film

The IMAX format of Nolan’s ‘The Odyssey’ is an ambitious experiment. So much so that in most cinemas the film will be seen mutilated

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The official website of ‘The Odyssey’ by Christopher Nolan has a very unusual function: in the Explore Formats sectiona selector allows you to see the same trailer in six different formats, from the almost perfect square of IMAX 70mm to the wide panoramic view of conventional 35mm. It is a promotional decision that reinforces the idea that Nolan is extraordinarily concerned with image and the format of your film. But… what if what this gadget transmits is just the opposite? The formats. What changes between one format and another is the proportion of the image, the shape of the plane. In IMAX 70mm, the format in which the film was originally shot, a person is in the center of the screen, with “air”, or a part of the image without vital information, above and below; In the 35mm format that most audiences will see in conventional cinemas, that same shot appears cropped from above and below, eliminating that superfluous information. You just have to compare the trailer on the film’s website with the tools that are provided to us: the story is the same but the image is, literally, from two different films. Aspect Rancio Facts. It is worth clarifying a little what this is aspect ratio, the relationship between width and height of the image. Basically, it determines what the viewer sees and what the director leaves out of the frame. It is, basically, the minimum compositional decision in cinema. And the framing differences can be very noticeable: in the 2.39:1 widescreen version, a considerable part of the image is cropped compared to the IMAX 70mm in 1.43:1. Only a few theaters in the world can show the film in IMAX 70mm, so many IMAX theaters present the films in 1.90:1, which is the second largest format, much closer to the traditional scope. The third in size is the standard 70mm at 2.20:1, which is not very different in height from the traditional 2.39:1 35mm widescreen. In other words: the IMAX 70mm in 1.43:1 shows up to 40% more image than standard screens. Translated to the plane: what is cut out in the conventional distribution are not the sides (the width is preserved) but the top and bottom of the frame. The 70mm horizontal runs across the projector rather than vertically, creating that monstrous frame size. But it’s not just a question of seeing more or less, but of what is seen and what is not. Or to put it another way: if Nolan assumes that we are not going to see 40% in widescreen… has he included a 40% superfluous image in IMAX? And this affects planning, of course: in a very close-up of a face in IMAX, will we see only the actor’s face in conventional cinemas, without a stage around it? Cinephile elitism. On July 17, 2026, when ‘The Odyssey’ hits theaters, the viewer’s experience will depend, to a large extent, on where they live. Only 30 theaters in the world are equipped to offer the IMAX 70mm format, and none of them in Spain. There are rooms here that project in 70mm and there are also IMAX rooms, but none have both at the same time. The only cinema in the country that will offer the two options, although separately, are the Palafox Cinemas in Zaragoza: their room 4 will project in 70mm five-perforations, while on July 17, coinciding with the premiere, they will inaugurate a new IMAX room. Only theaters with IMAX 70mm can reproduce the film exactly as it was photographed. The other versions preserve much of the visual presentation, but crop or reduce parts of the original image, as we have seen. That has sparked a debate that has been going on for weeks. circulating on social networks: There is talk of elitism and that Nolan is turning his back on his audience, and the reason is that the planning, as we have seen, changes drastically from one format to another… and the frames have been planned for a very minority format. The framing is what you are looking for. Because there is a question that Nolan has not answered: did they compose each shot also thinking about the 2.39:1 crop? When Nolan was mixing formats in ‘Dunkirk’ or ‘Interstellar’ (using IMAX only for certain sequences and the rest in scope), the composition of each scene was planned for its specific format. The visual leap between square and panoramic formats was part of the film’s language: the horizon literally widened in moments of maximum tension. The decision to shoot 100% of ‘The Odyssey’ in IMAX, instead of the usual 60-70% in his previous films, means that the dialogue shots between two actors are also in 1.43:1. In 2.39:1, those same shots will lose vertical information from the original frame. The premiere on July 17 will reveal, with the support of the public, whether it has paid off for Nolan to shoot, literally, for thirty theaters around the world. In Xataka | There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

