Catching up with Cozi and Nathan, Winter’s Pals, for “Dolphin Tale 2”

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It had been three long years since Nathan Gamble and Cozi Duehlsdorff, the two kids who befriended Winter the injured dolphin, made “Dolphin Tale” with the world’s first dolphin with a prosthetic tail.

Would Winter remember them for the sequel? You really don’t know for sure, Cozi says. But she and Nathan want to believe.

“There was a time when we were filming a pool scene where me and Winter were just chilling, between takes, in the water with a trainer,” says Nathan, already a veteran child actor (“The Dark Knight”) when he was cast in the original film. “I tilted my head to the left, and Winter bubbled and let herself sink way down in the pool. I thought that was weird, but her trainer said ‘Oh my gosh, Nathan, that was one of the commands we taught you to give her in the first film! You tilt your head, she bubbles and sinks to the bottom.’ So she remembered this thing we’d had her do in the first film, years before. Isn’t that cool?”

The two young players — just 12 when they made the first film, 16 now as “Dolphin Tale 2” comes out — sound perfectly sincere when talking about Clearwater Aquarium’s little disabled dolphin and how the movie they made about her changed their lives. It has nothing to do with their careers as child actors, but everything to do with Winter and what she means to the disabled who travel to the Gulf Coast of Florida from all over the country to see her.

“After the first film, we signed on as spokespeople for the aquarium,” Cozi says. “We get to come back there, three times a year, and meet a lot of the kids that Winter and ‘Dolphin Tale’ inspired. So I’ve met many children with disabilities. It’s a special privilege, but it’s so hard, because so many of these kids don’t have much time left. It puts your life into perspective, and in my case, I think it’s made me more mature and more empathetic, hopefully.”

It’s not every child, much less a child actor, who meets hundreds of people with injuries or cancer patients who have lost limbs, at such a young age. But when “Dolphin Tale” became the sleeper hit of 2011, that responsibility came with the territory. Nathan says that “When I was filming ‘Dolphin Tale,’ I really didn’t see, first-hand, the larger impact that this little injured dolphin has had on people. But after the movie came out, I had people coming up to me, telling me how inspired they’d been, how it touched on something their family had been going through. Very emotional. It got me pumped up to do the second film, because I realized how important Winter is to a lot people, and how these movies get that message to more people.”

“Dolphin Tale” opened to tear-stained reviews written by jaded movie critics shocked to be touched by a very simple kid-friendly film about an injured dolphin, taken to Clearwater Marine Aquarium’s hospital, where dedicated staff and a prosthetic limb designer willing to think outside the box concocted a replacement tail for the one she’d lost in a crab pot (trap). The true story was fictionalized, and the most important fictional elements were the two kids who devote themselves to Winter, Sawyer and Hazel, played by Nathan and Cozi.

They were “the toughest roles to cast,” opined Chris Hewitt of the St. Paul Pioneer-Press, “but both young actors are terrific.”

“I think we were all shocked at how much that film touched people,” Nathan says. “You hope you’ve made a hit, but this one connected in a way I hadn’t expected.”

“I was talking about this with Nathan, and not one of these children has a frown on their face when they come there,” Cozi says.” They’re all so special, and so grown up. It’s an odd thing to get used to, meeting people even younger than me who are so mature. It has to be their perspective. They’re going through such horrific things. It makes you grow up. Just being around them makes me grow up, a little, too.”

The sequel reflects the celebrity bestowed on Winter and the little aquarium in Clearwater, the big crowds for Winter, the improved financial state of the aquarium and its turtle and dolphin hospital. But “Dolphin Tale 2” is “more serious, because everybody’s grown up some and Winter’s problems are different this time (a companion dolphin dies in the film),” Nathan says.

“As you grow up, relationships grow deeper,” Cozi adds. “So the second film is just as much about the humans as it is the animals.”

And the young players, like their characters in the film, are facing big life decisions themselves. Do they want to attempt the transition from child actor to young adult roles, or take the time off to go to college? Nathan, a Tacoma, Washington native, seems more committed to the career at this point, “but you never know.”

But Cozi, who sings the closing credits song (“Brave Souls”) for the movie, is already talking about going to college to pursue a teaching degree, perhaps staying active in theater. “I’d love to make it to Broadway, someday!”

