LOGAN ( Spoiler Alert)

[jo]

What about the more sophisticated film noir?

film noir
ˌfilm ˈnwär/
noun
noun: film noir

a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. The term was originally applied (by a group of French critics) to American thriller or detective films made in the period 1944–54 and to the work of directors such as Orson Welles, Fritz Lang, and Billy Wilder.

a film marked by a mood of pessimism, fatalism, and menace.
plural noun: films noirs

LOGAN does seem to quality as a film noir as well - as it carried the mood of pessimism, fatalism, and menace. I did not see Mad Max -- so I am not sure if that also fitted the qualities of a film noir.

One of my favorite film noirs is Billy Wilder's SUNSET BOULEVARD with Gloria Swanson and William Holden.


Had Spielberg continued with his interest for a film adaptation of A STEADY RAIN -- that sounds like a good candidate for a film noir!

Jo

[jo]

Producer Hutch Parker shares insights on his work as a producer...and his thoughts on James Mangold and Hugh Jackman --

www.forbes.com/sites/jerylbrunner/2017/06/02/logan-producer-hutch-parker-on-what-it-takes-to-be-a-good-producer/2/#39235f7c790d


Excerpts --

Brunner: What do you adore about Logan director James Mangold?

Parker: Jim is an astounding directorial talent. Just look at his body of work. There is no one quality or skill that makes him great. It’s the combination of skills that he brings to his work that makes him so remarkable. He’s a writer, so he is always deep inside the dramatics of his characters and his stories. He’s an amazing actor’s director, as is reflected by the performances he gets from his cast (Girl Interrupted, 310 to Yuma, Walk the Line, Logan, among the many). And he’s a passionate student of the craft of filmmaking, attentive to every technical detail to insure the successful execution of his vision.

There are too many stories to tell, but one of my favorite moments on Logan was when we were shooting the burial scene. It was an intense day, both because we were toward the end of our schedule, and because it was an emotionally demanding scene. All the focus was on performance and managing the light, when Jim whispered a suggestion to Daphne. In the next rehearsal, Daphne turned the cross into an X on Logan’s grave. It’s one of the most iconic moments in the film for me, and is typical of the sort of fluid mastery Jim brings to his work.


Brunner: What qualities about James might surprise people?

Parker: Given the gravity of much of his work, I expect people would be surprised by how funny Jim is. I nicknamed myself Ed McMann from the tonight show because I’d spend much of the day on set sitting by Jim’s side, laughing uncontrollably.


Brunner: What do you adore about Hugh Jackman?

Parker: Truth is he’s a pretty annoying in that he’s essentially perfect. He is a great husband and father, an incredible talent on stage and screen. He is always prepared, always generous to his cast mates and crew, always willing to accommodate the needs of others. He is generous to a fault. kind, funny, and ridiculously athletic. I’ve actually never seen him in a bad mood or angry, and I worked with him countless times. Basically he makes the rest of us look bad.

Every Friday, Hugh buys scratch cards for the entire cast and crew and personally hands them out to each and every person working that day, even to guests (could be 300-400 people). These films take a lot of time to shoot so that’s 18-20 Friday’s over the schedule, without fail, on every film. I think Hugh is one of the reasons these productions have always gone smoothly. It’s hard for anyone to misbehave when the biggest star of the franchise is setting such a high standard.

[njr]

Finally watched it last night! Loved it! Hugh deserves an Academy Award for this!
Sad, but fitting end to Wolverine.

Nancy

[jo]

Can't make out the audio --

But it is worth watching even if only for Hugh's beautiful smile at the end

[jo]

It's quite amazing that even months after its release, LOGAN is still getting some serious and thought-provoking analysis and review of its contribution to film-making!

filmschoolrejects.com/no-country-old-mutants-importance-character-logan/

HomeMovies
No Country for Old Mutants: The Importance of Character in ‘Logan’
H. Perry Horton June 5, 2017



James Mangold’s Logan has gotten pretty much universal acclaim from critics and fans alike, many going so far as to call it the best superhero film ever made. Often cited is its stark and gritty realism, words that aren’t often paired with flicks based on comic books (outside of Nolan’s Batman trilogy and the DC films that have tried – and failed, IMO – to replicate it), and it has been compared to the best of neo-noir, a kind of No Country for Old Mutants wherein superpowers take a back seat to character, that facet of utmost importance when it comes to great storytelling.

