The Formation of Filmography in Paul Bettany.

Jose here.




To celebrate Darwin Day (yeah I know, it's a new holiday for me too) I took in a viewing of Creation, Jon Amiel's film where Paul Bettany stars as legendary scientist Charles Darwin and Jennifer Connelly plays his wife.

Remember a time when both him and Connelly were awards prospects for this movie? And how it all fell apart in Toronto, sending the poor film to a late January release-the Glacial Age of the cinematic planet-where it has earned exactly $148,742 (did anyone else see it?).

Before getting into debates whether the movie is good or not (it's not by the way) my mind drifted somewhere else and I began to ponder on something that interested me more: the evolution of Paul Bettany's career.

Let's take a peek:

2001 - A Knight's Tale and A Beautiful Mind
Scene stealing as Geoffrey Chaucer in the former and fascinating as an imaginary friend in the Oscar winning biopic Mind, his career began to show promise of great supporting parts.

2003 - Master and Commander: the Far Side of the World and Dogville
He played sense to Russell Crowe's sensibility in the critically acclaimed Master, his character there, if you ask me, does much more in a few scenes to evoke Darwinian passion within reason than all of Creation does in two hours, he also gave up a serial killer role in Red Dragon to play another troubled intellectual in Lars von Trier's controversial work of art (where he was second best, after Nicole Kidman of course). Oh he also married Jennifer Connelly this year. (Did he peak in 03?)

2004-2006 - Wimbledon, Firewall and The DaVinci Code
He really wanted to play a psycho serial killer apparently and did so re-teaming with Ron Howard in the blockbuster DaVinci Code.

2008-2010 - Iron Man, Inkheart, The Young Victoria, Creation, and Legion
He was in one of the decade's most surprising blockbusters but only doing voice work (he's Robert Downey Jr.'s robotic assistant) and kept on playing small roles in an array of bad fantasy epics, tiresome costume dramas and polished his abs to play another spiritual figure in Legion.

But other than the promise of being one of the most exciting actors in the world he has practically become extinct. What do you think is going on with his career? Can he pick up where he left almost ten years ago?

Re: Creation

Dave here, with a bit of a sneak peek of sorts. Conveniently enough, news came today that Charles Darwin biopic Creation, which had been said to be without a distributor, has been picked up by Newmarket for a December release in the US - a company that, as everyone and their mother has already pointed out, is most famous for releasing The Passion of the Christ. A December release suggests they're going for the awards on this one - but hold your horses. The British release date was today, and, like a good little film scholar, I went along to the first screening at my cinema to check it out.

Of course awards don't necessarily equal quality all of the time, and vice versa, so for all I know Creation could still be in with some kind of shot, but on initial impressions it looks doubtful. It's a competent, polished production, but that's about the best I can say for it. It's a bit dry. It's generally unilluminating. It's slightly cloying. Most of all, it seems rather misguided. It was no surprise to learn, as the credits rolled up, that it was based on a book called 'Annie's Box' by Randal Keyes (Darwin's great-great grandson). For the film, posited in the trailers as mainly a religion versus evolution debate filtered through Darwin and his wife Emma, is actually mainly concerned with the spectre of the Darwins' dead daughter Annie. This adds very little to the subject at hand, and the only thing that stops this dominating aspect of the film from being a complete disaster is the charming performance from young Martha West (daughter of The Wire's Dominic West, trivia fiends).

Ariane Sherine's recent article in The Guardian points out the film's Hollywoodized flaws but is ultimately full of praise for the fact that it "contains one of the most robust defences of atheism and agnosticism ever to appear in a mainstream film". It has to be said that the parts of the film that draw most strongly on this are the film's more interesting passages. Jennifer Connelly, as ever, has little to do but cry and look pained (please, for the love of Darwin, someone give her something different to do), and Sherine perhaps goes a bit too far when she suggests that "Emma is a complex yet ultimately sympathetic God-botherer", but the struggle between Emma and her husband still provides the more intriguing drama here. Not hard, since the effect of Darwin's work on the society it was released into isn't explored at all (the film sticks closely to the Darwin family), and even the work itself is just about skimmed-over. It's a film that tackles both religion and perhaps the most important scientific document ever written, but without really looking them in the face. In the grand old Hollywood tradition, it's easier, and less controversial, to filter it through slightly histrionic familial drama. Throughout, there's that niggling thought that the topic should be tackled with more guts, more impact. But, in the end, they need it to sell.

