Josh Hartnett Forum

Информация о пользователе

Привет, Гость! Войдите или зарегистрируйтесь.

Вы здесь » Josh Hartnett Forum » Фильмы. Movies » Человек дождя (Спектакль) / Rain Man (Performance)

Человек дождя (Спектакль) / Rain Man (Performance)

Сообщений 1 страница 30 из 156


Are we ready for a new Rain Man?  /  Готовы ли мы к новому "Человеку дождя?

Last Updated: 12:01am BST 27/08/2008
Jasper Rees meets Josh Hartnett and Adam Godley, the actors stepping into famous shoes in a stage version of the film
There was a period in the 1980s when male actors portraying some form of disability could start writing their Oscar acceptance speech the minute they were cast. Dustin Hoffman may have based his performance as an autistic savant in Rain Man on close study of two men with the condition, but some critics still thought he was just chewing the furniture. "A piece of wet kitsch," wrote Pauline Kael in The New Yorker.

But the majority of audiences were swayed by a chamber movie concerning a cash-strapped young car dealer who finds his inner carer when, to seize his inheritance, he kidnaps to his long-lost autistic older brother. The film now joins the gravy train of Hollywood properties migrating to the stage.
Surprisingly, it wasn't the Hoffman role of Raymond that was cast first. Josh Hartnett, making his professional stage debut in the role originated by Tom Cruise, brings an authentic whiff of Tinseltown as Charlie. As Raymond, the British theatre actor Adam Godley is lankily dissimilar from his predecessor. As two actors from very different traditions prepare to step into such illustrious shoes, should the audience be going, "Uh-oh"? Or might they even surpass the original?
Jasper Rees: These two roles have only been played by incredibly well-known actors whose performances will for the most part be strongly remembered by those coming to see the play. Is it easy to carve out your own space?
Josh Hartnett: My job is to not pay attention to what Tom Cruise did with the role in a similar way that Adam's is not to pay attention to what Dustin did. Is it going to be better? I'm not even thinking about that. The film came out in '88, right? I was 10. I've seen it twice in the last 20 years.
Adam Godley: I saw it when it came out and I have a sort of impressionistic memory of it. That's it. I want to find my Raymond and it's just not helpful to have that input from someone else's performance. Certain other people have quoted them to me but Dustin Hoffman's delivery of certain lines genuinely isn't in my consciousness. So I don't hear that voice. The job for me is to find the autistic savant version of Adam Godley. He's definitely in there.
JH: Our Charlie is early thirties. In the film he was 25, I believe. The difference between those two ages is pretty intense. We can create a character that's maybe a bit more extreme and not as malleable and it's going to be a more difficult journey to flip him by the end.
JR: You play two long-lost brothers who are suddenly thrown together. Was it helpful that until the day before rehearsals all your communication was by phone?
AG It didn't matter to me. If you're working with people you don't know, you have to take it on trust. It could all go down the pan tomorrow. We had this conversation about not being polite with each other. You just need to know that you're working with people that you can go anywhere with and that's hard if you've never met them. That's why we felt the need to at least touch base before we started working together.
JH: We didn't have an incredible amount of time to talk. We just got a sense of each other. We talked about how we would relate as characters.
JR: There has been a huge rise in the number of films making their way on to the stage in recent years. Did that figure in your decision to do the play?
JH: The last time I did theatre was The Threepenny Opera at theatre school. I decided if I was going to come in, which I've wanted to do for a long time, I wasn't going to dip my finger in the water. It wasn't an easy decision to make. If Rain Man had been pinned to the board as one of a million options of plays to do, I probably wouldn't have looked twice at it. I thought, why would I even read this? When I read the script I realised that this role is incredibly complex, it's going to take everything I have and that's what I'm looking for. I would be lying to myself if I didn't think this was the best role I've looked at in a while.
AG: It doesn't matter to me where the play has come from. It could come from a comic strip or the back of a packet of cornflakes. Is it an interesting story? And it is. It makes sense from a commercial point of view. There is name recognition for something which is going to get people into a theatre. And there is no point in putting on plays if there's nobody there.
JR: So what makes this narrative theatrical?
JH: It's a story that can be told in a few scenes. The film had long scenes that didn't travel much, and very few characters. We don't have anybody cranking out a backdrop that will show the American landscape going by, so we had to eliminate the car. If the play had left out a lot and wasn't satisfying on its own, then there would be no reason to do it. Also Charlie is allowed to swear a hell of a lot more.
JR: The film played a significant role in putting autism in the public consciousness. How much preparation has it been necessary to do? And have you been troubled by the suggestion that the film offered a soft-focus portrayal of a condition which for the most part does not give its sufferers a gift for winning at Las Vegas?
JH: I know a good amount about it because I played a man with Asperger's in the movie Mozart and the Whale. It's about a real couple and I spent a lot of time with them. Also I read everything I could lay my hands on. So I know too much to play Charlie. It's been an act of unlearning for me. This guy I played actually diagnosed himself after he saw Rain Man. He is similarly adept at working with numbers and has a lot of social challenges. He just went to see a doctor and from there on his life changed because he had a definition.
AG: I'm starting from a place of ignorance and have a slightly generalised view of what autism is. I read as much as I could, saw every documentary I could, and we have had access to an assisted living facility for adults with autism. It's a process of acquiring as much sensory imagery so that I can then draw on that as and when I need it. You start to realise that there is no one version of autism. Which gives me huge licence. There's a balancing act between rigid reality and the needs of our drama. Is the drama exploiting autism? Is it sexing it up? I don't feel it is at all. It's a bloody good challenge to explore somebody who experiences the world differently to the way we do.
•  'Rain Man' opens tomorrow at the Apollo Theatre, Shaftesbury Avenue. Tickets: 0870 890 1101