Make no mistake, Logan is great because Logan is great, both the iconic character born in the pages of Marvel’s X-Men, and the manifestation of said character by Hugh Jackman – who’s played the cranky Canadian in eight previous films – under the steerage of writer-director Mangold, who saved the character from the dregs of X-Men Origins first in The Wolverine and now in Logan.

Jackman and Mangold’s elevation of Logan out of the realm of costumes and codenames and into a pantheon of all-time great film characters is the subject of the following video from Film in the Making. Taking a character who’s already iconic and not only continuing that legacy but expounding upon it, taking the character into the realm of the immortal, is no small feat or easy exercise. But Jackman and Mangold pulled it off with aplomb. Press play to learn, in part, how they did it.

[jo]

Excelent and insightful interview with Hugh Jackman on LOGAN and the Wolverine role in general --

www.theversatilegent.com/chatting-all-things-logan-with-hugh-jackman/

Chatting All Things Logan with Hugh Jackman
Jackman's definitive action film.
By James       June 7, 2017


Hugh Jackman is known for his long-running role as Logan/Wolverine in the X-Men film series and its Wolverine spin-off, as well as for his lead roles in films as diverse as Kate & Leopold, Van Helsing, The Prestige, The Fountain, Australia, Les Misérables and Prisoners. His work in Les Misérables earned him his first Academy Award nomination for Best Actor and his first Golden Globe Award. In Broadway theatre, Jackman won a Tony Award for his role in The Boy from Oz. A four-time host of the Tony Awards themselves, he won an Emmy Award for one of these appearances. Jackman also hosted the 81st Academy Awards in 2009. In Logan, from director James Mangold, he returns as his iconic superhero character in a tough and moving final chapter.







What do you remember of your last day on the Logan shoot?

What I remember most was that we had a lot of lightning issues. We were at 10,000 feet and if there was lightning within three miles of the shoot an alarm went off and we had to stop. But there were these pockets of lightning and then it’d be blue sky, so we were always stopping and it was really frustrating. We had real issues with the light in the mountains and we were losing the sun but still Jim [Mangold] came up to me and said, ‘Let’s just stay here for a bit. I have got everything I need but this has been 17 years for you. I am going to tell everyone that I am leaving the camera on, that I need just one more angle, but really I just want you to have a half an hour where you haven’t got people yelling and you can enjoy it. Just take your time.’ 
That was a great gift for me.


How did you feel at the end?

I am not really good with goodbyes. Even when I do a show that lasts a year, with 400 performances, people come in for that last show and they are crying even before the curtain goes up. I am like, ‘Come on, guys, we have got a show to do!’ I am not really comfortable with that but I do remember that final day on Logan just looking around at all the people, and seeing the core people who had been there for a long time. Also, it was somewhat of a revelation to me on this film that it was a smaller core group than ever before. It actually took fewer people who really believed more and fought more. And in that core group are seven or eight people, from studio producers to Jim and Patrick [Stewart]. We were all in sync from the beginning. I am sure there were people on the outside who were thinking we were nuts. But I was looking at our core group. And that really hit me. Seventeen years is a long time. You only go to school for 12 years. And remember how long that seems (laughs)?


What does the character of Logan mean to you?

It [X-Men] was my first film in America. You could make a very good argument that I wouldn’t have had any career at all if it weren’t for these films. I was doing Oklahoma! at the Royal National Theatre when I got cast, so I would like to think that I would be working in some shape or form, but this has been the backbone. It has allowed me to do many, many things. Plus, I have always loved the character. It has been very special to me, especially this film, which is probably even more personal because it was the last one. Logan and I are very, very different people but this character has taught me stuff. It’s been great therapy, getting all my anger issues out over the years. Really. I recommend it to everyone. My wife went to a spa recently and she said there was a Wolverine therapy. She said, ‘It’s not called that but we basically had to run to the top of the mountain and yell and scream.’ It’s some gestalt therapy. I said, ‘Yeah, that’s basically what I do every two years!’


