The six string Janis Joplin used to record her signature song is expected to go for six figures on the auction block. It's a 1969 Gibson Hummingbird acoustic and Janis played it while recording "Me and Bobby McGee." After Janis died in 1970, it was given to her old bandmate, Sam Andrew. Andrew died last year, and now his wife is auctioning it off through Heritage Auctions. Heritage says the guitar is a big deal because Janis...
- 10/24/2016
- by TMZ Staff
- TMZ
This fall marks the 45th anniversary of Janis Joplin's death from an overdose in a Hollywood hotel room. Since then, she's been the subject of books, reissues, a boxed set, an off-Broadway show, and a still-in-development biopic, possibly starring Amy Adams. Everyone from Kim Gordon to Pink has given Joplin props for paving the way as a woman in a male-dominated rock climate, and the singer's raw delivery continues to resonate. "Even when I was 10 or 12 years old and first heard her sing," recalls Chan Marshall, a.k.a.
- 11/17/2015
- Rollingstone.com
A new documentary detailing the brilliant rise and sudden death of Janis Joplin, Janis: Little Girl Blue, will make its world premiere on September 5th at the Venice Film Festival. The film boasts a bevy of new audio and video footage, and in this exclusive clip for Rolling Stone, Joplin can be seen departing New York's famed Chelsea Hotel and lounging with friends and bandmates in California.
As late Big Brother and the Holding Company Sam Andrew recalls in the clip, the band lived at the Chelsea while they were recording 1968's Cheap Thrills,...
As late Big Brother and the Holding Company Sam Andrew recalls in the clip, the band lived at the Chelsea while they were recording 1968's Cheap Thrills,...
- 9/2/2015
- Rollingstone.com
Reel-Important People is a monthly column that highlights those individuals in or related to the movies that have left us in recent weeks. Below you'll find names big and small and from all areas of the industry, though each was significant to the movies in his or her own way. Sam Andrew (1941-2015) - Guitarist. As a member of Big Brother and the Holding Company, he appears in the films Monterey Pop (see below), Janis, Feed Your Head and Ball and Chain. He died on February 12. (THR) Richard Bakalyan (1931-2015) - Character Actor. Best known as Detective Loach in Chinatown (see below), he also appears in Robin and the 7 Hoods, The Greatest Story Ever Told, The Shaggy D.A., The Computer Wore Tennis...
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- 3/4/2015
- by Christopher Campbell
- Movies.com
The man who created the band that shot Janis Joplin to superstardom has died. Sam Andrew founded the group Big Brother and the Holding Company and recruited Janis in 1966. In 1968 they released several monster hits including, "Piece of My Heart," and "Summertime," on which Sam played lead guitar. The songs became anthems in the '60s. Janis quit the group at the end of 1968 and brought Sam along. They recorded one album together, "I Got...
- 2/13/2015
- by TMZ Staff
- TMZ
It could have been Renée, it could have been Zooey, but now Amy Adams looks set to play Janis Joplin. Priya Elan hopes it doesn't Jormp the shark
In Hollywood, the Janis Joplin story is a cinematic mirage. Like On The Road, Atlas Shrugged, and the remake of Barbarella, it's been a cornerstone of "Development Hell", chewed over so much that many wondered if it actually existed. There was the unauthorised Piece Of My Heart, which was to star Renée Zellweger or Brittany Murphy. There was The Gospel According To Janis which Penelope Spheeris was down to direct with Zooey Deschanel or P!nk. Thirdly there was an untitled flick, thought to be an adaptation of Laura Joplin's off-Broadway play about her sister (Laura Theodore, the show's star, was attached).
So it came as some surprise when Amy Adams was announced as starring in a new Joplin project. Directed by Fernando (City Of God) Meirelles,...
In Hollywood, the Janis Joplin story is a cinematic mirage. Like On The Road, Atlas Shrugged, and the remake of Barbarella, it's been a cornerstone of "Development Hell", chewed over so much that many wondered if it actually existed. There was the unauthorised Piece Of My Heart, which was to star Renée Zellweger or Brittany Murphy. There was The Gospel According To Janis which Penelope Spheeris was down to direct with Zooey Deschanel or P!nk. Thirdly there was an untitled flick, thought to be an adaptation of Laura Joplin's off-Broadway play about her sister (Laura Theodore, the show's star, was attached).
So it came as some surprise when Amy Adams was announced as starring in a new Joplin project. Directed by Fernando (City Of God) Meirelles,...