And both say they are as committed as ever to the plucky dolphin and the aquarium that saved her.

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Movie Review: Maggie Smith shines with Kline as “My Old Lady”

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Kevin Kline is a failed American writer, broke and in Paris to collect his inheritance — an ancient two-story apartment with an accompanying garden in the center city Marais district.
Maggie Smith is the 90something little old Englishwoman living in it.
And Kristin Scott Thomas is the little old Englishwoman’s irritable, unmarried daughter who is determined that Mom won’t be moving anywhere, not any time soon.
Those are the makings of “My Old Lady,” a comedy of troubled family histories, Franco-American culture clashes and arcane real estate law.
Because that’s the heart of the thing, this French concept of “viager.” Madame Girard (Smith) is grandmothered into this apartment, which Jim Gold (Kline) inherited from a father he hadn’t seen in decades. He shows up to check out and sell this property for some much-needed cash, and there she is — immovable because of this “viager.” He owns the property, but only after she dies. The reverse annuity contract means that he has to pay rent to her, as well. It’s all in his dad’s will.
“I own this apartment,” Jim, whom Madame Girard insists on calling “Mathias,” mutters. “And I own…you?”
Jim was born in Paris and left when his parents split up. Now Jim is 57, penniless and with a property he can do nothing with. Until she dies. What’s more, she insists on getting her rent. That’s a nice watch there, Mathias.
“You’re a pirate, Madame Girard!”
Jim enlists a real estate agent (Dominique Pinon of “Delicatessen”) to explain viager contracts to him. Ever the greedy, impatient and yet practical American, he starts spiriting away furniture and such from the many unused rooms in the apartment, selling it to antique dealers for a little pocket money.
Meanwhile, the precise Madame Girard, a semi-retired English teacher who holds English conversation salons with a chef, a doctor and others who barter for her lessons, reveals a little of her story. She knew Jim’s father. WELL. And while she doesn’t know the details of the rift, she would like to hear it.
“How do you get to be 57 and 11 months and have so little to show for it?”
Then, there’s her daughter, Chloe (Scott Thomas). She’s easily rattled, a tad highly-strung and furious at this gauche American’s intrusion into their lives. She knows the law and isn’t above enforcing it. All Jim can do is scheme and sneak about, questioning Madame Girard’s doctor about her health, plotting a sale of this onerus contract to any wily Frenchman with more patience and the deeper resources it takes to wait the old lady out.
Even her toasts at dinner — served “Pre-CISE-ly at 8!” — have a taunting tone to them.
“To good health! And LONG LIFE!”
Veteran playwright Israel Horovitz (“Author! Author!”) adapted his play and directed this film of it, a theatrical movie that benefits from an immensely engaging and accomplished (two Oscar winners) cast. It’s a comedy of confessional monologues and overheard conversations, quite stagey at times.
But Smith and Kline and Scott Thomas give this a chance to sparkle. Kline dresses down wonderfully, and his offhand way with the “Franglais” dialogue beautifully clashes with Smith’s English precision.
“SPARE me the fromage!”
And Scott Thomas, as cutting in French as she is in English, makes a wonderfully spare sparring partner, vulnerable and wholly capable of lashing out.
“My Old Lady” gets tangled in its own feet in the third act as Horovitz tries to invest mystery where there is none and ratchets up the melodramatic connections between these three. But the venerable acting firm of Smith-Kline & Scott Thomas make certain that this Paris trip is anything but a waste.
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MPAA Rating: PG-13 for thematic material and some sexual references
Cast: Kevin Kline, Maggie Smith, Kristin Scott Thomas, Dominique Pinon
Credits: Written and directed by Israel Horovitz, based on his play.
Running time: 1:44

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A gem just off I-95; Smithfield N.C.’s Ava Gardner Museum

ava1It has always been just a bit out of the way on my every trek between Fla. and Va., where my family lives. And I always seemed to have people in the car who had no interest in Ava Gardner.

That’s my excuse for never getting around to the Ava Gardner Museum, in Smithfield, N.C., right in the heart of her home stomping grounds.