Did you think of John Cleese in Fawlty Towers when you were smashing up that car in Logan?

Yes, I did think that (laughs). We’d already shot the scene but then Jim Mangold said, ‘Do one more and think of all the stuff that’s happened, with Charles and this and that, just go for it. Take that spade and hit the crap out of that fucking car.’ I’m like, ‘Did you check with the producers?’ And he goes, ‘No. Okay, let’s roll.’ It was so awesome. I highly recommend that. That was great therapy. I actually didn’t think that scene would make the movie. I just thought he was doing that for me but it turned out great.


Were you surprised about how much leeway the studio gave you with pushing the action?

Yeah. Jim and I came up with the idea when we were talking about Shane, The Wrestler, Unforgiven. We weren’t worried about the rating. We had a pretty good feeling that it would end up being R but we wanted to make a movie about the ramifications of violence. We were pretty sure it was going to have to be violent in order to unsettle the audience but we wanted an adult movie. I went into a meeting with the guys at Fox. I actually asked them to a meeting off the lot because I needed them to know that I was being serious here. I said, ‘I fully understand if you say no. I get it. This is not my money and it’s your jobs and it is also a brand you guys have built over many, many years but I am only really interested in doing this film.’ They immediately said yes even though I fully expected them to say no. I am not saying there weren’t a few fights along the way — over the title and a few things like that — but their courage was immense. People say that it happened because of Deadpool’s success, but we were talking two years before that movie came out. So they should get recognition for their courage. I knew that this was a movie that the character deserved and the fans deserved and that people would love.


And if they’d said no, you’d have walked away from the character?

Yes. And I told them that. I knew that it was the last one for me but as soon as I had that idea, this surge of excitement came. I felt this adrenaline and there was no way I was going to compromise that because it was something I knew I would live with for the rest of my life. I wanted to make a movie that my grandkids, if they asked me, ‘Which one shall I watch, granddad?’ I would say, ‘Watch this one. This is the definitive movie.’


Was it hard to show such an aged and tired Logan?

I wanted it. The scars I thought were a really cool idea. I thought it was really important. It’s cool. At the end of the day you look quite crap and then you take off your makeup and go, ‘Oh, actually, I’m not doing too bad!’ (laughs)


How important is family in this film?

Jim Mangold said to me, ‘This is a character who is terrified of intimacy, so let’s surround him with family.’ We had the idea of Patrick losing his mind and having dementia. And we were a year into it before Jim had the idea of Laura [X-23] and three different generations. It’s a perfect narrative structure, really. That’s all Jim Mangold. We all have families and everyone knows that there is nothing more rewarding or more frustrating or annoying or inconvenient as family. You are forced into relationships with people you may never have had a relationship with by choice. They can make you mad like no one else can make you mad but it is also in the end what makes life worth living.


How much does the story reflect the situation in the world today, with the Mexico wall for example?

The X-Men comic book series has always been about tolerance and diversity. And that’s since 1963/1964 when the first comic came out and when it was an allegory for the Civil Rights movement — Malcolm X being Magneto and Martin Luther King being Charles Xavier. So it always had aspirations to talk about the world and it has always been relevant. It always will be relevant. But I think there is a good case to say that it’s more relevant now. And yet our film doesn’t propose easy answers and nor does it ask easy questions. I remember from high school the Robert Frost poem [Mending Wall] that says, ‘Good fences make good neighbours.’ This is a question that has been around for ages. Should you just look after your own? Is it better just to wave over the fence or are we to be inclusive? Personally, I am all for inclusion. I find it interesting. A sign of growth or humanity for me is that you genuinely care for more people. So I really respect the Nelson Mandelas, the Dalai Lamas because their circle of care is so huge. They care not just for their own country but for the whole world. That seems to me the greatest thing. X-Men has always been political and relevant.


