other hand, reacts with greater similarity to how we would: with baseless anger and utter despair.


2. Jason Alexander Offers Shark “Fin Facts”

Memorial Day weekend means the start of beach season, aka Shark Feeding Season. As part of IFC’s Shark Half-A-Day Memorial Day marathon, “sharks-pert” Jason Alexander offers up some interesting “fin facts” about our sharp-toothed friends from the deep. You can also check out Jason’s beach tips, and catch the Jaws movies with more “fin facts” from Jason this Memorial Day on IFC.


3. Game of Thrones’ Emilia Clarke Confirms Dothraki Is a Real Language

With eyes still dewy from the climax of this past Sunday’s Game of Thrones (Hold the door!), the Mother of Dragons herself Emilia Clarke dropped by Late Night with Seth Meyers to throw the diehard fans a reason to smile: Yes, Dothraki is a real language. Watch Clarke discuss the phonetics and grammar involved with vying for Westeros rule.


4. Hank Azaria Gives Advice Through Simpsons Characters

Hank Azaria — star of The Simpsons, The Birdcage, and Brockmire, premiering in 2017 on IFC — gave the commencement speech at his alma mater Tufts University. In the hilarious speech, Azaria discusses how he got through college, recounts his early career struggles, and offers up life advice via fan favorite Simpsons characters like Chief Wiggum and Comic Book Guy.


5. X-Men: The Animated Series Gets Honest

Screen Junkies are back this week with another round of Honest Trailers. This entry focuses on the cartoon mutants that comprise X-Men: The Animated Series — an ultra-’90s Marvel property that predates the comic book adaptation boom of the 21st Century. But looking back at the decade of Rob Liefeld and Todd McFarlane, this video finds much to mock.

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Weird Al Comedy Bang Bang Season 5

Call Him Al

“Weird Al” Talks Comedy Bang! Bang!, His Upcoming Tour, Favorite Videos and More

Weird Al comes to Comedy Bang! Bang! starting June 3rd at 11P on IFC.

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With a career spanning five decades, “Weird Al” Yankovic has defined the song parody genre and become a beloved pop culture icon. Starting June 3rd, you’ll be able to catch him as the brand new Comedy Bang! Bang! bandleader Fridays at 11P on IFC.

We recently chatted with Al about joining Scott Aukerman on the new season, his upcoming tour, favorite CB!B! characters and his future dream projects. (Hint: it might involve actors spontaneously breaking into song.)

The Comedy Bang! Bang! bandleader gig seems like a natural fit for you. Did it take any time to get acclimated?

Weird Al: Yeah. It’s a slightly different skill set. The accordion is my main act, but I don’t use it on the show at all. It’s a keyboard setup. The actual setup is a little bit of a combination of what Reggie [Watts] had and [Kid] Cudi had. And a few extra things thrown in. So I’m trying to do my own version of what they brought to the show.

You’ve been on the Comedy Bang! Bang! podcast and the show many times. Do you have a favorite CB!B! character?

Weird Al: I’d probably have to say Doctor Time. Every time Scott wants me to do an evil character, he’s always got a bad English accent. [Laughs] Any time my character goes evil, he becomes sort of British.

Any favorite guests you’ve worked with?

Weird Al: Gosh, I love them all. Paul F. Tompkins is always fun. His Andrew Lloyd Webber character, Cake Boss, everything he does. And Andy Daly as well. They’re so versatile and so amazing at improv. That’s the one thing I was a little nervous about because I’ve never been super confident with my improv skills. But Comedy Bang! Bang!, particularly the TV version, is good for that because it’s all heavily edited. So it kind of gives me permission to try out whatever comes to my mind, so if it really sucks, they’re not gonna use it. [Laughs]

Scott Aukerman Weird Al

Your upcoming tour is a continuation of your Mandatory Fun tour from last year. Any new elements to the show?

Weird Al: Well, it is the same tour, so it’s not that much different. I might freshen some video a little bit. I’m hoping to use a bit or two from the current season of Comedy Bang! Bang! and slip that into the show somewhere.

