Before returning to the silver screen for Maïwenn’s Jeanne du Barry, Johnny Depp is ready to announce his first directorial effort in 25 years for Modi, a biopic focusing on the Italian artist Amedeo Modigliani. Inspired by a play by Dennis McIntyre and adapted for Hollywood by Jerzy and Mary Kromolowski, Modi tells the story of the famous painter and sculptor during his time in Paris in 1916.
Riccardo Scamarcio (John Wick: Chapter 2), Pierre Niney (Yves Saint Laurent), and Al Pacino lead the cast, with filming going down in Budapest this fall. The Veterans will bring the project to Cannes for a potential sale.
According to Deadline, Modi chronicles a harrowing 48 hours of Amedeo Modigliani’s life, depicting when he ran from police through the streets and watering holes of war-torn Paris. Bohemians think nothing of Modigliani ending his career prematurely, including French artist Maurice Utrillo, the Belarusian-born Chaim Soutine, and his English muse and lover,...
Riccardo Scamarcio (John Wick: Chapter 2), Pierre Niney (Yves Saint Laurent), and Al Pacino lead the cast, with filming going down in Budapest this fall. The Veterans will bring the project to Cannes for a potential sale.
According to Deadline, Modi chronicles a harrowing 48 hours of Amedeo Modigliani’s life, depicting when he ran from police through the streets and watering holes of war-torn Paris. Bohemians think nothing of Modigliani ending his career prematurely, including French artist Maurice Utrillo, the Belarusian-born Chaim Soutine, and his English muse and lover,...
- 5/10/2023
- by Steve Seigh
- JoBlo.com
Exclusive: On the eve of his acting return at the Cannes Film Festival, Johnny Depp has set a buzzy first round of cast for Modi, his first directorial effort in 25 years.
The biopic of Italian artist Amedeo Modigliani will be led by Italian star Riccardo Scamarcio (John Wick Chapter 2), Cesar Award winner Pierre Niney (Yves Saint Laurent) and screen icon Al Pacino (The Godfather).
Filming is due to get underway in Budapest this fall and the hot package is being sold at the Cannes market by The Veterans. Additional casting is underway.
Based on a play by Dennis McIntyre and adapted for the screen by Jerzy and Mary Kromolowski, the film will tell the story of the famous painter and sculptor Modigliani during his time in Paris in 1916.
The movie will chronicle the life of the Italian artist across a turbulent and eventful 48 hours which sees him on the...
The biopic of Italian artist Amedeo Modigliani will be led by Italian star Riccardo Scamarcio (John Wick Chapter 2), Cesar Award winner Pierre Niney (Yves Saint Laurent) and screen icon Al Pacino (The Godfather).
Filming is due to get underway in Budapest this fall and the hot package is being sold at the Cannes market by The Veterans. Additional casting is underway.
Based on a play by Dennis McIntyre and adapted for the screen by Jerzy and Mary Kromolowski, the film will tell the story of the famous painter and sculptor Modigliani during his time in Paris in 1916.
The movie will chronicle the life of the Italian artist across a turbulent and eventful 48 hours which sees him on the...
- 5/10/2023
- by Andreas Wiseman and Mike Fleming Jr
- Deadline Film + TV
Ashok Amritraj.s Hyde Park Entertainment and Image Nation Abu Dhabi will finance and co-produce the Arctic adventure Midnight Sun. Directed by Hugh Hudson (Chariots Of Fire, Greystoke: The Legend Of Tarzan, Lord Of The Apes), the film is from a script by Hudson and Bart Gavigan. Jake Eberts (Dances With Wolves, Gandhi) and Brando Quilici (Iceman Autopsy) will produce alongside Hyde Park Entertainment.s Ashok Amritraj (Ghost Rider: Spirit Of Vengeance 3D).
Hyde Park International will introduce the project at the upcoming Cannes Film Festival, and will represent worldwide rights. The project has already generated significant interest among buyers, including Medusa, which has purchased Italian rights, and Alliance Atlantis, which has purchased Canadian rights.
Midnight Sun is a four-quadrant family adventure film in the vein of Free Willy and Dolphin Tale, set amongst the ice fields of Northern Canada. The hero is a young boy, Luke, who defies the...
Hyde Park International will introduce the project at the upcoming Cannes Film Festival, and will represent worldwide rights. The project has already generated significant interest among buyers, including Medusa, which has purchased Italian rights, and Alliance Atlantis, which has purchased Canadian rights.
Midnight Sun is a four-quadrant family adventure film in the vein of Free Willy and Dolphin Tale, set amongst the ice fields of Northern Canada. The hero is a young boy, Luke, who defies the...
- 5/1/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Having previously tackled "The Europeans" and "The Bostonians", the Merchant/Ivory folks revisit Henry James With "The Golden Bowl", a film bearing the outfit's trademark sumptuous production values and exquisite scripting, not to mention an unnecessary long running time that, in the end, does no one any favors.