- 8/9/2010
- by Priya Elan
- The Guardian - Film News
Manhood
Screened
San Francisco Jewish Film Festival
SAN FRANCISCO -- Writer-director Bobby Roth's "Manhood", which opened the San Francisco Jewish Film Festival, is a sequel to his autobiographical movie "Jack the Dog", a woolly but oddly charming work. "Manhood" also is a slightly fictionalized account of horrific events in Roth's life, namely the murder 14 years ago of his sister at the hands of her husband, and the husband's subsequent suicide.
Unfortunately, Roth appears to not yet have enough artistic distance from these events and loses control of the film's tone. The movie shifts from the comedic to the tragic too abruptly, and characters behave oddly without significant justification. Even the more adventurous art house audiences will likely find Roth's new work puzzling.
"Manhood" begins with footage from "Jack the Dog": Jack (Nestor Carbonell) has given up his jet-set lifestyle as a fashion photographer as well as his philandering ways in order to raise his son Sam Andrew J. Ferchland) after his wife (Barbara Williams) has left him. Now, two years later, his sister Jill (Janeane Garofalo) appears at his front door with her unhappy 17-year-old son Charlie (Nick Roth, the director's real-life son) in tow. She wants Jack to take care of Charlie for a month or so while she divorces her husband, Eli (John Ritter). Why didn't she phone Jack first? Did Charlie have any say in this?
Virtually the next day, Eli appears at Jack's place, newly unemployed and homeless, also asking for safe harbor. Jack agrees to let him stay at the house, without consulting either Charlie or Jill. The oversight seems particularly egregious considering that Eli is a charmless jerk. (Not even Ritter can make him sympathetic.)
"You might be the most despicable of all men," Jack states to Eli, and Eli proves him right again and again. Sneaking stalkerlike into his estranged wife's bedroom, taking up with a dominatrix (Lauren Tom, who brings a bracing shot of obscene humor to the film, giving Eli a hand-job while prattling on about Julia Roberts), lying and stealing, Eli is repugnant and too obviously unstable. After Eli's eventual breakdown, he's released from the hospital too soon, and tragedy strikes.
Christopher Franke's music melodramatically signals the violence like some slasher film, along with other surprising lapses in the filmmaking. Roth fails to adequately distinguish between Jack and Jill's separate houses, and we're not sure where we are when a scene begins. Jill has a series of sexual encounters after her separation from Eli, but their recounting is a muddle.
Roth also needlessly includes some ludicrous counseling scenes: Poor Bonnie Bedelia plays a therapist whose behavior is wildly inappropriate. The other actors don't fare much better as the entire movie fails to cohere. Roth and cinematographer Steve Burns shot in digital video, but the quality is markedly more grainy than the scenes included from "Jack the Dog".
"Jack the Dog" was messy yet enervating. "Manhood", despite (or perhaps because of) its attempts to deal with more serious subject matter, is just a mess.
MANHOOD
A Jeffrey White production
Credits:
Screenwriter-director: Bobby Roth
Producers: Bobby Roth, Jeffrey White, Jack Baran
Director of photography, Steve Burns
Production designer: Bryce Moore
Music: Christopher Franke
Costume designer: Mary Malin
Editor: Neil Felder
Cast:
Jack: Nestor Carbonell
Eli: John Ritter
Jill: Janeane Garofalo
Alic: Bonnie Bedelia
Charlie: Nick Roth
Sam: Andrew J. Ferchland
Bambi: Lauren Tom
Faith: Barbara Williams
Running time -- 82 minutes
No MPAA rating...
San Francisco Jewish Film Festival
SAN FRANCISCO -- Writer-director Bobby Roth's "Manhood", which opened the San Francisco Jewish Film Festival, is a sequel to his autobiographical movie "Jack the Dog", a woolly but oddly charming work. "Manhood" also is a slightly fictionalized account of horrific events in Roth's life, namely the murder 14 years ago of his sister at the hands of her husband, and the husband's subsequent suicide.
Unfortunately, Roth appears to not yet have enough artistic distance from these events and loses control of the film's tone. The movie shifts from the comedic to the tragic too abruptly, and characters behave oddly without significant justification. Even the more adventurous art house audiences will likely find Roth's new work puzzling.
"Manhood" begins with footage from "Jack the Dog": Jack (Nestor Carbonell) has given up his jet-set lifestyle as a fashion photographer as well as his philandering ways in order to raise his son Sam Andrew J. Ferchland) after his wife (Barbara Williams) has left him. Now, two years later, his sister Jill (Janeane Garofalo) appears at his front door with her unhappy 17-year-old son Charlie (Nick Roth, the director's real-life son) in tow. She wants Jack to take care of Charlie for a month or so while she divorces her husband, Eli (John Ritter). Why didn't she phone Jack first? Did Charlie have any say in this?
