In May of 1970, Neil Young quickly wrote a song called “Ohio,” hotly responding to the Kent State shootings, during which the National Guard killed four students and wounded nine others. He recorded it with David Crosby, Stephen Stills and Graham Nash, who had just come off a hit record from the previous year, and the song peaked at #14 on the pop charts. Over the years, Young has recorded several such protest and/or political songs, including 1967’s “For What It’s Worth,” 1970’s “Southern Man” and 1989’s “Rockin’ in the Free World,” which slyly took a stab at then President George H. W. Bush by mentioning his campaign speech staple “a thousand points of light.” Young is now in his 60s and once again something pissed him off to the point that he has gone back to the recording studio. This time though, there’s no beating around the bush (so to speak). No more messages hidden inside innocuous song titles. This time we get “Let’s Impeach the President.”

It has been forty years since Steve Binder directed Elvis Presley’s ‘68 Comeback Special — a move that pitted him against the King’s Svengali manager Colonel Tom Parker. Now Variety reports that Binder, along with David Permut, have picked up the rights to Alanna Nash’s book: The Colonel: The Extraordinary Story of Colonel Tom Parker and Elvis Presley. The pair will develop the project, and have hired a writer and director, but they’re not divulging who they are.

Colonel Tom wasn’t actually a colonel, but a fairly shifty Dutch man who came to the states, covered up his international past, and became a promoter for the likes of Eddy Arnold and Minnie Pearl. Then he crossed paths with Elvis and the rest was history. On the one hand, the Colonel is credited for making Presley as big as he is today. On the other, he was Elvis’ puppetmaster and partner — having an immense amount of control over the star, and whipping up deals that nabbed him 50% of the cash the icon brought in. But there’s more to the story than just music. It seems Nash uncovered some of Parker’s Dutch past that includes “possible involvement in the bludgeoning death of a female acquaintance.”

The Colonel’s story is interesting enough, but in the hands of Binder, who had experience with the pair, this could be really great. Hopefully, however, it won’t be too much after the recent influx of musical biopics and Leonard Chess fare.

At the moment we have to consider this a rumor, but can you imagine an Academy Award-winning psychotic oilman in a musical? Daniel Day-Lewis is in talks to replace Javier Bardem in Rob Marshall’s film version of the musical Nine, according to Variety. As Monika Bartyzel told us a couple of weeks ago, Bardem dropped out of the lead role due to exhaustion. A spokesman for distributor The Weinstein Co. denied that a new lead had been set.

What an exciting prospect, though! Day-Lewis is famously selective about the roles he chooses, which means it’s safe to assume that he was impressed by the elements that have been brought together. Those elements include: (1) script by Michael Tolkin, re-written by Anthony Minghella shortly before he died; (2) a fabulous cast of women, led by Nicole Kidman and Judi Dench (as Elisabeth Rappe reported recently), but also Penelope Cruz, Marion Cotillard and Sophia Loren; (3) director Rob Marshall. I know that Marshall isn’t universally loved — I’m not a fan of Chicago – but presumably he has some kind of dazzling vision that inspires confidence among actors with hidden musical talents.

If he takes the part, Day-Lewis would play Guido Contini, “a famous film director who experiences personal and creative crisis while trying to balance all the women in his life.” In the 1982 Broadway musical, inspired by Federico Fellini’s 8 1/2, Raul Julia originated the role. I’m hoping for confirmation soon.

Let’s start off with a little bit of trivia: Did you know that High School Musical and its sequels have had the working titles Grease 3, Grease 4, and Grease 5? That would make it seem as though Zac Efron and his super-cute co-stars were some new generation possibly bred from the loins of Sandy and Danny. Not quite. It’s got the whole differing social group angle, and how friends can get in the way of love, but it’s definitely not that dirty, classic family movie we all know.

As a tot, I liked Grease, but I loved Grease 2 — this is probably because Maxwell Caulfield was much easier on the eyes than John Travolta. But after watching the original a few times and devouring the second much more often, there was a long hiatus until a close cousin of mine got a little older and Grease got re-released in theaters. I took her to see it, and my jaw sagged through the entire film. How dirty! How could I not have realized this? I looked over at her; she was smiling, happy, and oblivious, so obviously the “don’t-see-the-raunchiness” spell was working all these years later. It skillfully rides that fine line between raunch and respectability.

So, in the sea of a new musicals, equipped with myriads of fangirls, I give you my generation’s High School Musicals: Grease and Grease 2.

Continue reading Friday Night Double Feature: That Other High School Musical Series