While in many ways the most literate and rewarding Merchant/Ivory production since 1993's "The Remains of the Day", this finely acted telling of James' obliquely written last completed novel isn't out of line, running time-wise, with many of their other efforts, nor does it come even close to all the three-hour-plus bloat-fests hogging this year's schedule.
But with plotting that contains more passion and less starch than a number of their previous costume dramas, "The Golden Bowl", set in England at the turn of the 20th century, could have had the potential to reach a wider audience with a few prudent snips of the pruning shears.
The setup is certainly juicy enough: Unable to accept the fact that her tryst with Italian Prince Amerigo (Jeremy Northam) is over, the lovely but slyly treacherous Charlotte Stant (Cannes "It Girl" Uma Thurman) has one last rendezvous with the cash-poor aristocrat just prior to his marriage to the sweetly naive Maggie (Kate Beckinsale), the daughter of art-collecting American billionaire Adam Verver (Nick Nolte).
Searching for a wedding present for Maggie, whom Charlotte knew from school, she takes to a guilded crystal bowl in an antique shop, but Amerigo dismisses it as flawed.
Cut to a couple of years later when we find Charlotte gladly accepting a marriage proposal from the lonely Verver, which not only secures her financial future, but, more to the point, puts her in close proximity to her new son-in-law, Amerigo.
Adding to all the potential intrigue, Maggie continues to enjoy a very close relationship with her father, and the two often prefer staying at home with Maggie's young son, leaving Charlotte and the Prince to cavort at social gatherings, convinced that their respective spouses know nothing of their resumed affair.
They prove to be mistaken.
Director James Ivory's impeccably cast and impossibly charismatic ensemble, which also includes Anjelica Huston as card-carrying confidante Fanny Assingham and James Fox as her devoted colonel husband, are uniformly splendid in their respective roles.
As usual, collaborator Ruth Prawer Jhabvala's words are sublime. Whether appropriated from James or of her own very capable hand, they have a rich significance, with inference and innuendo lurking at every turn of phrase.
Ivory's direction, meanwhile, is thoughtfully paced and painstakingly elegant, with cinematographer Tony Pierce Roberts, production designer Andrew Sanders and costume designer John Bright making their uniformly impressive contributions.
But the gold bowl isn't the only thing that proves to have a fatal crack in its otherwise opulent exterior. Despite the film's considerable merit, it all grows a little wearisome after a while, with the characters threatening to wear out their initial welcome.
In the highly detailed Merchant/Ivory universe, less could often mean more.
While in many ways the most literate and rewarding Merchant/Ivory production since 1993's "The Remains of the Day", this finely acted telling of James' obliquely written last completed novel isn't out of line, running time-wise, with many of their other efforts, nor does it come even close to all the three-hour-plus bloat-fests hogging this year's schedule.
But with plotting that contains more passion and less starch than a number of their previous costume dramas, "The Golden Bowl", set in England at the turn of the 20th century, could have had the potential to reach a wider audience with a few prudent snips of the pruning shears.
The setup is certainly juicy enough: Unable to accept the fact that her tryst with Italian Prince Amerigo (Jeremy Northam) is over, the lovely but slyly treacherous Charlotte Stant (Cannes "It Girl" Uma Thurman) has one last rendezvous with the cash-poor aristocrat just prior to his marriage to the sweetly naive Maggie (Kate Beckinsale), the daughter of art-collecting American billionaire Adam Verver (Nick Nolte).
Searching for a wedding present for Maggie, whom Charlotte knew from school, she takes to a guilded crystal bowl in an antique shop, but Amerigo dismisses it as flawed.
Cut to a couple of years later when we find Charlotte gladly accepting a marriage proposal from the lonely Verver, which not only secures her financial future, but, more to the point, puts her in close proximity to her new son-in-law, Amerigo.
Adding to all the potential intrigue, Maggie continues to enjoy a very close relationship with her father, and the two often prefer staying at home with Maggie's young son, leaving Charlotte and the Prince to cavort at social gatherings, convinced that their respective spouses know nothing of their resumed affair.
They prove to be mistaken.
Director James Ivory's impeccably cast and impossibly charismatic ensemble, which also includes Anjelica Huston as card-carrying confidante Fanny Assingham and James Fox as her devoted colonel husband, are uniformly splendid in their respective roles.
As usual, collaborator Ruth Prawer Jhabvala's words are sublime. Whether appropriated from James or of her own very capable hand, they have a rich significance, with inference and innuendo lurking at every turn of phrase.
Ivory's direction, meanwhile, is thoughtfully paced and painstakingly elegant, with cinematographer Tony Pierce Roberts, production designer Andrew Sanders and costume designer John Bright making their uniformly impressive contributions.
But the gold bowl isn't the only thing that proves to have a fatal crack in its otherwise opulent exterior. Despite the film's considerable merit, it all grows a little wearisome after a while, with the characters threatening to wear out their initial welcome.
In the highly detailed Merchant/Ivory universe, less could often mean more.
- 5/15/2000
- The Hollywood Reporter - Movie News
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