But enough ranting against the industry. This is an Oscar-obsessive's blog, so my final words will be on that subject. Beyond Christopher Young's immensely classical score (so much so I wondered if it weren't simply selections from the 19th Century), I'd say any hopes here rest with Paul Bettany. He's really quite good, and it's fantastic to see him back in a role that demands from him, and, moreover, that he delivers in. Darwin's struggle between a lingering faith, his love for his religious wife and his conviction in his revolutionary work seems more delicately painted thanks to Bettany's subtle, shifting performance. You understand Darwin, you like him, and most importantly you sympathize with his dilemma - and this is from a person coming at it as probably more of an atheist than Darwin himself was. Bettany's natural chemistry with real-life spouse Connelly, and the charming rapport with Martha West, make the drama believable, and the time passes in a pleasant way, but there's nothing remarkable, nothing memorable about this. It just exists.

5 From 'Txt Critic' at TIFF: Antichrist, Jennifer's Body, Creation, The Trotsky and The Informant!

My texting friend who you've heard from a few times, exiting screenings with sudden opinions flying from his fingertips, just got back from Toronto. Yes, everyone was there but you and I. Txt Critic was only there half the time but saw as many films as I did last time and I stayed for the whole damn thing. They must have kept his eyes open with toothpicks like something out of A Clockwork Orange, only more voluntary-like. Here's part 1 of his capsule takes...

on Antichrist

This is the rare case where I think having the entire film spoiled for me prior to seeing it was actually a good thing. Ever since Cannes, I’d heard explicit reports -- ad nauseam -- of all the “shocking” content, and aghast reactions, on behalf of Lars Von Trier’s latest. It's about a couple’s ... let’s say ‘unconventional’... response to the death of their toddler. While it’s not generally a good thing to have prominent sequences described to you before you see a film, here, having heard all the descriptions of [semi spoilers ahead] scenes involving self-inflicted mutilation, scissors, talking animals, etc. [/end spoilers] allowed me to look beyond the artifice and see the film for its emotional content, and Von Trier’s warped, fascinating ideas. Whether you’ve been spoiled or not, it’s a film that only gets richer upon repeat viewings, and gets more and more interesting the more you discuss it. (B+)

on Jennifer's Body

Okay, so clearly I’m alone on this one. I thought this Diablo Cody scripted horror comedy was a lot of fun. It’s not scary in the least but there’s an awful lot of funny dialogue, knowing silliness, good gore (for those who like that stuff) and a soullessness from Megan Fox that's actually appropriate for once. To top it off, the proceedings are imbued with a playfulness that toys with (and subverts) teen movie conventions (including some startlingly upfront sexuality), and is clearly made by someone with a passion for horror films.


It’s not a great movie but it’s also not a retread. I wish people would back off a bit in regards to attacking Ms. Cody; I get that when an (arguably) not-great screenplay wins an Oscar it’s an affront to film aficionados, but shouldn’t she get some credit purely on the basis of following up an Oscar win with a horror flick, let alone a fairly smart, entertaining one? (B)

on Creation

There were times during this 100 minute ordeal that I actually started to wish that Charles Darwin (played here by Paul Bettany) had never been born so I wouldn’t have had to sit through this movie inspired by his life. I exaggerate but this is really one slog of a film, more dull and interminable than even a straightforward biopic might have been. Focused almost entirely on (a) Darwin’s decision to publish "The Origin of Species" in the face of his wife’s (Jennifer Connelly) religiosity, and (b) the Darwin's reaction to the death of their child, Creation offers almost nothing of substance about Darwin’s actual ideas, nor the complexities of his character or emotions. It’s mostly just the renowned central figure weeping over his dead daughter and going on numerous doctors’ visits for his long list of ailments. The title is misleading as it seems to imply too much focus on his originally controversial ideas. While this is the kind of tedious, inert historical drama that used to be catnip for the Academy, I can’t see many staying awake all the way through to see anything worth rewarding. (C-)

on The Trotsky

At long last, a star vehicle for the gawky Jay Baruchel best known for headlining “Undeclared” and bit parts in Tropic Thunder and Knocked Up. Writer-director Jacob Tierney casts the Canadian native in the role of the Leon, a high school senior who considers himself the reincarnation of the titular figure. Leon seems deadset on fighting every supposed authority figure he can (he stages a hunger strike at his father’s factory in the opening sequence). Mixing Trotsky/Stalin/etcetera in-jokes with broad sweeping Napoleon Dynamite quirk and power to the disenfranchised story beats, the film may have a limited audience (the plethora of Montreal jokes makes it unclear how it would be received outside of Canada). But it’s frequently funny and manages to not drag even though it’s too long (nearly two hours) for its somewhat thin premise. Schneider shows legitimate directorial finesse. (B)

on The Informant!