Завтра , 28 августа, премьера  спектакля "Человек дождя!!! :flag:
London Forecasts Rain on Thursday

The eagerly anticipated London production of Rain Man opens for previews at the Apollo Theatre this Thursday and Show and Stay® for one cannot wait to see how this Oscar-winning film transposes to the stage.

Marking Josh Hartnett's West End debut, the stage production of Rain Man has created a frenzy of media attention since announcing its West End run earlier this year. Directed by Terry Johnson (after previous director David Grindley had to pull out due to family circumstances) Rain Man promises to be every inch as good as the 1988 film that confirmed a legion of fans.

'Charlie Babbit' (Josh Hartnett) is an LA car salesman who, after the death of his estranged father, realises that his $3 million inheritance is to be left to 'Raymond Babbit' (Adam Godley), the brother he never knew he had. Severely autistic, 'Raymond' has spent most of his life in an institution. Desperate to get his hands on the money 'Charlie' kidnaps his brother and together they embark upon a journey; a journey that uncovers the redemptive powers of unconditional love and a world beyond the gates of the institution.

As always Show and Stay will keep you posted on all the latest West End developments, so keep checking back for up to date news and information. Tickets are still available for Rain Man at the Apollo Theatre but are selling fast. Don't forget that with Show and Stay you can package your tickets with a London hotel stay and make a real weekend of it.



Людмила написал(а):

Завтра , 28 августа, премьера  спектакля "Человек дождя!!!

Буду очень волноватся за Джоша , все таки премьера!


I´m so excited for Josh tomorrow *sigh*


Людмила написал(а):

Завтра , 28 августа, премьера  спектакля "Человек дождя!!!

Интересно, как все прошло?


фотка в первом посте просто бомбовая!!!  :cool:  :cool:  :cool:
надеюсь, премьера прошла успешно и скоро появятся первые рецензии... держим кулаки!


Everydika написал(а):

фотка в первом посте просто бомбовая!!!

фотка прелестная ! Джош и Адам - два брата)))улыбки  братские)))из спектакля 

Премъерный показ состоялся, но выход  спектакля "Человек дождя" для широкой публики переносится с 9 сентября на 19 сентября!!! Пишут, что это связано с заменой режиссера, о чем мы читали,  пишут, что предоставляют возможность новому режиссеру   лучше подготовится к выходу спектакля. o.O
Hartnett Rain Man Postpones Opening by Ten Days
Following a last-minute change of director during rehearsals last month (See News, 11 Aug 2008), the press night for Rain Man has been postponed by ten days. The stage adaptation of the 1988 Oscar-winning film, in which Hollywood screen star Josh Hartnett (pictured) makes his West End debut (See News, 1 Jul 2008), has been previewing since 28 August 2008 and was due to open on 9 September. It will now have its press performance on 19 September and will continue for a limited season to 20 December.

A spokeswoman told that producers have opted for the later opening to allow the new director, Terry Johnson, more time and to give the new play “the best possible start”. Johnson took over after original director David Grindley stepped down.

