TIFF's winter programme will excitingly include a series of "late night" screenings dedicated to the films of Nicolas Cage! A great selection of movies here and a much deserved tribute to the greatest actor of our generation!
"Discover the many moods of the Academy Award- and six-time Blockbuster Entertainment Award-winning artist in this lovingly curated overview of his most towering achievements."
"She’s cool. He’s hot. She’s from the Valley. He’s not." With his shuffling gait and drawling delivery, Nicolas Cage makes the most of his first starring role as a Hollywood punk who plays unlikely Romeo to a socially out-of-his-league Valley girl.
A nerdy FBI chemist (Nicolas Cage) reluctantly teams with an aged ex-spy (Sean Connery) to face down an army of renegade Marines who have taken over Alcatraz in this megahit action opus by auteur savant Michael Bay.
Nicolas Cage closed out his offbeat cult-movie period with a bang as the Elvis-channelling, snakeskin-jacketed ex-con Sailor Ripley, who hits the road with mini-skirted Southern belle Lula Fortune (Laura Dern) in David Lynch’s hyperviolent, postmodern ode to youthful rebellion and unbridled romance.
Sporting rippling muscles, soiled undershirt and cornpone hillbilly accent, Nicolas Cage is a wrongly jailed ex-Army Ranger whose upcoming parole gets thrown off course when a criminal mastermind (John Malkovich) hijacks a heavily armoured prison transport plane. John Cusack, Ving Rhames, Danny Trejo, Dave Chappelle and Steve Buscemi co-star in this absurdly entertaining action flick.
Nicolas Cage gives one of his signature performances as the affable, loquacious, philosophical ex-con Herbert I. "Hi" McDunnough, who gets embroiled in a wild baby-kidnapping plot along with his ex-cop wife (Holly Hunter) in Joel and Ethan Coen’s cracked comedy.
Nicolas Cage and John Travolta have the best of both worlds as a preening super-criminal and an obsessed FBI agent who switch identities — and faces — in Hong Kong action auteur John Woo's super-high concept thriller.
Nicolas Cage berates schoolchildren, dresses like a bear and punches women in the face in this surreally awful remake of the British horror classic. One of the true turkeys of the ’00s — and on no account to be missed!
Nicolas Cage aims for the rafters in Brian De Palma’s show-offy thriller about a cheerfully corrupt cop who stumbles across a conspiracy following a political assassination at a boxing match.
Charlie Kaufman, the acclaimed screenwriter of Being John Malkovich, turned his real-life bout with writer's block into this dazzling hall-of-mirrors concoction that mixes fact and outrageous fantasy. Nicolas Cage giving two bravura performances as the tortured Charlie and his heedlessly extroverted twin brother, with brilliant support from Meryl Streep and Chris Cooper.
Nicolas Cage stars as a hard-living Big Easy cop in Werner Herzog's hilariously cheeky take on the standard sin-and-redemption tale, which might just be one of the best (and most entertaining) American films of the last decade.
Nicolas Cage gives an awe-inspiringly manic performance as a nasty NYC literary agent who is turning into a vampire (or is he?) in this edgy black comedy from the screenwriter of Martin Scorsese’s After Hours.
you are welcome Lady Arwen! Although most of us ( being on other continents! ) probably will not be able to attend, this Nic Happening is such a cool tribute.
It looks like it really is going to be 'Year Of The Cage'!!
Really interesting choices for movies, really broad spectrum, I would love to attend these. Ah well, maybe Nic will drop in for one of the showings and we will get to read about it!
Absolutely ! About time the rest of the world discovered what we fans have known for years, there is no other actor with such remarkably talented range and depth !
I just came across this interview with the organiser of this event, Jesse Wente, Head Of Programmes at TIFF, by John Semley from AVclub.
"AVC: The previous programs, both Colin’s Midnight Madness program and the Monty Python program, were no-brainers in a way. But the Nic Cage program seems unique, and seizes on the way he’s being reappropriated as an actor in certain pockets of the culture. What was the thinking behind it?