A great beauty and future star born and raised in Wilson and Smithfield and environs, she was discovered by Hollywood, married to Mickey Rooney and band leader Artie Shaw, “the great love” of Frank Sinatra’s life (and he of hers), she starred in such classics as “Seven Days in May,” “On the Beach” and  “Night of the Iguana” and such epics as “55 Days in Peking” and “The Life and Times of Judge Roy Bean.”

Ava Gardner had a mouth on her, a tough broad back when Hollywood appreciated such. On Sinatra marrying Mia Farrow — “I always knew Frank would end up with a boy.” To a hometown friend overly impressed by her fame, “I’m just some old

broad whose picture gets taken a lot.”

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The museum has a few items from her childhood, a lot of Hollywood costumes (“Barefoot Contessa” might be her most famous role), lots of remembrances from the locals who knew her. She came back, frequently, over the years, and this is just the sort of museum you’d hope somebody from humble beginnings would warrant in the small town where she grew up.

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She was a star from the days when Hollywood made them larger than life, and in those pre-Twitter days, an image could be forged and preserved. Today? Not so much.

One reason I stopped off was to see if the town was losing interest in maintaining such a memorial. Just a few people in there on a Sat. afternoon. She died in 1990, and was last relevant as a star in the late ’60s. The enthusiasts who run the place, whom I ran into at “An Evening With Gregory Peck” shortly before he died, could be a bit much, as true fans (fanatical ones) often are.

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But they keep the fires burning in Avaland, and that’s nice.

Never got to chat with her, but I had lengthy interviews with Rooney, Peck, Roddy McDowell and Charlton Heston, among her co-stars, over the years. There is a grandness to that generation of star that today’s tabloid targets will never be allowed to match.

There’s a festival celebrating her every fall, and this year’s is Oct. 3-5. Worth stopping by if you’re on I-95 heading to or from Florida, Savannah or Charleston.

 

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Questions for Jane Fonda?

janeOscar winner, daughter of an Oscar winner, brother to Peter, still controversial to some decades after her activism, Jane Fonda has her best comic role since, oh, “Electric Horseman,” with “This is Where I Leave You.” It’s a dysfunctional family of adults tale with her as the tell-all self-help (parenting) author and matriarch whose kids — Jason Bateman, Tina Fey, Adam Driver and Corey Stoll — are in various stages of maladjustment.

She retired for a while, found Jesus for a while, still is called “Hanoi Jane” by conservatives from her demographic (she’s 76.).

Questions for Lady Jane? Comment below.

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Box Office: “Guardians” closes in on $300 million as the summer bottoms out

It’s the dead of winter, box office wise, that gloomy stretch when there’s no sign of life, no notion of when things will turn springlike and pop back to life.

So “Guardians of the Galaxy” will manage another $10 million and win the weekend, due to clear $300 by next Friday or Saturday.

“Let’s Be Cops” climbs to #2, “If I Stay” sticks around and climbs to #3, “Turtles” drops to #4 and everything else fades to black.

“The Identical,” a seriously misguided Elvis roman a clef, barely cracked the top ten.

“The Hundred Foot Journey” is about to clear $25 million. Sloooooooowly.”

“When the Game Stands Tall” lingers in the top ten.

And that’s the sum total of it, way down from last weekend, way down from last year, no real light at the end of the tunnel.

 

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Next Screening: Fey and Bateman, Dax and Rose and above all, Jane Fonda — “This is Where I Leave You”

This looks very funny, everybody playing in their comical comfort zones. It opens in a few weeks, I have to see it early because of an interview with Ms. Fonda, the matriarch of this troubled, stumbling clan.

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Next Interview: Questions for Noomi Rapace?

noomiShe was the original “Girl With the Dragon Tattoo,” the reason the Swedish films became a worldwide phenomenon. Hollywood came calling, with decidedly mixed results. A “Sherlock Holmes” sequel, an “Alien” prequel. English? Not her first language. Plainly.

But with “The Drop” Noomi Rapace has an English language film that makes great use of her talents and she has the English to make the performance natural. Tom Hardy stars as a seemingly simple Brooklyn bartender caught up in the scheming of Chechen mobsters, an embittered bar boss (James Gandolfini) and some fellows who robbed the bar of its “drop” money from assorted pimps, bookies, etc.

And Noomi is the touchy, damaged woman, Nadia, who had a battered pit bull dumped in her trash can by an abusive ex-beau. Hardy’s bartender takes in the dog and in Nadia.