In the premiere production, Josh Hartnett is Charlie Babbitt, played on screen by Tom Cruise, with Adam Godley as Raymond, the part for which Dustin Hoffman won a Best Actor Oscar. Raymond is the elder brother Charlie never knew he had, an autistic savant who’s been hidden away in an institution for most of his life. When Raymond is released into Charlie’s care, Charlie harnesses Raymond’s genius to save his business and the brothers embark on a rollercoaster journey beyond the hospital gates.

The full cast of Rain Man also features Colin Stinton and Mary Stockley as Susan, as well as Charles Daish and Tilly Blackwood.

Rain Man is adapted by Dan Gordon and designed by Jonathan Fensom, with lighting by Jason Taylor. It’s produced by Nica Burns, Jane Walmsley, Michael Braham and Max Weitzenhoffer in association with MGM On Stage, Darcie Denker and Dean Stolber. Barry Morrow, the creator of the original film, based the character of Raymond on a real-life savant called Kim Peek, now in his 50s, who’s been the subject of TV documentaries and medical studies. The film won four Academy Awards in total, including Best Picture.



Людмила написал(а):

Премъерный показ состоялся, но выход  спектакля "Человек дождя" для широкой публики переносится с 9 сентября на 19 сентября!!!

я не могу понять.... спектакль ведь уже идет? или что это было?


Ну... как объясняют банниз на фанхосте, там типа так: есть т.н. открытие, это когда приглашают прессу, устраивают пресс-конференцию... помимо спектакля! Т.е. премьера уже прошла, а "открытие" планировалось на 9 сентября. Теперь 9 сентября будет просто спектакль, а вся официальная церемония и шумиха, после которой нас завалят статьями, фотографиями и интервью, будет 19... Я не знаю, почему так  :dontknow:


Miaow написал(а):

Теперь 9 сентября будет просто спектакль, а вся официальная церемония и шумиха, после которой нас завалят статьями, фотографиями и интервью, будет 19... Я не знаю, почему так

странно...зачем так делать? за время до 19 сентября, что, журналистам и критикам нельзя посещать спектакль?бред :huh:




Miaow написал(а):

Теперь 9 сентября будет просто спектакль, а вся официальная церемония и шумиха, после которой нас завалят статьями, фотографиями и интервью, будет 19...

дивная ситуация... раз банниз попали на премьеру 28-го значит, туда и другие зрители допускаются? т.е. смотреть можно, но шумиха откладывается... забавно  :rofl:


Everydika написал(а):

раз банниз попали на премьеру 28-го значит, туда и другие зрители допускаются?

Ну да, премьера уже прошла, самое что интересное!!!  :D Но куда ж без шумихи??? Тут библиотека, все дела....  ^^


Небольшой комментарий, почему перенесли "открытие"
JOSH HARTNETT's West End debut in the stage adaptation of RAIN MAN has been delayed.
The Hollywood actor was due to begin his stint at the Apollo Theatre in London on Tuesday (02Sep08), starring in the new play based on the 1988 Dustin Hoffman and Tom Cruise film.
But the opening night has now been pushed back until the following week (beg08Sep08) because director Terry Johnson insists the play is not quite ready.
A spokesman says, "It is a new play so everyone wants it to be perfect. Terry wants to get to grips with everything before we open."


НА эту же тему, только более подробно :  :flag:

Rain Man postpones London premiere
Rain Man, the stage adaptation of the hit 1980s film, has pushed back the date of its world premiere at London’s Apollo theatre. The drama will now open on Friday 19 September, ten days later than originally planned.

The move comes following a disrupted rehearsal period for the new play, which stars Josh Hartnett and Adam Godley. Original director David Grindley chose to leave the production for family reasons, being replaced at short notice by Terry Johnson.

Speaking about the decision to delay the press night, Rain Man producer Nica Burns said: “We are delighted that the first two previews went well to audiences from as far a field as Australia and Los Angeles. However we lost a week of rehearsal at the beginning of the process. As it is a new play we are continuing to refine it as is usual. Therefore the press night date has changed to the only night available in the very full autumn schedule, which is Friday 19th.”

Rain Man, adapted for the stage by Dan Gordon, is based on the Oscar-winning MGM movie starring Tom Cruise and Dustin Hoffman as brothers Charlie and Raymond Babbitt.

