Beyonce & Jamie Foxx in Dreamgirls Keira Knightley in ANYTHING Gwyneth Paltrow in Shakespeare In Love or basically anything including Iron Man Resse Witherspoon in Walk the Line Tina Fey - Baby Mama Nicolas Cage in ANYTHING Helena Bonham Carter in Sweeney Todd Tom Cruise - Lions for Lambs Nicole Kidman - Margot at the Wedding Most of the Cast in I'm Not There Naomi Watts - Eastern Promises Megan Fox - Transformers Kirsten Dunst - Spider-man So who WOULD you have cast in these roles then, genius?
Originally posted by RenoRulez: Let me see what i can think up
Beyonce & Jamie Foxx in Dreamgirls Keira Knightley in ANYTHING Gwyneth Paltrow in Shakespeare In Love or basically anything including Iron Man Resse Witherspoon in Walk the Line Tina Fey - Baby Mama Nicolas Cage in ANYTHING Helena Bonham Carter in Sweeney Todd Tom Cruise - Lions for Lambs Nicole Kidman - Margot at the Wedding Most of the Cast in I'm Not There Naomi Watts - Eastern Promises Megan Fox - Transformers Kirsten Dunst - Spider-man So who WOULD you have cast in these roles then, genius?
Well Genius, I haven't really thought about all of them, but the two that pop into my head right now are:
Put Rachel McAdams in for Paltrow in Ironman Put Meryl Streep in for HBC in Sweeney Todd
The Rest I would have to think about, but this thread is who we think was miscasted not who would we replace, these are my thoughts and if you don't like them, then I am sorry, genius
I know that this one will be a very unpopular one, but I've always been a little bit uneasy with F. Murray Abraham and Tom Hulce in "Amadeus."
*SPOILER ALERT*
It may just be a questionable direction over questionable casting, as I do think "Amadeus" is overall a very fine movie. But to begin with, I always wondered why they cast Americans in the lead roles of Salieri and Mozart. The bigger problem I have is that the acting on both Abraham and Hulce's part is simply too subtle for me; it never activates the drama of the story the way it did onstage.
I admire Abraham for not turning Salieri into a cartoonish villain, but the flip side of his performance is that he simply remains too reined-in for me to hate; his sense of "evil" is weak enough to make the character's motivations vague and petulant. I want to HATE Salieri, and I never do.
I also want to hate Mozart, and again, I never do. Hulce is just never bratty enough to make me think he's got it coming, and yet I never feel his decline so keenly that I feel the sympathy I should feel for him at the end of the film.
The thing that always irritates me about Mozart's character in the film as opposed to the stage version is that Peter Schaffer deleted the play's "moment of recognition" from the movie, where Mozart realizes that Salieri has been the cause of his downfall. I feel that Schaffer tried to placate the audiences a little with Mozart's "forgive me" speech, and even though it's Hulce's best moment in the film, the revised death scene never packs the same punch as the original stage version did.
In theory, "Amadeus" should be a magnificent play-to-film transfer, as the cinema can convey a swath of time and a detailed history far more convincingly than the theatre can. But for me, the essential drama of "Amadeus" the play is lacking in the film. What was glavanizing on the stage is so comparatively flat on film, so at odds with the glorious music it celebrates...and both Abraham and Hulce suffer as a result. I begrudge neither man their Oscar nominations (or Abraham his win), but I always sigh when I see the film, because I see fine performances that could have been extraordinary ones.
And of course, the biggest casting hiccup in the film: Elizabeth Berridge. Well...the less said, the better.