A new true crime by Carles Porta arrives along with a film that won six Oscars to Movistar Plus

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There are just a couple of days until summer begins, beach and pool time. But, what do we do all those hours that we can’t leave the house? There, having movies, series or documentaries to watch can save us from a boring afternoon. If you like the true crime, You have an appointment on Movistar Plus with the new Carles Porta: you can see it by 4.99 euros per month. And it arrives almost at the same time as a movie that swept in the last Oscars. Monthly subscription to Movistar Plus The price could vary. We earn commission from these links It can be shared, has no permanence and you can see what you want offline This new Movistar Plus Free Plan It arrived a few weeks ago and is a very interesting option for all those users who don’t like sports at all. That is the only difference with respect to the other plan available on this platform, which has a price of 9.99 euros per month. For the rest, it is identical: it has no permanence and can be contracted regardless of the operator we are. Besides, You can also share the account with a friend or family member. Let’s now talk about the premieres. He true crime in question of Carles Porta it is called ‘The twins’ plan‘and, as indicated its synopsisit seems that it is going to be just as good (or more) than the last one that arrived on the platform, called ‘Peregrina’. This one has been available since yesterday and joins a good assortment of other documentaries by this same author that are available on Movistar Plus. As for the film that won several Oscars, we are referring to ‘One battle after another‘, directed by Paul Thomas Anderson and starring Leonardo DiCaprio. This joins others that have recently arrived in the catalog of this platform, such as ‘F1: The Movie‘ either ‘Gladiator 2‘, among others. Other interesting ones will also arrive in the coming days, such as ‘Sisu: Road to revenge‘ either ‘Blue Moon‘. It is a good time to try this Movistar Free Plan. If you are one of those who plan to travel by plane or train in the coming months, this platform can help you make the journey more enjoyable, since it allows you to download anything and view it offline. Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Espinof, Movistar Plus In Xataka | Less than five euros per month and without permanence: this is the new Movistar Plus plan that you can even share with a friend In Xataka | Movistar Plus activates its Free Plan with complete programs and a lot of content, regardless of which operator you are

In two days on Netflix, the film that last year caused people to riot in cinemas around the world

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When in a movie theater a baby zombie rides a chicken and the entire room, all teenagers, bursts into screams, throwing popcorn and TikTok is flooded with videos corroborating the chaos in the roomssomething has happened that has gone under the radar of industry forecasts. ‘A Minecraft movie‘ was not exactly the critics’ favorite of 2025, but it undoubtedly had one of the best box offices of the year. This weekend you can see why it happened in Netflix. In just two weeks, the film surpassed $550 million in worldwide receipts. It ended up close to a billion. A true phenomenon that revitalized the industry’s interest in video games, already highlighted by the success of ‘Super Mario Bros. The Movie’ in 2023 with its more than $1.36 billion at the box office. With Sonic, Mario and ‘Mortal Kombat’ having several sequels and a second part of ‘A Minecraft Movie’ scheduled for 2027, it remains to be seen if we are facing a momentary impact or a true trend. The movie does a good job in transforming the almost abstract original game into a story with minimal coherence: Steve (Jack Black) is a doorknob salesman with the dream of working in a mine and discovers a portal that transports him to the Overworld, the cubic world of Minecraft, where he is captured by Malgosha, a pig sorceress who seeks to dominate that world. Some time later he will join four strangers from the real world (including Jason Momoa) to find his way back home. The film’s impact not only translates into box office success, but also into a revitalization of the brand: by April 2025, ‘Minecraft’ had sold more than 350 million copies worldwide, consolidating its position as the most popular video game of all time. Following the film’s release, console and mobile sales of the original game grew by 35% and daily active users on console increased by 41%. A true phenomenon that demonstrates, once again, that while adults point to the moon with a solemn gesture, young people do, essentially, whatever they want. In Xataka | The latest from the director of ‘Longlegs’, streaming tomorrow: almost no one has seen it, but it is the most disturbing of the year

It is the most faithful recreation of a Viking battle in history, in a film that you can watch for free on streaming this week