Charlie, played on stage by Hartnett, is a self-centred Los Angeles-based car dealer and hustler. Relationships are not his forte and love is quite outside his experience. Raymond (Godley) is the elder brother Charlie never knew he had, an autistic savant who has been hidden away in an institution for most of his adult life. Raymond is dysfunctional in many senses, but – as Charlie discovers – he is also touched with a kind of stellar genius which Charlie harnesses to save his business. Together, the two brothers embark on a journey which shows Raymond a world beyond the hospital gates and Charlie the meaning of unconditional love.

Hollywood leading man Hartnett will make his West End debut when Rain Man opens. Better known for his movies, his silver screen credits include Pearl Harbour, Black Hawk Down and The Black Dahlia.

Godley, by contrast, has an impressive list of London credits including appearances in The Pillowman, Paul, Cleo Camping Emmanuelle And Dick, and Mouth To Mouth.

Speaking to Official London Theatre recently about Rain Man’s change of director, Godley said: “We’ve just carried on rehearsing really seamlessly. It didn’t ripple the waters or mean any change of direction. Terry’s been terrific; he’s great in those situations. We’re very very lucky to have him.”



как это пьеса не готова, когда ее уже показывают? странные люди, чесслово...


Интригующие подробности!!!! или  предположения???   o.O 
THIS is why Rain stopped play

I've been mightily amused over the stories about the West End stage version of Rain Man being delayed because director David Grindley had to withdraw for family reasons and replacement Terry Johnson needed more time because it's a new play.

Hogwash, people, hogwash. Rain Man was in trouble because of bad behaviour, not because the director's family was under the weather.

Mr Grindley left the production because the play's star Josh Hartnett insisted he do so.

Hartnett, who I've always liked, just didn't get on with Grindley and said either Grindley went, or he would walk.

How could such a thing come about?

Hartnett would have received approval over who was directing and what's not to like about Grindley?

All he demands is that his actors know their lines and how to act.

Let's hope Mr Johnson can get the show on the boards by opening night  -  now September 19  -  and keep his credit in the programme.

Взяла здесь


Людмила написал(а):

Mr Grindley left the production because the play's star Josh Hartnett insisted he do so.
Hartnett, who I've always liked, just didn't get on with Grindley and said either Grindley went, or he would walk.

ОГО!!!!  :O Чем Джошику не угодил этот Гриндли, хотелось бы знать??? Но я не осуждаю Джоша. Ему его "звёздный" статус достался потом и долгой работой, и он теперь имеет право выбирать, с кем работать, с кем - нет, и к его мнению всё-таки должны прислушиваться его коллеги, т.к. именно на Хартнетте весь этот спектакль, шумиха вокруг него и денежные сборы!!! А то бы остались сидеть с полупустыми залами...  :glasses:


All eyes on Hartnett as Rain Man delayed
Rain play delayed

The official opening of Rain Man, a stage adaptation of the 1988 movie, has been delayed in order to squeeze in more rehearsals. Director David Grindley withdrew from the production last month for family reasons and was replaced by Royal Court regular Terry Johnson. It was hoped that the switch wouldn't affect the production schedule, but the press night has now slipped back 10 days to September 19 2008.

Hollywood star Josh Hartnett is making his West End debut in the Tom Cruise role as a smug LA wide boy struggling to develop a relationship with his autistic brother (an Oscar-winning Dustin Hoffman on screen; Adam Godley in the new Apollo theatre production).

According to the Daily Mirror, it looks like Hartnett's debut may be upstaged by a "romp with a mystery girl" in a Soho hotel library. The paper reports that the incident was witnessed by hotel workers and caught on CCTV, so if it ends up online Hartnett's offstage performance may well win bigger audiences than the Apollo production.



Очень сомневаюсь, что Джош настаивал на смене режиссера - это настолько не в его стиле... будь он хоть трижды Бред Питт по популярности, это просто не в его характере.... думаю, традиционно гонят.... либо режиссер сам не захотел работать... в общем, не знаю, что, но я буду последней, кто поверит, что Джош выпер режиссера  :huh:


Людмила написал(а):

В статье,что посылаю, тоже так: поди проверь, действительно ли это слова Джоша?