It’s based on a Dennis Lehane story, and I’m talking with him as well.

Questions for Noomi?

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Joan Rivers: 1933-2014

A real “Piece of Work,” she was. Funny to the very end, biting, unblinking and boundaries-pushing mean.

 

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Movie Review: Lethargic but pretty “Innocence” will scare no one

inn2You’re seeing visions of ghosts. You’re hearing voices chanting in Latin. You’ve lost your mother and dad’s promptly taken up with the school nurse. And you suspect someone or something is killing students at this exclusive private girls’ school you’ve just enrolled in.
You’d think a girl would get a little emotional over all that, maybe worked up. Hysteria and panic could be expected.
Not in the way Sophie Curtis (“Arbitrage”) plays pretty, pouty Beckett in the film version of “Innocence,” based on a novel by Jane Mendelsohn. A stylish, moody and atmospheric tale contorted into a young adult horror story, it never works up a decent fright. And Curtis never for one second makes us believe the high stakes that her character supposedly faces. It’s as if both character and actress have been medicated into dullness.
Beckett (Curtis) loses her mother to a surfing accident in the opening scene. That’s why novelist/dad Miles (Linus Roache) relocates them to New York. And that’s how Beckett winds up in the tony Hamilton Prep, a private school where the students are all mean girls, the teachers are all gorgeous and the mothers, alumni and even the school nurse (Kelly Reilly) seem to have just given up the runway.
“Careful, we’re all sick here,” she’s warned.
So Beckett broods, keeps her eyes down, and ignores the voices, the odd scary vision of a ghost in her closet or of a carpet turning to blood right beneath her feet. Typical teen, right?
A classmate kills herself right in front of her, and the odd “Better escape while you can” wisecrack takes on a more sinister meaning. What happens in to the girls here, why is virginity so closely monitored and is Beckett in danger?
Strip out the occasional ghost-faced jolt and “Innocence” plays like a somber, moody TV movie about somber, moody teens. It’s a thriller where director/co-writer Hilary Brougher put all the care into creating atmosphere through casting and filming in a muted, blue-and-grey color palette.
But thrills? Not even in the blood-stained finale.

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What works are the realistic, unforced depictions of budding friendship with the sometimes tactless Jen (Sarah Sutherland), budding curious romance with the cute Tobey (Graham Phillips). These kids flirt through skateboarding lessons and shared playlists, give each other bellybutton piercings and generally stay out of trouble.
Maybe it’s because almost all of them seem to be in the care of a psychotherapist (Sarita Choudhury). Maybe it’s the medications Nurse Pamela (Reilly) is giving out.
And maybe the alumni “book club” that keeps meeting and meeting is the source of all the weirdness.
First scene to last, Curtis shows only her poker face. No sign of alarm when the nurse ingratiates herself into her widowed dad’s life, thus keeping a closer eye on Beckett. No sense of urgency to the clues she starts to put together. And apparently, she just shrugs off every nightmare, every waking moment when ghosts, in school uniform, appear to her as if to guide her search.
Sadly, that lack of urgency hangs over the entire film, a draggy 90 minutes or so which no finale can transform into something scary or compelling. Young love and muted colors convey all the “Innocence” you’d want. It’s losing that innocence that fails here.
 1half-star
MPAA Rating: unrated, violence, suicide, adult situations
Cast: Sophie Curtis, Kelly Reilly, Linus Roache, Graham Phillips
Credits: Directed by Hilary Brougher, screenplay by Hilary Brougher and Tristine Skyley based on the Jane Mendelsohn novel. A Scion Pictures release.
Running time: 1:34

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Next Interview: Questions for Bill Hader?

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“The Skeleton Twins” shows us an entirely new Bill Hader. Well, he’s played opposite Kristin Wiig before, on years of “Saturday Night Live.” And he’s played “gay” before — effeminate voice, mannerisms, etc.

But “Twins” is a dramedy, which means there’s drama with the comedy, as he and Wiig play siblings damaged by their past, lovelorn people we meet as the news of one’s attempted suicide interrupts, by phone, the other’s attempted suicide all the way across the country.

Nice departure for both players, especially Hader, which big screen work has been all comic — “Superbad,” etc.

Questions for Bill Hader? Comment below, and thanks.

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