5 p.m., Aug. 25
Cronenberg's Capsized Cosmopolis Key Art
Speaking as the Will Rogers of his generation, I never saw a Robert Pattinson film I didn't like.
Franchise films by their nature are not my dance. I never made it through a Harry Potter movie and slept through most of the first Twilight picture, never to return to any of the sequels. Remember Me was a credible romantic drama with a nifty twist ending and Pattinson was more than up for the role of a gold-digging womanizer in this year's Bel Ami. There was that badly-mustached turn as Salvador Dali in Little Ashes, and while I can't proclaim an affinity for the film, it certainly didn't push my rage button.
David Cronenberg, on the other hand, is a Diving Being, easily one of the half-dozen contemporary Masters, averaging a film every other year for going on four decades.
Cronenberg's dispassionate, near clinical approach to sex and horror added beauty to the hideously disfigured face of '70's low budget exploitation films. Critic Robert Foster called his breakthrough film, Shivers, "a raw, lurid, and shocking, visually stunning allegory on the impact of the '60's free love revolution on the '70's lifestyles of excess."
He is one of the few, if not the only director in the history of cinema to make the crossover from drive-in to art house to multiplex without once compromising his artistic vision. And he did it all without leaving Canada!
Cronenberg's latest, Cosmopolis, opens wide August 24. Last week I stood before a poster case absorbed in contemplation.
Perhaps if I stood on my head the billing would make more sense.
Shouldn't it read:
This is how Canada treats its number-one son?! Pattinson's scowling puss is plastered across the thing. Couldn't Telefilm Canada at least have inverted the billing to show proper respect?
While on the subject of proper respect, did you notice the way Pattinson got through the shoot without once sleeping with the director's spouse? You're a class act, kid. Can't wait to see your performance when the film screens next week.
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