ну в это я уже более склонна поверить, т.к. это в стиле Джоша... да и вобще, я сама такая, тревожно-мнительная)))


Меня уже с  утра  колотит))) сегодня решающий спектакль!!!
Rain Man, with Josh Hartnett and Adam Godley, Opens in London Sept. 19

The stage version of the 1988 Oscar-winning film "Rain Man," which began performances at the West End's Apollo Theatre Aug. 28, officially opens at the London venue Sept. 19.

Rain Man had been scheduled to open Sept. 9, but that date was pushed back ten days. The postponement followed the replacement of original director David Grindley during early rehearsals, whose duties were taken over by director/playwright Terry Johnson. The later opening was determined so that Johnson had more time to give the play what a production spokesperson called "the best possible start." In a recent press statement, producer Nica Burns said, "We are delighted that the first two previews went well to audiences from as far a field as Australia and Los Angeles. However we lost a week of rehearsal at the beginning of the process. As it is a new play we are continuing to refine it as is usual. Therefore the press night date has changed and the only night available in the very full autumn schedule was Friday [Sept.] 19th."


Всю статью  не стала цитировать, остальное мы читали уже тысячу раз :)


Людмила написал(а):

сегодня решающий спектакль!!!

Да!!! Действительно, пожелаем Джошику УДАЧИ!!! эх, надо ему в "Open Letter" написать...  :idea:


Miaow написал(а):

эх, надо ему в "Open Letter" написать...

кстати я примерный текст моего письма уже придумала , надо бы помочь с переводом !


Первые отзывы критиков: Джоша не ругают . Хвалят Годли. У Джоша опять больное горло. Если в целом, то  спектакль удался! Вышел не хуже оскароносного фильма!

Rainman at the Apollo, SW1
Man of memories is simply unforgettable

September 20, 2008
Benedict Nightingale

What, yet another movie transposed to the stage, as if to say that there aren’t enough original plays to keep our actors happy? But, though Dan Gordon’s adaptation doesn’t add anything to Barry Levinson’s film, there’s one good reason for seeing it. That’s not the Hollywood star Josh Hartnett, though in many ways he’s as strong as Tom Cruise on the screen. It’s the British actor Adam Godley, who more than matches Dustin Hoffman’s Oscar-winning performance in 1988.

At root this is simply a feelgood variation on two well-worn genres, road and buddy movies. Hartnett’s Charlie, a cool, fly car salesman on the brink of bankruptcy, discovers that his estranged father has willed his millions to Godley’s Raymond, the autistic sibling he never knew he had. So he abducts his brother from the Cincinnati sanitorium where he has been closeted for aeons and, since the young man refuses to fly with him to LA, drives him there via Las Vegas.

Since Raymond is a savant, with a lightning memory for everything including cards, the casinos stand no chance. In an episode that is too cursory and, anyway, occurs offstage, the men make a killing before reappearing for a psychiatric assessment in LA. I won’t reveal what happens when the once-cynical Charlie finds himself protecting Raymond from the shrinks, except that the ending is less clear but also less sentimental than in the film.

Hartnett’s problem isn’t that he lacks the casual egoism his role demands or overdoes the warmth he begins to feel for Raymond. It’s that his admirable energy has an unfortunate side-effect.

It’s as if he were fuelled by high-octane petrol, revving up his vocal cords so that, especially at first, words flash by like clusters of racing cars dangerously tailgating each other. Terry Johnson, who directs, should help him to slow down and unjam this verbal grand prix.

But he should do nothing to change Godley. With his spindly, bent body, his gawky shuffle, his wizened, frowning face, his fits of hand-fluttering panic and long moments of utter stillness, Godley’s Raymond looks far more the victim of long-term damage than Hoffman. He sounds that way, too, half-bleating his refrain of “don’t know”. You never doubt that he is as cut off as a hermit on an iceberg. It is sometimes funny, often touching and always distressing.

The original script has been updated, so that Raymond cites 9/11 as the reason he won’t fly United and can tell you the day and time when Oprah Winfrey will be deciding whether anorexia is “an eating disorder or a lifetime choice”. But that’s incidental. What matters is that you leave the Apollo feeling the pain and poignancy of an affliction as intransigent in 2008 as it was in 1988.



Ещё одна рецензия. Более негативная. Неизменно одно- хвалят Адама Годли.
Rain Man
Michael Billington
The Guardian,
     Saturday September 20 2008

What is the point in adapting movies for the stage in the age of the DVD? But, even by the lowly standards of a genre that includes Terry Johnson's The Graduate, Dan Gordon's version of Barry Morrow's 1988 screenplay strikes me as thin stuff. It manages to take a movie that Anthony Lane accurately described as "rancid corn" and somehow make it even cornier.