As a father would you let your own kids watch Logan?

I have an almost 17-year-old. That’s fine. My 11-year-old, she was on set. And it’s not about the violence or swearing. To be honest, at 11 they’ve probably heard everything. When we made this movie I really had Unforgiven in my head. And when I went back to watch it, it’s actually not overly violent. It just has adult themes and that’s something that Jim and I talked about. If we were going to be R-rated, we wanted it to be because of the maturity of the storyline and thematic more than just the graphic violence.


For you, what is an acceptable age for a child to see this movie?

When I grew up my father was like, ‘If it says 18 you have got to be 18. You can’t be 17 and 300 days.’ It was a nightmare. I didn’t see Star Wars! I was the only kid who didn’t see Star Wars because you had to be 12 in Australia at the time. And it came out when I was 11 so I waited a year to watch Star Wars. I was like, ‘Oh, dad, please!’ So it’s a film-by-film and a kid-by-kid basis. I don’t think you can put a definitive age on these things.


In one of the scenes you fight against a clone. Was that difficult to shoot?

Yes, because I really wanted to establish a different physicality for both characters. I wanted it to be clear to the audience that one was the embodiment of pure rage and destruction. But it was really weird because I actually fought my stunt double, Dan Stevens, who I have worked with for years and that had never happened before. Usually, it’s either him or me on screen. And when we were filming I accidentally clocked him on about the third take, right on the jaw, and I saw that look in his eyes saying, ‘You do not pay me enough to smack me in the face!’ Anyway, four takes later I happened to get smacked in the face (laughs). But he is an Aussie so I was like, ‘Fair enough, buddy!’ And he said, ‘I have waited a long time to do that!’ (laughs)


How do you feel going from Logan onto The Greatest Showman?

Both movies are very personal to me. It took us seven years to get a green light for The Greatest Showman. I can’t tell you how many workshops and sessions and meetings, rehearsals, recording and studio sessions we had to get that. It’s a really sweet moment for me to be able to do complete opposites. These are opposite characters and require me to use all the different skills I have learnt over many years. It is a movie musical with all original music. Prior to La La Land, there hadn’t been one for 22 years. Actually, the guys who won the Oscar [for La La Land], Benj Pasek and Justin Paul, wrote the music and were hired on our movie before anyone really knew who they were. That is gratifying. I love La La Land and I love that audiences are opening up to musicals. And people who would never go to a musical are going along. With The Greatest Showman we tell the story as if P.T. Barnum were telling the story of his life! You can argue that his story was the start of the American Dream.

There has been no other film that Hugh identifies with as much as he does with the Wolverine role... because this one became very much part of his life. Yet, Wolverine is probably very different from Hugh's very caring outlook about other peoples!

Interesting that he talks about a core group who have been along the way in his 17-year journey with Wolverine! It is really producer Lauren Shuler Donner and Patrick Stewart who have been there since the very beginning! Lauren even goes a bit further back -- she discovered him while he was in Oklahoma! in London and she played an instrumental role in Hugh getting the role of Wolverine!

I wonder if there has been another actor who identifies with a role as much as he does. Maybe some of those who played the Bond role for quite a number of films?

Hey, was he referring to The Boy from Oz in one of his reminiscences?



Jo

[jo]

The Aussies pay tribute to Hugh's herculean journey as the film Wolverine...over a period of 17 years!


www.dailymail.co.uk/tvshowbiz/article-4583470/Ceebrities-share-tributes-Hugh-Jackman-s-Wolverine-role.html

Saying thank-Hugh! Lisa Wilkinson, Bindi Irwin and Foreign Minister Julie Bishop lead tributes to Hugh Jackman's Wolverine character and praise his ripped abs


By Candice Jackson For Daily Mail Australia
Published: 07:16 BST, 8 June 2017 | Updated: 08:34 BST, 8 June 2017



He has hung up the razor-claws of his iconic Marvel superhero character Wolverine after an impressive eight films over the past 17 years.

And to celebrate the release of Logan on Blu-ray and DVD this week a handful of Australian celebrities have sent tributes thanking Hugh Jackman for the role...