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There is a sequence in sensational viking epic ‘The man of the north where the attackers move in columns, not in lines, as the Vikings actually fought. Any other production would have ignored that detail, but its director Robert Eggers remained faithful to reality. Now you can check it out for free and until June 19 on the platform RTVE Play. Historian William Short analyzed the combat in the film, evaluating how faithful the film’s depiction of battles was, and gave it a 9 out of 10 for historical accuracy, recognizing that the depth of Eggers’ research is reflected in the attention to these types of details. From Viking combat techniques to the credibility of the costumes, weapons and rituals of the time. For comparison, Short was much less generous with the 1958 classic ‘The Vikings’ with Kirk Douglas, to whom he gave just a 5 out of 10 for historical accuracy. Short’s starting point was precisely that battle formation in columns: the Vikings did not advance in long lines along the battlefield, and in the film three very characteristic advancing columns are distinguished. But his successes go further: Short also examined the figure of berserker played by Alexander Skarsgårdand although the nature of the berserkers remains somewhat mysterious, sources document that they went into a battle frenzy, howling like wolves and biting at their shields. As for the language, Eggers did not opt ​​for the usual English in these productions. He worked with Icelandic linguist Haukur Þorgeirsson to reconstruct Old Norse in ritual scenes and chants, taking poems written in medieval Iceland and reinterpreting them into what would have been the pronunciation of his time. In short: a must-see film for devotees of Nordic culture that is worth claiming, especially considering that it was a failure at the box office with just 69.6 million in worldwide receipts. In Xataka | Today on Netflix: the first stop-motion film made in Mexico arrives with the seal of Guillermo del Toro

Today the new film ‘The Lord of the Rings’ arrives on Netflix by surprise, whose genesis is as interesting as its plot

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The first Middle Earth anime, ‘The Lord of the Rings: War of the Rohirrim‘, lands on Netflix almost a year and a half after its discreet passage through theaters. The film that Warner swept under the rug a few weeks after its theatrical release is back on streaming, and its commercial journey is as bumpy as the fiction it narrates, set in Tolkien’s immortal creation. The story takes place 183 years before the events narrated in ‘The Fellowship of the Ring’. We will experience the fall of Helm Hammerhand, king of Rohan, against Wulf, a Dunlending lord who seeks to avenge the death of his father. The siege ends at the Tabernacle fortress, the bastion that generations later will be known as Helm’s Deep. In this way, an episode of the story of ‘The Lord of the Rings’ that Tolkien barely left outlined in the appendices is narrated in detail. Behind the camera was Kenji Kamiyama, a Japanese animator who had previously taken the reins of other legendary franchises, as he did in ‘Ghost in the Shell: Stand Alone Complex’ and ‘Blade Runner: Black Lotus’. However, the bet did not work at the box office: the film became the worst premiere of the entire franchise, grossing barely about 4.6 million dollars. Its worldwide collection was around 20 million against a budget close to 30. But… what is the reason for the release, somewhat secretly, of this film? Easy: retain rights. The making of ‘The War of the Rohirrim’ was accelerated so that New Line Cinema would keep the film rights to Tolkien’s work active while prepared new projects. The next step in that plan is ‘The Hunt for Gollum’, now with real actors, Andy Serkis directing and returning to play Gollum, produced by Peter Jackson and scheduled for release in 2027. The machinery continues to move forward, but in the meantime we have this wonderful animated appetizer. In Xataka | Today on Netflix: in 2019 no one gave a damn for it, and today it is one of the best adaptations of a video game

In two days, on Netflix, the first stop-motion film made in Mexico arrives with the seal of Guillermo del Toro