JW: Well there’s definitely been a wave in the film community around—I don’t know if it’s “reappropriating,” but at least reconsidering, how we look at Nicolas Cage and what he’s accomplished over his career. I think that was really the idea behind the series.
I will admit that, while the series is new to Toronto, other venues in New York tried something similar at the IFC Center, though they used different movies than we did. But that inspired me to think of if we could do something similar here and, if we could, how we’d present it in “TIFF style,” if you will. We’ve really chosen the films that show the broadest range of what he can do as an actor ... I would love to say we had our finger on the pulse, but I also just think they’re fun movies. And they’re fun late-night movies. These are movies you don’t necessarily watch on the big screen all the time. We got really good crowds for the Monty Python stuff, because a lot of people have never seenHoly Grail on the big screen and with a crowd.
AVC: The range of films is interesting because it gets at this oscillation in Cage’s career between his respectable work as an actor, respectable action hero stuff, and these B and C movies. It’s like he’s a bankable movie star, a respected thespian, and a cult figure all at the same time. Maybe Charlton Heston has done that, but it’s hard to think of anyone else in American cinema.
JW: Maybe Steve McQueen. But he didn’t really do B-movies in the same way. I think you’ve sort of nailed it. And there’s the fact that he’s an Oscar winner, on top of all of that. We’ve tried to represent all of that in there. It was a very conscious decision not to show Leaving Las Vegas, though. In some ways, the Oscar performance is not as interesting as the other choices he’s made in his career. The thing that’s interesting is he’s always committed to his roles. Even the craziest ones, like in The Wicker Man. There’s a certain courageousness in that that makes him always interesting to watch. You know you’re going to get something, but you don’t necessarily know what."
Yes, his range is not just genre wise, it is the kind of actor he has boldly created the freedom to be!
and, quote:
"AVC: Well, that’s it. He brings this edge to roles where he could just snap at any time, which makes the characters seem kind of dangerous. Which is why Leaving Las Vegas doesn’t really work. It’s a great performance, but he pours into it a bit more and is still colouring within the lines, however broadly defined.
JW: And in Adaptation,you get to see him play weird and kind of normal at the same time. Who would even think that you could do that, other than Nic Cage? It’s these manic choices that I love, and that I think make him perfect for late night. Sure, Adaptation isn’t perfect for late night, butSnake Eyes is frickin’ awesome. He’s also so up front in our understanding of popular culture. He makes so many movies, and he’s memorable in all of them, that you realize how big of a star he is, and how much we connect him with modern moviegoing.
AVC: And again, the title Bangkok Dangerous seems to suggest action stars in Asia, where the industry is a lot more workmanlike, and you have actors who are in about 100-plus movies in their careers. You can’t really rest on your laurels; you have to go in and work. And Nicolas Cage seems to do this, but in the Hollywood context.
JW: For sure. Who takes more work than Nic Cage? For me, it was that sense where there’s both something truthful and absurd in the title Bangkok Dangerous. And that was the whole idea of the series. Believe it or not, a Nic Cage series takes a couple of months to put together. And when we started putting this together, that was the title that immediately sprang to mind. The whole of the series is perfectly Bangkok Dangerous. But I also think Bad Lieutenant is the prize piece: It works on so many levels. And that’s what the series is—enjoying a performer who gives it his all, even when it’s absurd."
I so agree about the edge Nic brings and about the "colouring within the lines" but this is precisely what makes him a great actor..and Pffftttt....."Leaving Las Vegas doesn't really work" !? it more than works in my world!!!
I truly love this line in the piece: The range of films is interesting because it gets at this oscillation in Cage’s career between his respectable work as an actor, respectable action hero stuff, and these B and C movies. It’s like he’s a bankable movie star, a respected thespian, and a cult figure all at the same time.
This line is a true and honest recollection of Nic's work throughout the years. This is what separates Nic from being good to downright GREAT!!!
So true.. and what separates Nic from other actors, in my opinion! can you think of any other actors out there today, who can come any where near this?!?!