Please scroll down to get the video clip from the link.

www.dailymail.co.uk/tvshowbiz/article-4583470/Ceebrities-share-tributes-Hugh-Jackman-s-Wolverine-role.html#v-439073072229102804

[jo]

[jo]

I still can't get over the fact that we stumbled on the X-24 character, via Hugh's photo at APOLLINE Restaurant in New Orleans, during the early part of filming

[jo]

Question : Wouldn't X-24 have at least an affinity with Logan as he was cloned from Logan's DNA...and not try to do him harm? Laura came from the same process, albeit the emotion aspect was preserved in her as a clone. Or was that why X-24 never even recognized his biological father, let alone have any sympathy for him?

Or was it the prolonged interaction with her biological father which made Laura develop any affection for him?


Jo

[mamaleh]

That "nature" v. nurture question is really interesting, Jo. Perhaps the answer is some of each.

Ellen

[jo]

It looks like LOGAN NOIR is going to screen in London.


The poster is from London --

Another from a London resident --

[jo]

LOGAN NOIR also played in a cinema in Chicago --

Music Box Theatre‏ 
@musicboxtheatre

The definitive version of Hugh Jackman's final ride as Wolverine, LOGAN NOIR plays this weekend!
Showtimes & Tix: bit.ly/2sUNohj

[jo]

Interesting twitter exchange, initiated by comments from DAVID HAYTER ( screenwriter for XMen and XMen-2)!

 
Mangold‏
Verified account
 @mang0ld Jun 12

Replying to @davidbhayter @realhughjackman and 2 others
Thank you! And thanks for setting it all up, David!


David Hayter‏
Verified account
 @davidbhayter Jun 12

James,

So beautifully executed. And so many clever nods to past ideas.

A pretty emotional screening, even for a heartless screenwriter.

Andreas Nordvall‏ @siggeplump Jun 12

Replying to @davidbhayter @mang0ld and 3 others
Yeh it was pretty fantastic. And a great story about an old killer learning not to let your genes define your destiny- hey wait a minute





Joseph O'Brien‏ @joseph_OBrien Jun 12

Replying to @davidbhayter @mang0ld and 3 others
It's pretty fucking incredible. I cried real Man Tears at the end. Extraordinary performances, directed with grit and substance.



DRΞDDD‏ @dredddpatrol Jun 12

Replying to @davidbhayter @mang0ld and 3 others
tell me im not the only one that got #MGS4 vibes from it...only thing missing was him saying "this is my final mission" you'll be THE snake




Fraser‏ @ecossefilmmaker Jun 12

Replying to @davidbhayter @mang0ld and 3 others
Wasn't it wonderful? Such a bittersweet ending. Jackman and Stewart were fantastic.

[jo]

Screen Rant examines why LOGAN NOIR can appeal in an even more emotional way!

screenrant.com/logan-black-white-or-color/

Is Logan Better in Black and White?
By Hanna Flint 5 hours ago


–
Logan has returned to theaters again – this time with a black and white filter. 20th Century Fox’s third Wolverine standalone movie was re-released in selected theatres across the US and Europe, as Logan Noir, and it packs just as much a punch as the technicolor version.

The movie’s black-and-white life began as moody monochrome stills taken by director James Mangold throughout the film production. Before the initial release of the movie, these photographs were distributed by PRs to journalists as part of the promotion and on social media. They also appeared as a slideshow before press screenings, with Johnny Cash’s cover of Nine Inch Nail’s Hurt as its soundtrack.

“We had some other guys come onboard to do some black and white stuff which we thought would be cool for social,” Hugh Jackman said at the Logan Noir European Premiere in London.
“There was such a strong reaction to those photos in black and white, and in fact we were halfway through the movie when this was coming back, and Jim and I were like ‘wow, what a cool thing to do. Jim had kept thinking about it and as soon as the movie came out, and I think with the success of it, he then said ‘I want to do a black and white version.’ It is absolutely stunning to see it here on the big screen.”