The tour starts June 3rd in St. Petersburg, Florida and ends September 24th at Radio City Music Hall. How do you keep up the pace? 

Weird Al: It’s just a mindset. I’m really only working for two hours a day, so I basically just save up my energy for the show. I relax, surf online, watch satellite TV, read a book, rest my voice, and then give it all I got when I’m onstage.

Looking back at your vast song catalog, was there ever a parody that came to you immediately upon hearing the song?

Weird Al: Yeah, that’s happened a few times. More often than not, I have to think about it and analytically work out all the variations on a theme that I can and pick out the one with the most potential. But there’s been a few times where the idea came to me spontaneously. I think the first time I saw Michael Jackson’s “Bad” video, before it was even over, I thought, “Oh! I gotta do ‘Fat’! Super-plus-sized actors trying to get through a turnstile on a subway! I gotta do that!”

Do you have a favorite of your many hilarious videos?

Weird Al: Oh boy, it’s hard to say. “White and Nerdy” has been my biggest hit and that was a really fun video to do. But in terms of making a video, “Tacky” was really fun to do because it was so easy and I got to work with amazing people like Jack Black, Margaret Cho, Kristen Schaal, Eric Stonestreet, and Aisha Tyler. And we knocked it out in a couple of hours. We were having so much fun while making it, I kinda wish we weren’t so efficient and professional. [Laughs] I could’ve done that all night.

Was it filmed all in one take or was it stitched together?

Weird Al: That was all one take. Some people say, “Oh, I see where the edit is,” but it was all one shot. We did a total of six takes, and I think four of those takes were usable, but the last one was the best.

And you were directing while performing?

Weird Al: I directed that one, yeah. We location scouted and found a building in downtown LA that I thought was good for the shoot. I’ve since seen that building in a lot of other movies and TV shows — I think it was used in The Big Lebowski and a few others. It was difficult because I start the video in one set of clothes and I also end the video in a completely different set of clothes. So while the cameras were off me, because there’s only one elevator in the building, I had to run down five flights of stairs, quickly change my clothes, and hit my mark for the end. And after the take, we’d all just watch what we did, and say, “OK, let’s do it again.”

Is there a director you’d love to work with in the future?

Weird Al: Oh gosh, yeah, but I mean, music videos are notoriously low-budget so that’s why I end up directing them myself. [Laughs] But I’d love to be in a movie codirected by Steven Spielberg and Quentin Tarantino.

Do you have a particular genre of music that you love parodying the most? Or is it more of the moment and different for each song?

Weird Al: It doesn’t necessarily revolve around personal taste so much. It really depends more on the song than the genre. But I found rap songs tend to lend themselves to parody, mostly because there’s a lot of words to play with. A lot of pop songs are repetitive, and that’s sometimes been an issue. With rap, there’s no shortage of syllables to mess around with.

Given that you’ve been so prolific and done so much, is there any type of art left that you’d like to dip your toe in? Dramatic acting, perhaps?

Weird Al: Well, if Spielberg and Tarantino want me for their film, I wouldn’t want to turn them down. But there’s no burning desire to do drama. I love doing comedy and feel comfortable doing that. Writing a musical might be something I do down the line. I don’t know when but I might take a shot at something in that area. Other than that, I’ve done pretty much all I wanted to do in my life so far. A lot of it not successfully. [Laughs] But I took a stab at it and feel gratified by that.

You’ve had such a eclectic career in music and comedy. What do you attribute your longevity to?

Weird Al: [Laughs] I don’t know what I’d attribute the longevity to. There’s a modicum of talent, but it’s mostly because I surround myself with very talented people. I’ve got a great support group, I’ve got the same band since the early ’80s, and I’ve worked with the same people for decades. And I got a very loyal fan base and I love what I do. And somehow I’ve been very lucky and it’s worked out so far.

Watch “Weird Al” in an episode from the new season of Comedy Bang! Bang! right now, before the season premiere on Friday June 3rd at 11P.

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