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There are projects that are literally made with a lifetime’s savings. ‘I’m Frankeldathe first stop motion animated feature film produced entirely in Mexico and which comes with the seal of Guillermo del Toro’s production, comes to Netflix this June 12 with more than one hundred hand-built puppets, four years of craftsmanship. The beginning of its story dates back to 2021 and a semi-unknown anthology miniseries. It was in that year when the Mexican studio Cinema Fantasma, founded by brothers Arturo and Roy Ambriz, premiered on HBO Max (not available in Spain) ‘The Hidden Scares of Frankelda’, a stop motion anthology miniseries starring a ghost writer who tells horror stories to children. The success of the series led to the jump to feature length, initially as a 30-minute special, which grew to become a two-hour film. The Ambriz brothers ended up financing the production with their own savings. We will meet Francisca Imelda in 19th century Mexico, a writer of horror stories whose texts are ignored and dismissed by those around her. Forced into silence, she adopts the pseudonym Frankelda and continues writing until a tormented, supernatural-looking prince, Herneval, guides her on a journey into her own subconscious. Turned into a ghost, she discovers that The monsters he invented have come to life and threaten the balance between fiction and reality.. Just like explained Roy Ambriz: “When Mary Shelley published her books, she had to do so under the name of her husband, Percy Shelley. So we asked ourselves: how many Mary Shelleys would there have been in Mexico?” After seeing a provisional montage, Del Toro congratulated the creators and sponsored the project. The director was already in contact with the brothers since 2015 and the short film ‘Revoltoso’, which he produced. In ‘Soy Frankelda’ he served as creative advisor. It is a role in which the director fits perfectly, since he not only won the Oscar with his own version of ‘Pinocchio’ for Netflix, but he has supported the art of stop motion in very diverse ways, such as with the creation, together with the platform and the Parisian animation school Gobelins, of a stop-motion studio-laboratory. In Xataka | Today on Netflix, 6 seasons of a brutal and fast-paced action series with an impeccable score

Ukraine turned drones into hunters. A helicopter shot down in Hormuz has transformed them into a Spielberg film

