Director Curtis Hanson Dies at Age 71

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One of the most celebrated film makers of the last four decades has died. Here’s how the New York Times reported it….
Curtis Hanson, the film director whose adaptation of the James Ellroy noir novel “L.A. Confidential” won him an Academy Award, died on Tuesday at his home in Los Angeles. He was 71.

The death was confirmed by Officer Jenny Houser, a spokeswoman for the Los Angeles Police Department. She said that officers had been called to the house shortly before 5 p.m., and that Mr. Hanson had died of natural causes.

Julie Mann, his business manager, said Mr. Hanson had been struggling for some time with a form of dementia.

 

 

Let’s take a look at his long career. His first screen credit is for helping to adapt H.P. Lovecraft’s short story in the 1970 American International Pictures’ THE DUNWICH HORROR starring Sandra Dee and Dean Stockwell. Three years later Hanson was a triple threat as writer, producer, and director of the low-budget Tab Hunter thriller, SWEET KILL. In 1978 he scripted the crime caper flick SILENT PARTNER starring Christopher Plummer, Elliot Gould, Susannah York, and John Candy. Two years later Hanson was back behind the camera as director/producer of the action kids’ comedy DIRTY DRAGONS. He next collaborated with iconic director Sam Fuller on the script for the controversial WHITE DOG in 1982 The next year was a busy one as the screenwriter of the Disney wilderness adventure NEVER CRY WOLF and as director of the 60’s set teen sex farce LOSIN’ IT starring a post RISKY BUSINESS Tom Cruise, Jackie Earl Haley, and Shelley Long.

 

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In 1987 Hanson wrote and directed the Hitchcock influenced mystery THE BEDROOM WINDOW starring Steve Guttenberg and Isabelle Huppert, and also directed (under the alias Edward Collins) the zombie horror flick EVIL TOWN. 1990 saw him back in thriller territory directing the Rob Lowe/ James Spader BAD INFLUENCE. Two years later Hanson had his biggest commercial hit, directing the psychological nail-biter THE HAND THAT ROCKS THE CRADLE featuring a showdown between mother Annabella Sciorra and Rebecca De Mornay that would inspire countless made-for-basic-cable-TV flicks.

 

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In another two years Hanson helped turn Oscar darling Meryl Streep into an action heroine in the outdoor survival action epic THE RIVER WILD.

 

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1997 saw the release of Hanson’s most acclaimed film. He pulled triple duty (directing, co-producing, and co-screenwriter) on the movie adaptation of James Ellroy’s noir ode to the “city of angels”, L.A. CONFIDENTIAL. It was gritty 1953-set whodunit involving high-priced star look-a-like call girls, mobsters, gossip rags, and corrupt cops (except for noble Bud White, a role that firmly established Russell Crowe as a major star). And it earned Hanson his only Oscar, for adapting the book with Brain Helgeland (Kim Basinger grabbed one for supporting actress). It might’ve nabbed Best Picture if not for that flick about the boat and the iceberg.

 

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Hanson’s follow-up was quite a change of pace. He directed and co-produced WONDER BOYS based on Michael Chabon’s quirky college-set comic romance and featuring a most impressive cast: Michael Douglas, Robert Downey, Jr., Toby Maguire, Frances McDormand and Katie Holmes. It garnered tons of favorable reviews and tanked at the box office.

 

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But Hanson bounced back in 2002 as the director/producer of the semi-autobiographical rap drama 8 MILE telling the slightly fictionalized story of its star, hip-hop superstar Eminem and co-starring Basinger as his boozy mother. It snagged an Oscar for Best Original Song and was a smash box office hit.

 

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That same year Hanson was in front of the camera playing Streep’s husband in ADAPTATION. He returned to directing and producing with the sister sibling “dramedy” IN HER SHOES with Cameron Diaz, Toni Collette, and Shirley MacLaine. Two years later Hanson handled the same chores in addition to co-wrtiting the screenplay on the drama set in the world of professional poker players, LUCKY YOU which starred Eric Bana and Drew Barrymore. His last feature film was the 2014 family friendly true surfing sports saga CHASING MAVERICKS starring Gerard Butler. Unfortunately, due to illness, Hanson was unable to finish directing the film and Michael Apted was brought into to finish it.

 
Curtis Hanson was also a well-respected film historian and scholar. For a short time he was editor of Cinema magazine. In 1999 Hanson became the first chairman of the UCLA Film and television Archive, and in he was a member of the Directors’ Branch of the Board of Governors of the Academy of Motion Picture Arts and Sciences.