“Stunning” is just the right word to describe the aesthetic of Logan Noir. Every scene and angle looks like something out of an arthouse film, like a classic Hollywood Western that the movie tries so hard to encapsulate. With every black-and-white set photo tweeted out by Mangold, more people wanted a black and white version.

“Of course, in the modern world, [it’s] impossible to make a $100 million black and white film,” the director told ScreenRant:

“I brought up to Fox as we were in post that I really wanted to experiment with producing a black and white version of the movie for home video and we had already done something like that with the footage – we had this early teaser we released, this kind of documentary style thing of Hugh driving. So I did that, and as we were working on the home video, it looked so good that I started talking to people about, ‘Why don’t we put this on a screen for a day or two?’ I didn’t know if Fox would respond or if theater owners would respond and suddenly it was happening. It was really exciting.”


One of the reasons for Logan’s R-rating was the film’s excessive amount of bloody scenes as Wolverine, X23 and X24 put their adamantium appendages to fatal use. Mangold certainly captured Steve McNiven’s Old Man Logan aesthetic in the color version, but in monochrome these violent moments hit you harder on an emotional level rather than a visual one. I felt myself become more emotionally engaged in the story, and the characters, because I wasn’t wincing at the blood and gore (and there’s a lot of it) or Logan’s failing health and injuries. Scenes that had originally left me a little misty-eyed now had me silently weeping. The moment when Logan buries Professor Xavier is especially moving because of not just the focus on Jackman’s face, as he fights for the right words to say in tribute to the X-Men founder, but also because of the black and white filter that brings a wistful edge to it.


To modern day audiences, black and white films often evoke this sense of nostalgia in the viewers because, as Mangold said, these movies aren’t made by studios anymore – especially not in the big-budget superhero genre. The director also said he wanted to use the nostalgia of the past to bridge the gap between old Hollywood and new.
“I think black and white focuses you on character, in a way, it reduces the amount of eye candy, of color and distraction, but I think what it really is for most of us is a chance to connect the movie with movies of the past. It suddenly feels connected to Westerns and noir films that I wish people would watch more of.”


That nostalgic sense is especially resonant in Logan Noir, as you watch two men coming to the end of their lives – fighting their final battle to help the future of mutants, but all the while haunted by those no longer with them. Both Xavier and Logan – and the rest of the world – long for a time when the X-Men protected the world, before Dr. Xander Rice caused the devastation of the mutant population. Every time the camera focuses on Logan’s eyes you can see the pain and guilt he suffers for lasting so long and the briefest glimpses of hope as he begrudgingly fights for Laura’s survival. Even in Professor X’s final scene, as he remembers his role in the deaths of his X-Men, the black and white tone emphasises the sentimentality and love he feels for Logan and frames his goodbye so movingly.

Thematically too, Logan Noir is suited to this monochrome aesthetic because it emphasises the light and dark in each frame more than color. This contrast is especially effective in Wolverine’s on-screen journey because in each film he’s experienced a series of light moments (like finding the X-Men and becoming part of a family), but also a lot of darkness. Logan seems to have lost more people than any other X-Men character over the course of his silver screen run, but because of his healing abilities he’s survived each anguish – sometimes reluctantly so. This is not to say every movie starring Wolverine should be in black and white, but since Logan is the final farewell to Hugh Jackman in the role (and Sir Patrick Stewart as Charles Xavier) the choice is definitely fitting.

Logan Noir is available now as a special feature on home video releases of Logan.

[jo]

Unbelievable in what magazine a major feature on LOGAN lands!

Architectural Digest!

www.architecturaldigest.com/story/logan-set-design-filming-locations

[jo]

They're still doing special screenings of LOGAN NOIR, this time with a discussion preceding the screening among comicbook creators.

www.courant.com/entertainment/movies/hc-logan-noir-at-real-art-ways-20170705-story.html

It will be shown Friday to Thursday, July 7 to 13, at 2:30 p.m.

On Saturday, July 8, it also will be shown at 9 p.m. A pre-film talk with independent comic book creators will discuss how the character Wolverine has influenced their work and how the film Logan fits into the character's legacy.

