Another day, another circuitous diatribe. IndieMoviesOnline.com has revealed part two of it’s take on Cronenberg’s film adaptation of Cosmopolis. They’ve provided Cliff’s Notes (actually quite entertaining) for those not wanting to read the book. (Warning: CHOCK full of spoilers) You can read their full post HERE.
We’ve already discussed the book so I thought we could look at a few passages regarding the casting of Robert Pattinson. Yeah, I’m feeling feisty.
It is easy to discern what Pattinson hopes to gain from the endeavour. Just as the day-long journey of Eric Packer can be seen as that of a God falling from the sterile sanctuary of Mount Olympus, to the dirty streets below where he is free to love and steal and kill with all the other humans, so Pattinson clearly wants to scrub himself of the stifling sheen of teen exaltation, and instead have the opportunities to make the kind of movies he wants to make.
True. Good point. Many actors prefer a diverse career.
Water for Elephants appears a bridging picture in that process, a movie that won’t startle his core fans but will perhaps hook in a slightly older crowd than that which flocks to the Twilight films. The collaboration with an internationally-respected director such as Cronenberg then forms another facet of that process – one that can, he will surely be hoping, bolster his credibility in the eyes of critics and those film fans who have given him such a hard time to date. Those film fans being, as we determined yesterday, precisely the kind of auteurists who bow down and worship at the knee of Cronenberg.
Sounds smart to me.
Apparently happy to berth in these waters where large numbers of people actually see his movies, Cronenberg would first appear to have bolstered the box office potential of Cosmopolis via the addition of Pattinson. For all the good notices and attention he has received over the years, there remains a question mark over the ability of Farrell to open a film, with Alexander and Miami Vice having proved a pair of expensive, highly-visible, disappointments. Indeed, there has been some suggestion that it was the Irishman’s desire to prove his commercial virility which led him to pass on Cosmopolis in favour of the Total Recall remake.
However what Cronenberg does get through the casting of Pattinson – and what he wouldn’t have got had Farrell not exited – is the ideal movie star embodiment of Eric Packer. Because while the Pattinson devotees might present him as a throwback to vintage teen icons (both James Dean and Holden Caulfield have been regularly invoked in connection with Remember Me), he is in truth as much a 21st century man as DeLillo’s boyish billionaire.
This is my favourite part because he’s talking about US!
As Packer tames the torrents of information coursing through the Manhattan (and beyond) of the new millennium, making monster loot via his understanding of the financial maelstrom, so too Pattinson exists – to an extent – within these torrents, with his extraordinary following built from the ability of his fans to form an epic network trading specifically in information about him. Both have achieved preternatural success at a youthful age, both live in a world that wants a piece of them, and given the abnormal manner in which others relate to them both could be forgiven for considering themselves a near-deity on Earth.
But Rob doesn’t so… after A LOT of snark (Captain Jawline? Really?) we have a fairly positive reaction to Robert Pattinson’s casting. I believe the moral of the story is ‘Don’t Doubt Cronenberg’. 🙂