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In April 1944, a small Sikorsky YR-4 helicopter went behind Japanese lines in Burma to rescue four soldiers isolated. That operation is considered the first military combat rescue carried out by a helicopter and opened a new era in the recovery of personnel under enemy fire. More than 80 years later, another innovation has just taken an equally transcendent step. Apache shot down at the most delicate moment. The fragile truce between the United States and Iran was brought to the brink of collapse when a US AH-64 Apache attack helicopter fell into nearby waters to the Strait of Hormuz during a patrol mission. Trump claimed that the aircraft had been shot down by Iran and promised a military responsewhile different American sources suggested that the impact would have been caused by an Iranian drone, possibly a Shahed. Although it remains completely unclear whether the attack was deliberate or accidental, the incident had a huge symbolic load because it occurred in one of the most sensitive points on the planet, through which a fifth of the world’s oil transits and where Washington and Iran have been facing each other for months in a war of attrition marked by naval blockades, air attacks and constant episodes of tension. Ah64 The immediate response. The political reaction was almost as rapid as the incident itself. trump publicly declared that the United States had to respond to the shootdown and a few hours later the US Central Command announced retaliatory attacks against Iranian targets. Although operations seemed to remain within from a limited framework to avoid a new generalized escalation, the episode demonstrated the extent to which the ceasefire remained extremely fragile. The statements of Iranian officialscombining references to diplomacy with veiled warnings, made clear that both sides were trying to avoid outright war while continuing to send messages of strength to each other on the ground. The real event. However, the most relevant thing about the entire sequence was not the fall of the Apache or the subsequent retaliation. The truly revolutionary thing happened when the two surviving crew members were rescued. For decades, combat search and rescue operations have depended on helicopters, specialized aircraft and human teams that had to enter extremely dangerous areas to recover downed pilots. In Ukraine we have seen drones attacking, watching, taking prisoners, guiding artillerytransporting supplies and even intercepting other dronesbut the conflict between the United States and Iran has just shown something different: for the first time an autonomous naval drone He recovered two soldiers in the water and brought them to safety. It is an advance that until very recently seemed like something out of a science fiction movie and that marks a conceptual leap as important as the one represented by the arrival of the first combat drones. The Corsair and the birth of a new mission. They remembered the TWZ analysts that the protagonist of this operation was the corsairan unmanned vessel developed by the Saronic company and operated by Task Force 59 of the US Navy. Measuring 7 meters in length, capable of sailing more than 1,800 kilometers and with a high level of autonomy, the system located the two pilots, picked them up at sea and moved them to a safe area where they were later evacuated by helicopter. What is really new is that the Corsair was not initially conceived for rescues, but for maritime surveillancerecognition and tracking of vessels. The incident has shown that these systems can take on much more complex and delicate tasks, becoming a kind of first step in rescue capable of penetrating areas that are too dangerous for manned platforms. Lesson learned after years of high-risk rescues. The US military has been concerned for years about the vulnerability of its search and rescue units. Previous operations, such as pilot recovery shot down inside Iran or rescue missions in heavily defended scenarios, forced helicopters, planes and specialized personnel to be exposed to enormous risks. He use of the Corsair offers a completely new alternative. Instead of immediately sending a manned aircraft to an area threatened by missiles, drones or anti-aircraft defenses, an autonomous vehicle can arrive first, secure survivors and transport them to a point where other means operate more safely. It is a solution that reduces human risks and greatly expands the possibilities of action in future high-intensity conflicts. From the Strait of Hormuz to the Pacific. The implications go far beyond the Gulf of Oman. The US Navy already imagines networks of autonomous vessels distributed over entire regionsespecially in the Pacific, capable of monitoring sea routes, detecting threats, supporting military operations and, if necessary, rescuing downed or shipwrecked pilots. The concept is reminiscent of a network of mobile emergency stations spread over huge ocean areas. The Apache experience shows that these systems are no longer simple floating sensors or surveillance platforms, but rather operational actors capable of intervening directly in critical situations. The next silent revolution. The Ukrainian war turned drones in absolute protagonists of the modern battlefield and transformed the way we understand ground combat. However, the Apache episode points towards a new evolution. The great advance no longer consists only of using drones to destroy targets, but in trusting them with missions traditionally reserved for human beings. The rescue of the two American pilots represents the first known example of a personnel recovery executed by an autonomous vessel in a real military environment. It may seem like a minor detail compared to missiles, airstrikes or strategic retaliation, but it will probably be remembered as one of those discrete moments that herald a much more profound transformation: the moment when drones stopped being just weapons or hunters and also became rescuers. Image | US Navy In Xataka | The US had a ship with 2,000 marines ready to invade Iran. Now he has sent it right to the place where China worries the most In Xataka | In Lebanon, the war is becoming difficult to explain: drones to take over a 1,000-year-old … Read more

They have found a 1968 vampire film that they thought was destroyed for being too scary. Now we can check it

