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Tropic Thunder (#110 of 2)

Review: Amy Nicholson’s Tom Cruise: Anatomy of an Actor

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Review: Amy Nicholson’s Tom Cruise: Anatomy of an Actor
Review: Amy Nicholson’s Tom Cruise: Anatomy of an Actor

The core of Tom Cruise’s ongoing superstar appeal to audiences is relatively self-evident: He’s a doer. His characters do things that encourage us to believe that we can do things. It’s too easy to say that Cruise came of age at the perfect place and time—the gung-ho American 1980s—and rode that rollercoaster to the bank for something like 30 years and counting. Cruise is shrewd and adaptable, and he’s probably still in the game because he informed his fame with a quietly autobiographical aura. He lets his work show, and so his desperation to be “taken seriously” as an actor while staying forever youthful parallels his characters’ various self-actualizing yearnings.

Cruise is a continued subject of fascination for critics because his everlasting prominence as a star is noteworthy regardless of any further context and, more interestingly, because of that tendency to always assume that still waters run deep. Cruise is so polished, and his performances so clearly, nakedly hyper-controlled, that he can’t help but invite scrutiny of neuroses and of more-obvious-than-usual bridges between art and commerce. Cruise’s self-consciousness implies a peek behind the curtain of how Hollywood works, and critics, obviously, are concerned with the symbology embedded in Hollywood product. Control, whether artistic or personal, is, fittingly, the theme of Amy Nicholson’s Tom Cruise: Anatomy of an Actor, and the star’s tricky simultaneous courting of fame and artistic credibility is the book’s logical through line.

Understanding Screenwriting #3: Transsiberian, The House Bunny, Tropic Thunder, & More

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Understanding Screenwriting #3: <em>Transsiberian</em>, <em>The House Bunny</em>, <em>Tropic Thunder</em>, & More
Understanding Screenwriting #3: <em>Transsiberian</em>, <em>The House Bunny</em>, <em>Tropic Thunder</em>, & More

Coming Up In This Column: Transsiberian; The House Bunny; Tropic Thunder; Silent to Sound; Transformers; In Plain Sight; Mad Men, but first:

Mailbag: Well, I certainly seem to have ticked off the graphic novel crowd, haven’t I? As “futurefree” and “JJ” noted, I was careful to doubly qualify my comments, and I did that because I was aware there have been some fairly good films made from graphic novels. One that some readers mentioned was From Hell, and one that I am surprised nobody mentioned was A History of Violence, which was terrific until it went a little funny in the head in the last third.

My point, that several readers such as “futurefree” and “Ed Howard” picked up on, is that the form does not necessarily lend itself to complex characters. It is not just a question of panels, but that the images are static, so you do not get the nuances you do in actors’ performances in films.

I have been meaning to admit since US#1 my dirty little secret, which is that I am not a fanboy. As a kid in the ’40s and early ’50s I read comic books, but as I hit adolescence I gave them up, with of course the obvious exception of Mad Magazine; some things are sacred. I never got back into comics or later graphic novels, and the older I get, the less interest in mythical kingdoms I have. I can certainly understand people, particularly in the last seven years, who much prefer to live in mythical kingdoms rather than the real world. But I just find the jumps in logic one has to make a little much. At the risk of driving off all my readers, I have to admit that I have seen only the first Lord of the Rings movie and not the other two. I have not seen any of the Harry Potter films, and only the first Matrix, which struck me as one of the stupidest movies of all time. I avoided Batman Begins (I am a little too old for yet another version of the origin story) and The Dark Knight (even though a friend whose judgement I trust said I had to see it because it was “as if Kubrick had directed The French Connection”). I do try to see one comic book/graphic novel movie a year and this year it was Iron Man. I kept wanting to see a) the outtakes of Downey Jr. and his stunt man trying to move in that outfit, and b) that cast (Downey Jr., Bridges, and Paltrow) in a real movie.