Gordon, in his journeyman fashion, sticks reasonably close to the outline of the movie. Once again we see the shocked discovery by Charlie Babbitt, a hustling car-dealer on the skids, that he has an autistic savant brother, Raymond, who stands to inherit their father's fortune, a cool $12m. Abducting Raymond from a care home, Charlie takes his brother on a road journey to Los Angeles where he hopes a court will award him his share of the dough. But, in the course of their bumpy ride, Charlie learns to love his brother and ends up a wiser and better man.

The film, however, had two advantages. It gave us, in typical road-movie fashion, a vision of the American landscape. It also, through Tom Cruise's under-rated performance, showed Charlie to be a total shit-heel almost as incapable of real communication as his brother. But Gordon's adaptation plays down both Charlie's financial desperation and deep unpleasantness. Josh Hartnett, a rising American movie-star, is perfectly competent as Charlie. He has, however, little chance to show the character's hard-edged, neurotic frenzy since, well before the interval, his affection for his lost sibling has materialised. The struggle for redemption is over before it has begun.

The showcase role is that of Raymond, which won Dustin Hoffman an inevitable Oscar and which Adam Godley inhabits with comparable finesse. He conveys Raymond's dependence on routine and habit with subtle skill and fills his performance with expressive detail: one notices the way his hands trace the outline of a menu as if in search of security. But, while Godley is a fine actor, the play goes even further than the film in equating autism with genius: in a tiny but instructive example Raymond memorises a phone directory in a single night, not just A to G but up to J as well.

Terry Johnson directs competently, and Jonathan Fensom's design even echoes the dimensions of a movie screen. But it is still a manipulative story which does less than the programme-notes to enhance our understanding of autism. Given its dependence on a movie original, the play also, unlike the fortune-sacrificing Charlie, eventually settles for half



Не буду расстраиваться преждевременно. Предполагала, что Джошу достанется от критиков за участие в спектакле. Да и когда такое было, что бы критики остались довольны увиденным? У них "работа" такая...
Итак, третья серия :
First night: Rain Man, Apollo Theatre, London
By Paul Taylor
Saturday, 20 September 2008
Film star fails to shine in dull stage performance

It's scarcely possible to type the title of this show – deep breath, let's get it over with, here we go, Rain Man – without feeling a slight twinge of worry that one will wind up on the wrong side of the law. There have been defamatory and wholly unsubstantiated rumours of sexual dalliance in a London hotel – although who allegedly did what to whom and how is unclear even at the level of question because of subsequent threats to the press from solicitors.

To whom is this of the remotest interest? Well, the producers of the show for one. As a clever, paradoxical twist to the publicity game, the situation could hardly be bettered. And of course, the devilish brilliance of those producers is evident in the majestic package we have here. In a profoundly original stroke, they have brought to the West End a stage adaptation of a famous movie (the one that starred Tom Cruise and Dustin Hoffman). And – this is where it becomes almost painfully subtle – they have placed at the helm of the project a Hollywood movie hunk, Joss Hartnett, with scant stage experience. This kind of thing could catch on.

When the curtain was 15 minutes late in rising, one began to wonder whether it was perhaps because backstage consultations with lawyers had overrun. But, no, it turns out that some of Mr Hartnett's young fans aren't aware of the theatre etiquette that requires you to be in your seat by a specified time.

I'm not knocking the desire to see a film star in the flesh. I'm just saying that you'd get a poor idea of the possibilities of theatre as an art form from his dull, undistinguished performance. It's his co-star, Adam Godley, who shows you what real acting is.

Godley plays Raymond Babbitt, the "developmentally disabled" and institutionalised autistic savant who can memorise the telephone directory but has no friends in it that he could ring up. Enter his long-lost brother, Charlie (Hartnett) who is peeved at their late father's will which leaves $12m to the crank and nothing to Charlie, the financially strapped car dealer.

Hartnett's inexperience is at its most damaging in the silences which punctuate and accelerate the tentative growing rapport between the siblings. These silences are nerveless absences of speech here rather than the charged moment of intensity that they should be. And when Hartnett speaks, he can't always wrap his mouth crisply enough round the fast-talking dialogue.