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A projectionist at a cinema in the British county of Dorset opened a rusty film can in a warehouse. It was an episode of a series that had been missing for years and about which the legend had spread that it was too scary. However, the explanation for its disappearance was much more mundane: the same reasons why seventy percent of British television programming at the time had disappeared (or so it was believed). What they found. On May 23, the film preservation organization Film is Fabulous! announced the discovery. Darren Payne, a projectionist and technician who runs the 35mm film exhibition collective ‘Dirt in the Gate Movies’, commissioned a small collection of film reels that was about to be destroyed. One of the cans had handwritten, without further detail, ‘Late Night Horror’. “I’m a horror fan and the title resonated with me,” Payne explained. He took the film home, screened it on his own computer, and what he saw left him speechless: the first episode of a series that had been believed to have been destroyed for more than half a century. Nothing like a vampire. ‘No Such Thing as a Vampire’ is the pilot episode of ‘Late Night Horror’, a series of six 25-minute episodes that BBC2 broadcast in the spring of 1968. It was the network’s first color horror production, although the recovered print is in black and white: a 16mm secondary run made for international distribution before the color masters were removed. What is it about? The script was based on a story by the great Richard Matheson, a writer to whom the fantastic Anglo-Saxon owes, among other things, the founding novel ‘I am legend’ and 16 episodes of the original series of ‘The Twilight Zone’. The plot follows a woman who appears paler and weaker every morning, with marks on her neck, while her husband and the family doctor discuss whether or not there is a vampire in the town. The answer is the kind of twist that Matheson was adept at: rational, disturbing and with a bitter aftertaste. Who is behind. The direction was, amazingly, by a woman: Paddy Russellwho at that time was already an exceptional figure at the BBC. She was the first female plant manager of the entity and one of the first two directors of the chain, at a time when the technical teams were dominated by men to the point that the name with which she appeared in the reports (Paddy is a diminutive of Patricia, but can be perceived as an acronym for Patrick) also functioned as a kind of protection. Russell directed two of the six episodes of ‘Late Night Horror’: the first, now recovered, and ‘The Corpse Can’t Play’, the only one that was already known. With this discovery, his complete work in the series once again exists. The episode aired on 19 April 1968 at 10:55 pm and attracted 1.8 million viewers, the highest audience of the series and one of the highest BBC2 had recorded since its launch in 1964. The legend. This is where we must clarify the legend of “the episode that was destroyed because it was too terrifying”, a rumor that has been spreading on the internet mainly due to the creepy credits of the series. Actuallybetween the mid-1950s and mid-1970s, the BBC eliminated between 60 and 70% of its television production due to company policy: two-inch tape masters were very expensive, union contracts prohibited more than one or two rebroadcasts, and there was no legal obligation to archive the material. It was not until 1981 that the BBC began to retain its archives. ‘Dr. Who’ is the case of the most famous series with episodes lost due to this policy. ‘Late Night Horror’ disappeared, exactly like hundreds of other shows disappeared. That is why a 16mm copy has been found: it was certainly not in BBC warehouses. With this international material, lost episodes of ‘Doctor Who’ have also been recovered. It will be seen. At the moment the BBC is investigating whether it is technically possible to recover the original color through chromatic restoration processes, since the episode was recorded in color but only survived in black and white. And there will be a grand premiere: on September 20, 2026, as part of Grindfest. It will be the first time the episode has been seen since its only showing in 1969. Who knows if they will appear in some forgotten warehouse. Like a horror movie. In Xataka | The curse of ‘At the Mountains of Madness’: the horror story that Hollywood has been trying to adapt for 20 years without success

the last film directed by one of the greatest masters in the history of cinema

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Clint Eastwood turned 96 on May 31. And a bit of coincidence, with a statement from his son, jazz musician Kyle Eastwood (saying that “he’s retired now, but I’ve been very lucky to be able to work with him on quite a few films”), we’ve learned that Eastwood is no longer going to make any more films. There have been no official statements, but the retirement of the person responsible for ‘Unforgiven’ or ‘The Pale Rider’ leaves us with a filmography full of great films, of all genres and intensities. Let’s celebrate by remembering the last of them, ‘Jury Nº 2‘, released in 2024 and which you can see in Movistar Plus and HBO Max. ‘Jury No. 2’ is a judicial thriller with a moral dilemma on board, as Eastwood likes them: Justin Kemp (Nicholas Hoult) is called to serve on a jury in a high-profile murder case, and discovers that he himself could be more involved in the crime than he thought. The cast is completed with a veritable array of heavyweights such as Toni Collette, JK Simmons and Kiefer Sutherland. The film is Eastwood’s fortieth as a director. ‘Jury No. 2’ was conceived originally as a direct streaming premiere. The change to a limited theatrical release It arrived after some internal passes that yielded very favorable opinionsbut he barely received advertising coverage from the studio, which was said to have resented the author for the poor box office results of ‘Cry Macho’. It was finally released, as was later learned, not only out of respect for the director’s advanced age, but in recognition of his 50-year relationship with Warner Bros. This stimulating thriller closes an absolutely exemplary career, always halfway between popular genres and auteur cinema, since the time of his international fame aboard some of Sergio Leone’s most significant titles. Between those first successes and his recognition by critics starting with ‘Unforgiven’ in 1992, there was the creation of milestones such as Dirty Harry and a series of absolutely superb westerns and thrillers, often directed by himself. He has spent this entire century praised by critics and the public thanks to films like ‘Million Dollar Baby’ or ‘Mystic River’. In Xataka | Rafa Nadal won 22 Grand Slams and lost 18 more due to injury: the documentary that explores those last ones arrives on Netflix today