 

We hope you’ll take the time to sample some of his films. Mr. Hanson has left an outstanding body of work, a legacy that movie lovers will study and enjoy forever.

CHASING MAVERICKS – The Review

Over the years we’ve seen several inspirational sports biography films. Certain sports seem to lend themselves to the cinema, like boxing with RAGING BULL and ALI, or baseball in THE PRIDE OF THE YANKEES and THE ROOKIE. But surfing’s a more difficult to convey on-screen. Many folks may harken back to the crude rear-projection sequences in camp 1960’s flicks like GIDGET, BEACH PARTY and their sequels. With documentaries like the first ENDLESS SUMMER, new film technology allowed for an up close look at the surf pros. CHASING MAVERICKS is the dramatic life story of one of those pros: Jay Moriarty. In a way this is similar to a superhero story. Instead of getting a uniform and shield, we see how Jay got his wetsuit and board. It also has an element of the wise elder training the young upstart. Think Mr.Miyagi in THE KARATE KID films and the various Jedi masters in the STAR WARS series. Perhaps, more than the other genres, MAVERICKS is a true family film with sons discovering fathers in the unlikeliest of settings (and vice-versa).

We first meet Moriarty timing the waves as they break on shore in 1987. While rescuing the pooch of his slightly older pretty neighbor Kim, the eight year-old lad is swept up by the current. Before the sea claims him lil’ Jay is pulled up by super surfer dude “Frosty” Hesson (Gerard Butler). Driving the kids back home, Jay is stunned to find out that his rescuer lives right down the street. Soon the boy is pulling out his father’s old surfboard out of the garage (Dad has been absent for a while) and hitting the beach. Cut to 1994 as teenage Jay (Jonny Weston) secretly hitches a ride on top of Frosty’s van and observes the surfer pro and some pals going to a secluded section of beach that is home of the “mavericks” (giant, monster waves). After he’s discovered, Jay begs Frosty to teach him out to ride the mavericks. The elder surfer begrudgingly agrees and for the next several months Jay balances his school work, pizza job, keeping his boozy Mom (Elisabeth Shue) focused on her job, and pursuing the lovely grown-up Kim (Leven Rambin) with his passion for training in order to tame those truly killer waves.

This is a sweet little underdog tale accented with some truly spectacular photography of these athletes. We get all angles (including underwater), and these thirty and forty-foot swells looming over the surfers are really breath-taking. The film makers do their best to help us focus in on the principals (it’s a big problem with all the similar boards and wetsuits). On land some of the subplots don’t quite play off and disrupt the momentum of the main surf-training story. The romance of Jay and Kim seems to be a given with some minor obstacles (she doesn’t want her pals to know that she likes this guy that’s a couple years younger!). And the concerns about Jay’s pal Blond hooking up with a bad crowd (he may be dealing drugs!) never has a real resolution. When a major tragedy blindsides a character it seems like it was thrown at the script from left field (perhaps this is what happened, true life being very untidy). As for the cast, Butler has toned down the aggression so prominent in the dismal rom-coms and gives us a hunky, often mellow surfin’ Yoda. His Frosty is a mentally absent father whose paternal nature is finally opened up by his young student. On the other end is Shue’s character who also is put on the right course by her son’s determination. It’s always a pleasure to see this veteran actress again on screen, but the role is somewhat underwritten. We never really get to see her pushing away from the bottle. Weston is a likeable, if somewhat bland (perhaps, the way his role is written) hero. The script may be too respectful of this real life surfing icon. He’s more of a noble ideal than a true human being complete with flaws and frailties. CHASING MAVERICKS is a well shot profile of the sport and one of its heroes, but the people are not nearly has compelling as the images of those brutal, but beautiful waves.

3 Out of 5 Stars

Curtis Hanson in Talks to Direct ‘Gemini Man’

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Curtis Hanson, the director behind such great movies as ‘L.A. Confidential’ and ‘Wonder Boys’, is in negotiations to take on directing duties on the Jerry Bruckheimer-produced ‘Gemini Man’.

The screenplay by David Benioff (’25th Hour’ and ‘X-Men Origins: Wolverine’) is about an aging NSA agent who wants to retire.   This, however, puts him on a death list.   The assassin who sets out to take him out?   A younger, cloned version of the agent himself.

Several writers worked on the script over the years, including Jonathan Hensleigh, who collaborated with Bruckheimer on ‘Con Air’, ‘Armageddon’ and ‘Gone in Sixty Seconds’.

Source: The Hollywood Reporter