[mamaleh]

A sudden thought: Are the box office receipts for LOGAN NOIR part of the aggregate grosses for LOGAN? I would think so, but I wonder.

Ellen

[jo]

I would imagine so -- but it would not be a lot. The screenings were only occasional and for one screening (maybe 2) in most cases. It was only for the premiere of LOGAN NOIR that they had a lot more, but not in cinema complexes ( which could hold a lot more people) as those have regularly-scheduled movie fare.

LOGAN NOIR was actually --

*A vanity project for Mangold. It started with his fascination with photography ( he kept taking those black-n-white photographs of people and other stuff when they were filming. He is also a great fan of old classic movies, including film noir. So, when fans started asking him via twitter if he would be open to a noir version -- he saw an opportunity to extend his creative instincts to this form of filmmaking ... and approached FOX with the idea.

*Something that the studio saw as a very strong come-on for the BluRay release ( no extra charge for NOIR).

Happily, it turned out to be an artistic success with fans -- judging from articles and tweets! And of course the request for actual theatre screenings were mostly initiated by fan interest.

Jo

[jo]

Patrick Stewart wonders what will be in store for him in future roles after LOGAN --

screenrant.com/logan-patrick-stewart-charles-xavier-doubts/


For a while, it seemed that his role as the older Charles Xavier in DAYS OF FUTURE PAST would have been his last in the franchise, given that the role has been recast as a younger version of the Professor. LOGAN gave him another opportunity to reprise the role, in even a more dramatic and memorable way!


I wonder -- will he and Hugh ever work together again in another movie?

Or maybe even on stage?


Jo

[jo]

This is more of a postscript on the character of LOGAN, not necessarily the movie LOGAN, but the comic-book OLD MAN LOGAN --

www.hollywoodreporter.com/heat-vision/deadpool-logan-finally-face-but-not-onscreen-1022196

July 18, 2017 11:57am PT by Graeme McMillan
'Deadpool' and 'Logan' Finally Face Off (But Not Onscreen)

Declan Shalvey/Marvel Entertainment

In this story

Deadpool

Logan






Fox's two big comic book movies crossover in a five-issue Marvel comic series this fall.

It's the crossover of two of the most critically acclaimed superhero movies of recent years — taking place on the printed page. This fall, Deadpool takes on the aged Logan, and it's going to get messy.

The meeting of the hyper-violent antiheroes will take place in the five-issue Deadpool vs. Old Man Logan, written by Declan Shalvey, with art by Nailbiter's Mike Henderson, with both heroes competing to find a newly identified powerful mutant first — no matter what.

"We get to see both characters be the best at what they do, while also getting to see them be the classic odd couple," Shalvey said in a statement from the publisher. "Both characters naturally bump heads against each other, which is a lot of fun to write."

Henderson added that the series "is a not-so-buddy-buddy buddy comedy with all the bickering, explosions and stabbing you'd expect from a comic starring Deadpool and Logan as they both race to do their version of the right thing by a young mutant," comparing the end result to "this flaming runaway train of an action script that feels like … a Jason Statham movie."

The series launches in October, one of two new miniseries from the publisher that month centering on multimedia properties; also debuting is Garth Ennis and Goran Parlor's Punisher prequel, Punisher: The Platoon, set during the Vietnam war.

LRM provides a few more details --

lrmonline.com/news/deadpool-vs-old-man-logan-first-look-at-the-upcoming-comic

This fall, katanas and claws will clash when two of Marvel’s deadliest heroes come together, in a clash you can only imagine! Superstar writer Declan Shalvey (Deadpool, Moon Knight) and fan-favorite artist Mike Henderson (Secret Wars: Battleworld) team up to bring you a regenerative, cranky, old X-Man and a regenerative, wacky Merc with the Mouth…in a story so explosive, not even the promise of chimichangas can save the day!

"Deadpool vs. Old Man Logan is has everything I've wanted to see in either a Deadpool book, or a Wolverine book,” said series writer Declan Shalvey. “We get to see both characters be the best at what they do, while also getting to see them be the classic odd-couple. Both characters naturally bump heads against each other, which is a lot of fun to write. I’ve been so fortunate to have Heather Antos edit this book. It's been a dream working on it, she's done everything she could to make this book what I want it to be, and a great working experience to boot.