Tom Hanks refuses to participate in the remake of this classic Hollywood film

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In 2000, during the promotional tour for ‘Náufrago’, a journalist asked Tom Hanks If you would be willing to put yourself in the shoes of the protagonist of a remake of ‘The Invisible Harvey’, the 1950 fantasy comedy whose cast already led James Stewart and a rabbit that doesn’t exist. The response was blunt: “It’s like saying that we are going to make a new version of ‘It’s a Wonderful Life!’ For what? Leave her alone. ‘Harvey’ is perfect as it is, thank you.” Harvey: Origins. Before being a movie, ‘Invisible Harvey’ was a play. Its author, Mary Chase, took two years to write and premiered it on Broadway on November 1, 1944. It lasted 1,775 performances, until 1949, and in 1945 it won the Pulitzer Prize for Drama. In it, Elwood P. Dowd is an affable, bar-loving man who finds a good friend in Harvey, a six-foot white rabbit-like pooka (creature from Celtic mythology) that only he can see. His sister tries to put him in a clinic in a play that asks what exactly it means to be sane. The movie. When Universal bought the rights, James Stewart was the natural choice for the lead. The film hit theaters in December 1950 and performed reasonably well: around $2.6 million in revenue, but insufficient to cover the high rights costs for the work. Josephine Hull won the Oscar for Best Supporting Actress and Stewart was nominated, but the memory of the film eventually faded in time, recovering decades later as a piece of unintentionally lysergic friendly fantasy cinema. Other remakes… by Tom Hanks. Hanks rejected the project in 2000, but it cannot be said that the actor is opposed on principle to updating stories from the past. Or at least it wouldn’t be in a short time: in 2004 he starred in ‘The Ladykillers’ by the Coen brothers, a remake of Alexander Mackendrick’s 1955 British crime comedy ‘The Quintet of Death’. In 2022 he made ‘The Worst Neighbor in the World’, directed by Marc Forster, a direct adaptation of the Swedish ‘A Man Called Ove’ (2015) by Hannes Holm. A remake that has a tail. ‘The Invisible Harvey’ has been on the verge of materializing on numerous occasions, without ever coming to fruition. Don Gregory acquired the rights in 1996 and ended up selling them to Miramax, which He didn’t do anything with them either.. In November 2003, John Travolta was in negotiations to star in a remake co-produced by Dimension Films and MGM, which also fell through. The most serious attempt came in 2009, when Steven Spielberg he was interested in directing the film under the umbrella of Fox and DreamWorks. Spielberg’s first choice for Elwood was his frequent collaborator Tom Hanks, but when Hanks turned down the role, Spielberg shelved the project. Later the names of Robert Downey Jr. and other actors such as Jim Carrey or Adam Sandler circulated, without any of those names reaching beyond speculation. In December 2018, Netflix announced that it had picked up the rights to the project, with the writers of ‘Shrek 2’ and ‘The Smurfs’ on board. But since that announcement no progress has been made. The versions that did exist. Although the film remake was never made, the film does have history on television. The first remake came in 1958, with Art Carney in the title role. It was well received at the time, but without leaving too much of a mark. In 1972 it was James Stewart himself who returned to the character, in a Hallmark Hall of Fame production for NBC. Stewart accepted this second opportunity because he was dissatisfied with his performance in the original film: the result was a darker version and more faithful to the play than to the film. In 1996 the most forgotten version arrived: an adaptation for CBS with Harry Anderson as Elwood, and with Leslie Nielsen in the cast, with added scenes and a change of tone that was not very convincing. That same project was the one that Don Gregory ended up selling to Miramax when the rights to the film remake continued to float around. Header | Dick Thomas Johnson In Xataka | Originality is dead in Hollywood: ‘Moana 2’ culminates a year where only sequels triumph at the box office

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