I was going to start this piece by wondering when it was that Nicolas Cage became a cult icon, but of course he’s always been one, hasn’t he?
Even in ostensibly straight roles like Peggy Sue Got Married, Moonstruck and Honeymoon In Vegas, Cage is one outburst away from becoming a human cartoon. He stamps his feet, he sings his dialogue, he lets his hair do whatever the hell it wants. The guy swings for the fences even when he’s supposed to be standing still.
And when he’s playing the purest of tragic heroes in a movie like Leaving Las Vegas, Cage holds nothing back. His delivery of an offhand “I’m sorry” contains a world of anguish; it crushes me every time.
None of these films is screening in TIFF’s late-night Cage series Bangkok Dangerous: The Cinema Of Nicolas Cage. (Nor is Bangkok Dangerous, as it turns out.) The movies selected for Saturday-night screenings at TIFF Bell Lightbox feature Cage’s most crowd-pleasing characterizations, in some of the most absurdly entertaining films he’s made.
The series kicks off this weekend with Martha Coolidge’s surprisingly substantive Valley Girl, which gave Cage his first romantic leading role, and wraps April 7 with Robert Bierman’s Vampire’s Kiss, which gave him his first insane-person leading role.
In between, we get everything from outsized action extravaganzas like The Rock (February 4), Con Air (February 18) and Face/Off (March 3) to more artistically minded ventures like Wild At Heart (February 11), Raising Arizona (February 25), Adaptation (March 24) and The Bad Lieutenant: Port Of Call New Orleans (March 31).
And, yes, the Lightbox is screening Cage’s finest hour, Neil LaBute’s gonzo remake of The Wicker Man (March 10). You have to give the people what they want.
That`s really a great article! Indeed!: "You have to give the people what they want." (And, it`s obvious what we want! Isn`t it? WE WANT NICOLAS CAGE!!!) Thanks for posting it, Lady T.!
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The first of the TIFF late night Nicolas Cage screenings is tonight, with Valley Girl! Be interesting to see the response, especially from people who may not have discovered this gem of an early Cage classic before!
Here is another article on the event, with thanks to White Fay for pointing me towards it:
'Calling Nicolas Cage peerless is kind of like calling Martin Scorsese talented: technically, it’s accurate but it doesn’t come close to capturing the incomparable dossier of performances - some good, some great, some wretched, all pretty much unhinged – that Cage has let loose over the years.'
Actually, I think he is saying some of his performances are wretched, now that I reread it which is ridiculous, unless he means that some of his performances wretch at your very soul, which is how I choose to interpret it.
I think it is the former lady T, talk about a mixed compliment! and yes, i disagree even more strongly if he is referring to Nics' performances, that is just one steaming pile of horse poop! and quite frankly a little boring but if he means the latter then I strongly agree.
The glorious thing about comments like that is you end up playing a mega montage of all Nics' performances on that home cinema behind your eyelids, which can only brighten up the day!!!
New York literary agent Peter Loew (Nicolas Cage) leads the consummate yuppie lifestyle: rabidly pursuing money and prestige, tyrannizing his underlings, club-hopping and indulging in coke-fuelled casual sex. After picking up a mysterious woman (Jennifer Beals) in a club, Loew becomes convinced that she has bitten him and turned him into a vampire — despite his lack of fangs and continued immunity to sunlight. Nevertheless, Loew starts acting his undead part to the hilt, as it becomes increasingly unclear whether supernatural forces or Loew's own escalating psychosis is at the root of his bizarre behaviour. An edgy black comedy from the screenwriter of Martin Scorsese's After Hours, Vampire's Kiss offers the ne plus ultra of Cage craziness: his kamikaze performance, replete with bared teeth, gyrating eyebrows and a climactic, awe-inspiring Nosferatu impersonation, carries the whole film before it. "What really makes this worth seeing is Cage's outrageously unbridled performance . . . his over-the-top effusions of rampant, demented asociality are really something to see" (Jonathan Rosenbaum).