"James “Logan” Howlett is after a newly discovered Omega-level mutant, but if you think he’s going to let Deadpool help him, you’re sorely mistaken. Naturally, Deadpool vows to outmatch his newly marked enemy for the entirety of their mission. Will they find common ground with each other along the way? “Importantly, the book features Old Man Logan though, not Wolverine,” said Shalvey. “That character has a different kind of baggage than old-school Logan, which makes him relate to Wade Wilson more than one may think. The characters have a lot in common, so having a book featuring both really makes sense, but they are clearly very different personalities, that's been a great thing to play with.”


“Deadpool vs. Old Man Logan is a not so buddy-buddy buddy comedy with all the bickering, explosions and stabbing you'd expect from a comic starring Deadpool and Logan as they both race to do their version of the right thing by a young mutant,” said artist Mike Henderson. “Declan has written this flaming runaway train of an action script that feels like drawing a Jason Statham movie and Lee Loughridge is bringing the heat on colors, so anyone who wouldn't mind seeing our two heroes cut their way through some faceless corporate jackboots won't want to miss it because it's been crazy fun to draw.”

“Seeing Mike Henderson draw this book is a revelation,” added Shalvey. “I've been a fan of his for a while, but I think this is the book that's going to turn a lot of heads and see just what Mike is truly capable of.” Read more at: tr.im/24r23

If they recast Logan/Wolverine, it would be ironic to do it with the Logan character because Old Man Logan is towards the end of his life.

Or will FOX ever entice Hugh Jackman to do an encore?

Maybe in exchange for 2 more movie musical, 2 more action/adventure, and 1 heavy drama film projects

Okay, I'll buy that for Hugh




Jo

[jo]

[jo]

NOIR art!

[jo]

A good year for superhero movies released so far in 2017 --


culturedvultures.com/2017-best-year-superhero-movies-yet/

Excerpts re LOGAN --

If Lego Batman was the ray of sunshine to the superhero genre, then Logan was the dark storm cloud that blocked out the sun and happiness as we know it. From start to finish, James Mangold’s twist on the western is a bleak and bloody approach to the superhero genre that tries to demystify the idea of what it means to have superpowers.

The film is set in a post-mutant world where the majority have been wiped out of existence and the few left are in hiding. Near the beginning of the film, Logan (a career best Hugh Jackman) tells a liver spotted and dementia ridden Professor X (Patrick Stewart) that “the Statue of Liberty was a long time ago”, which heralds the end of the inherent optimism of Bryan Singer’s original X-Men film and lets viewers know they are witnessing a Wolverine unlike any other they have seen before. Gone is the hopefulness of X-Men films past as Charles is near death and Logan considering suicide by way of an adamantium bullet.


To simply be dark and gritty is not enough to make a movie great (see: Josh Trank’s Fantastic Four) but director James Mangold uses the film as a vehicle to deconstruct the notion of what it means to be a hero and the bloody consequences of a man swinging at bad guys with deadly metal claws.

Mangold makes the audience aware of the real consequences throughout the film as Charles, Logan and their albino friend Caliban (Stephen Merchant) all die in the hope that they are a part of something bigger than themselves. Where the film finds its spot of hope is in Laura (Dafne Keen), also known as X-23, and her band of escaped lab experiments hoping to escape to Canada to be safe from the government hunting them down. Furthermore, Mangold uses religion and the notion of higher purpose to drive the conflict of the film and leaves one of the most memorable moments of the film when Laura turns the cross on Logan’s grave on its side to resemble an X. Surely, this film will be a classic in the superhero genre and it deserves all the praise.

[jo]

http://instagram.com/p/BXeHuBuDNjk

If I recall right, he did this free fall with his stuntmen when they had practically completed filming LOGAN in mid-August 2016!


EDIT: It looks like the recent upload is a completely different instance of jumping from a cliff!


Jo