Godley, though, is an anguishing joy. His Raymond has all the premature elderliness of the permanently precocious. He looks like a mix of floppy toy monkey and a dogmatic stickler-for-routine old lady. He comes across as a being infinitely marooned in a vast loneliness that it would be harrowing to plumb. Ideally, you would want from Hartnett some suggestion that Charlie, though on the ball and in full use of his balls, has complementary emotional difficulties. That, though, would require a balance of talents less lopsided than those arranged for us by the esteemed producers.



Rain Man cruises into Theatreland
By Neil Smith
Entertainment reporter, BBC News
Saturday, 20 September 2008 12:43 UK

Hollywood actor Josh Hartnett has made his West End debut in a stage adaptation of the Oscar-winning film Rain Man.

In the role Tom Cruise played in Barry Levinson's 1988 movie, the 30-year-old stars as a car salesman shocked to discover he has a long-lost brother who is an autistic savant.

Dustin Hoffman won an Academy Award for playing the latter role, recreated in Terry Johnson's production by Britain's Adam Godley.

Johnson replaced original director David Grindley, whose departure from the show caused its first night to be postponed by one week.

Judging from the occasional fumbled line and a couple of awkward silences, his cast might not have had all the rehearsal time they needed.
On the whole, though, Hartnett makes a confident fist of Charlie Babbitt, an angry cynic on the verge of bankruptcy outraged to learn his institutionalised sibling has inherited their late father's fortune.

Abducting Godley's Raymond from the hospital facility where he lives, Hartnett's character finds himself bonding with his brother on a road trip across the US.
Along the way, Raymond alleviates Charlie's financial worries by using his uncanny capacity for mental computation to help him make a killing in Las Vegas.

The shameless exploitation of a disabled man for monetary gain, glossed over in Levinson's film, is once again downplayed in Dan Gordon's adaptation.

In an unwitting parallel with Ben Stiller's current comedy Tropic Thunder, meanwhile, the script also includes a number of uses of the word "retard" that some may find offensive.

Perhaps this production's biggest problem, though, is the way it is forced to eradicate the road trip aspect that was so pivotal in its celluloid predecessor.

Most of the action takes place in the various motel rooms Charlie and Raymond take refuge in during their cross-country odyssey, giving the piece a claustrophobic and repetitive feel.

It also makes Hartnett's transformation from opportunistic hustler to reformed altruist seem abrupt and unconvincing, for all the actor's considerable charm and presence.

The real stand-out is Godley, whose gangly frame, stooping posture and prominent ears automatically set his Raymond apart from Hoffman's interpretation.
The actor's flawless comic timing, meanwhile, enables him to get a laugh even from such a nondescript phrase as "I don't know."

Ultimately, though, the play fails to offer a compelling reason why this particular film merits translation to a different medium.
After all, it is not as if London's West End has a shortage of shows that take their inspiration from the cinema screen.

So far this year, there has been a Gone with the Wind musical, a staging of Brief Encounter and The Wizard of Oz at the Royal Festival Hall.

They will be followed shortly by Girl with a Pearl Earring, a play based on the Tracy Chevalier novel that was filmed with Colin Firth and Scarlett Johansson in 2003.

It probably makes sense from a business standpoint to have a built-in recognition factor that - combined with a star of Hartnett's stature - may generate a box-office windfall.

That, however, did not save Gone with the Wind, whose costly failure suggests there is not always an audience for the tested and familiar.

Reviews of Rain Man so far have been luke warm.

Paul Taylor, of the Independent - who gave the play three stars out of five - said Hartnett's "inexperience is at its most damaging in the silences which punctuate and accelerate the tentative growing rapport between the siblings".

But the reviewer praised Godley's Raymond as "an anguishing joy".

The Guardian's Michael Billington, meanwhile, said Hartnett was "perfectly competent as Charlie" and praised Godley for his "subtle skill" and "expressive detail".

He gave the performance two stars out of five.

Rain Man is at the Apollo Theatre in London until 20 December.


Rainman review: a stage miracle steals spotlight from Hollywood
Charles Spencer reviews Rainman at the Apollo Theatre, London

This show struck me in advance as a serious misjudgment by the producers. Who would spend almost £100 on a pair of top price tickets, and brave the horrors of a West End patrolled by obnoxious gangs of teenage girl drunks, when they could sit comfortably at home and watch the DVD for a mere six quid?
The stars of the stage show, minor Hollywood heart-throb Josh Hartnett and that fine British character actor Adam Godley are hardly in the same league as the stars of the film, Tom Cruise and Dustin Hoffman.