Despite the starring presence of Matt Damon and a heavily-marketed nationwide release by Warner Bros., this supremely entertaining 'based on a true story' project -- the latest from Steven Soderbergh -- is a much odder (and also more delightful) film than I was a expecting, and not simply for playing what is essentially a thriller premise as a jaunty comedy. While it’s more strangely amusing and witty than laugh-out-loud funny, Soderbergh makes a boatload of strange decisions (such as shooting this 90s-set story in a style of a 70s throwback, and utilizing a Marvin Hamlisch score that seems better suited for a Doris Day vehicle) that, almost inexplicably, work perfectly. They all contribute towards creating an experience that may throw some people, but is sure to engender itself as a DVD favorite for those who like their eccentric quirk at a lower volume. The story itself only gets more compelling as it unravels, slowly eking out details that reveal why the filmmaker felt comedy was the more suitable genre for the material. It's all sold by an utterly fantastic performance , at once broad and understated, by Matt Damon. He appears in every scene and he certainly deserves -- and in this weak year, just might get -- an Oscar nomination. (A-)

So there you have it. A lot to consider. And that's only about a day's worth of screenings. When he closes his eyes, he's probably still seeing shadows of flickering images.
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Red Carpet: Venice, Toronto and Tilda x 7

Which stars have been out and about this past week? Whole galaxies of them. I've collected a few randomly for this edition of the red carpet lineup. It's but a tiny fraction of the luminaries since we're now in the thick of festival season. Telluride is behind us, Venice wraps today, and Toronto just kicked off. And that's just the big ones.


Nicholas Hoult and Julianne Moore hit Venice for the premiere of A Single Man (see previous post). An Education's Carey Mulligan, quickly emerging as the one to beat for Best Actress, is going to be fought over fiercely when it comes to dressing for the Oscars, just watch. She wore this Prada 09 Fall/Winter collection piece for her film's Toronto premiere. Oscar winner Jennifer Connelly and her perpetually Oscar snubbed husband Paul Bettany were also in Toronto promoting the Charles Darwin biography / marital drama Creation.

Finally, Venice had the cast of the sci-fi drama Mr. Nobody starring Jared Leto as a 120 year-old man. And, what do you know, Sarah Polley came. Polley sightings are exciting since she's not exactly a red carpet staple. But --and it feels so weird to say this given my actress predilections -- I'd rather she get back behind the camera very soon as a writer/director. Away From Her was just fine filmmaking.

What else ya got, Sarah?

Little Know Fact: In late May of 1960 all of the world's major film festivals met for a wild orgy at Cannes. Just as La Dolce Vita was handed the Palme D'Or, Tilda Swinton was conceived. Cannes herself, heavy with child, fled to England and gave birth to Tilda not five months later (everything happens quickly at festivals). It's totally true! For Tilda is the film festival anthropomorphized: the rush of celebrity, the discovery of the exotic, the air of the international and the thrill of the avant garde. Festivals just don't feel complete without her, do they?

She was all over Venice last week (I've repurposed the photos from Zimbio). Witness...

Tilda's Venice palette: baggy black (a la 07 Oscars), earth tones, white.

I wonder if she'll show up in Toronto? While in Venice, she was promoting Lo Sono L'Amore, an Italian drama. Longtime Swintonites should note that a reunion with her Teknolust director is currently in development. It's called Gene to the Fourth and the actress would play a woman seeking eternal life through scientific experiments. But first, and as early as April, Swinton is set to go before the cameras as Die Blutgräfin (The Blood Countess). Yes, that's the same vampiric Hungarian role that Julie Delpy played in the unreleased film The Countess, a film I'm starting to feel I'll never have the opportunity to see.
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The Descent Of Man's Hairdos (And The Lack Thereof)

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JA from MNPP here. The picture on the left is Paul Bettany walking the streets of New York (no, not Walking The Streets; just walking on the street) yesterday (via) and looking delicious; the picture on the right is Bettany on the set of the movie for which he's shaved his head, Creation, in which he plays Charles Darwin (via) - co-starring his wife Jennifer Connolly as Darwin's wife and obviously coming soon to an Oscar campaign for 2009 near you!

I suppose Charles Darwin wasn't much of a dish, but Paul Bettany certainly is, and it wouldn't be the first time they sexed up a biopic role with an actor prettier than the person being bio-picked was. So why must he wear that matted mange on his head in the movie when he looks so pretty without in on the street? Bald can be beautiful, Hollywood.

So I guess what I'm saying here is,
I want a sexy Charles Darwin dammit!
It's survival of the hottest, y'all!

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