had just become a known quantity in America. Two years earlier, in 1997’s Oscar-winningCrowe had muscled his way through a noirish detective mystery with a bulbous intensity worthy of James Cagney, but without that actor’s wily undercurrents. Crowe is a bit meatier than Cagney, a bit more psychologically obscure, and not nearly as light on his feet, a ploddingness frequently brought to bear in his best work.
Crowe was deservingly growing to become one of the decade’s most significant stars by the time he appeared in Mann’s film, an actor whose gift was to seem more transparent, more plain, more everyman than he actually was. Smoke and mirrors manifest: a master of obscuring his complexities in order to surprise you with them when it counts. Just a year later, he’d star ina best-picture winner befitting its title.
“I concentrate more on the making of the film than on the marketing,” said Mann to Rose, who suggested that doing this was perhaps a mistake on Mann’s part. “I mean—because if you care about it,” Rose said, “you see it through.” He added: “I betNo one who’s givenor for that matter any of Michael Mann’s altogether superlative films any serious thought could so blithely suggest that that is not a filmmaker to “see it through.
realism in his films, which is, of course, an ingredient: These are the qualities we have in mind when we praise the work of the films and director’s he’s influenced—notably
Should've swept at the Oscars
Why would Disney (Touchstone) make a film that whacks CBS - main market rival to ABC - which said Disney owns? More here
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