More crucially, Rain Man, which picked up the Oscar for best picture in 1988, is a road movie that follows an autistic savant and his brattish hustler of a younger brother from Cincinnati to Los Angeles via Las Vegas. How was that going to work on stage? As the damaged hero repeatedly remarks: Uh-oh!

Miraculously, this version, adapted by Dan Gordon and directed by Terry Johnson in a series of anonymous Pinteresque rooms, works superbly. Indeed, I was more moved and amused by the show than the film.

This has a lot to do with the communal atmosphere of the theatre. You can feel the whole house getting behind Adam Godley's performance as the autistic hero who cannot bear to be touched, is overcome by twitching, yelping panic attacks whenever his routine is interrupted, yet somehow, sometimes, conveys a sudden grace and generosity of spirit.

It's a sentimental picture of autism - hardly any sufferers from this cruelly isolating condition are blessed with the near miraculous talents of memory and numbers evinced by Raymond Babbitt.

But with his hoarse, almost mechanical voice, sticky-out ears, gangling limbs, and sudden, heart-stabbing glimpses of empathy, Godley manages to be deeply affecting without excessively milking the pathos.

Indeed, his performance seems to be drawn from somewhere deep inside his own character, whereas Hoffman's, technically brilliantly though it was, basically added up to little more than a series of tics, tricks and stutters.

It won him the Oscar for best actor, though, and there will be little justice if Godley doesn't also pick up gongs for his brilliantly timed acting, in which he constantly seems to be a split-second out of synch with everyone else on stage.

Poor Josh Hartnett, making his professional stage debut, cannot compete with this, but his initially monotonous performance of belligerent anger grows in confidence and depth. The scene when the two estranged brothers recognise and remember each other is beautifully played.

At the end of the day this is a neat adaptation of a Hollywood blockbuster rather than a great work of art, but I defy anyone to sit through it without experiencing both sympathetic laughter and sentimental tears.



:flag: :flag:  :flag:
Rain Man rising above the erotic
22/09/2008  Nicholas de Jongh

Dan Gordon’s theatre adaptation of The Rain Man movie not only improves the original, it introduces to the West End a Hollywood heartthrob as charismatic on stage as screen. Yet Josh Hartnett’s riveting performance as Charlie Babbitt rises high above the erotic and the star cannot be written off as theatrical Viagra or even a 100 per cent herbal alternative. Yes, his classic good looks and physique, in the style of a college Jock, will surely drive the libidos of thousands of heterosexual women and gay men into excited top gear. But Hartnett does something more creative than flash his sex-appeal around.

He takes his lead from Gordon, whose stage version, both bleakly comic and emotionally devastating, dispenses with the film’s celebration of a generous, loving America.This Rain Man shapes a critique of an American paternalism that destroys families, fears emotional candour and cannot tolerate deviation from the norm. Hartnett’s businessman- Charlie reeks of aggression and exudes a chronic impersonality, even when with his girlfriend. He betrays the belligerence of someone who is in a bad mood all his life.

When Hartnett’s Charlie finds his estranged father has died and that a brother, about whose existence he never knew, will inherit the family fortune, he resorts to threats and intimidation. Discovering this brother, Adam Godley’s Raymond, is an institutionalised autistic savant, only spurs Charlie to win custody of him and steal the family millions. While Dustin Hoffman’s brilliant Raymond on film was played in a minor key of detached self-absorption, with sudden screams of distress and agitated mutterings that chilled the heart, the versatile Godley renders Raymond as disappointingly gross and grotesque, from lumbering walk to jerky speech.

Inevitably, Terry Johnson’s production, spoiled by inept lighting that shrouds Hartnett in shadow, dispenses with the road-movie format. Yet this Rain Man retains the unusual comic-pathetic mood when Charlie tries to speed the routine-obsessed Raymond across America, and teaches him to dance and avoid hookers. Jonathan Fensom’s design glides from airport to hotel and to the point when Charlie realises that what links him to Raymond is the psychic damage they both suffered. Hartnett’s Charlie is too withdrawn to let slip his feelings but it becomes clear he understands that only by committing his life to Raymond can he save himself from solipsistic rage and materialism.


Вы здесь » Josh Hartnett Forum » Фильмы. Movies » Человек дождя (Спектакль) / Rain Man (Performance)