Virtually the next day, Eli appears at Jack's place, newly unemployed and homeless, also asking for safe harbor. Jack agrees to let him stay at the house, without consulting either Charlie or Jill. The oversight seems particularly egregious considering that Eli is a charmless jerk. (Not even Ritter can make him sympathetic.)
"You might be the most despicable of all men," Jack states to Eli, and Eli proves him right again and again. Sneaking stalkerlike into his estranged wife's bedroom, taking up with a dominatrix (Lauren Tom, who brings a bracing shot of obscene humor to the film, giving Eli a hand-job while prattling on about Julia Roberts), lying and stealing, Eli is repugnant and too obviously unstable. After Eli's eventual breakdown, he's released from the hospital too soon, and tragedy strikes.
Christopher Franke's music melodramatically signals the violence like some slasher film, along with other surprising lapses in the filmmaking. Roth fails to adequately distinguish between Jack and Jill's separate houses, and we're not sure where we are when a scene begins. Jill has a series of sexual encounters after her separation from Eli, but their recounting is a muddle.
Roth also needlessly includes some ludicrous counseling scenes: Poor Bonnie Bedelia plays a therapist whose behavior is wildly inappropriate. The other actors don't fare much better as the entire movie fails to cohere. Roth and cinematographer Steve Burns shot in digital video, but the quality is markedly more grainy than the scenes included from "Jack the Dog".
"Jack the Dog" was messy yet enervating. "Manhood", despite (or perhaps because of) its attempts to deal with more serious subject matter, is just a mess.
MANHOOD
A Jeffrey White production
Credits:
Screenwriter-director: Bobby Roth
Producers: Bobby Roth, Jeffrey White, Jack Baran
Director of photography, Steve Burns
Production designer: Bryce Moore
Music: Christopher Franke
Costume designer: Mary Malin
Editor: Neil Felder
Cast:
Jack: Nestor Carbonell
Eli: John Ritter
Jill: Janeane Garofalo
Alic: Bonnie Bedelia
Charlie: Nick Roth
Sam: Andrew J. Ferchland
Bambi: Lauren Tom
Faith: Barbara Williams
Running time -- 82 minutes
No MPAA rating...
- 7/9/2004
- The Hollywood Reporter - Movie News
Jack the Dog
Bobby Roth has made about 26 films, but during the past 15 years most of these have been telefilms. With "Jack the Dog", Roth makes a welcome return to indie features.
As with his best films, "Th Boss' Son" (1978) and "Heartbreakers" (1984), "Jack the Dog" is a ritual of self-examination. Because he draws directly on his own life without the veneer of fiction, rawness sometimes creeps in. Add to this a protagonist that, by design, makes no attemp to gain audience sympathy -- as he acts like a cad for significant stretches of the film -- and you have a movie that should provoke a wide range of audience reactions.
Consequently, its theatrical life will probably be limited to specialty venues, but rospects brighten in cable and video for this self-financed film.
"Jack" is essentially about a man who, after chasing women most of his adult life, discovers true love with his son. The movie picks up Jack (Nestor Carbonell), a Los Angeles free-lance phtographer, as a promiscuous bachelor grown tired of his womanizing. Abruptly, he marries Faith (Barbara Williams) in hopes that marriage will somehow settle him down.
After the birth of their son Sam Andrew J. Ferchland) and several years of domesticity the marriage founders, and Jack resumes his life as a rogue. The common denominator with Jack's women is that they are all slightly nuts and clearly lacking the stability he needs. But needs and wants are not the same thing, so Jack's frantic pursuit of ove in all the wrong places becomes a risible slapstick of misguided desire.
Following their divorce, Jack's ex-wife marries a European (Juergen Prochnow) and moves to London. Jack wins custody of the boy, largely because Sam wants to remain in Los Angels. Then, in "Kramer vs. Kramer" style, Jack must finally take his parenting seriously. To his credit, he does, and the story turns into a love affair between father and son.
Ferchland is most appealing as the son because he doesn't seem like a child acto. He is a complete natural. Roth also has helped him by writing the role with wit and keen insight.
The film's biggest problem lies with its lead. While Carbonell is good-looking and not without talent, he doesn't plumb the depths the part calls for. Thesoul-searching remains too close to the surface. Carbonell is much more at home in the comic scenes where he plays a man well aware of his imprudent sex drive but unable to control those urges.
Roth avoids the obvious and pat ending. Instead of Jack findng the woman of his dreams, Roth concludes his story, fittingly, with the father's discovery of the joys of fatherhood. By implication, Jack has achieved a wholeness that makes him ready for such an encounter.
Technical credits are solid on this low-budgt effort, though the transfer from digital video to film is a little rough at times.
JACK THE DOG
Jung N Restless Prods.
Producers: Bobby Roth, Jeffrey White, Jack Baran, Margie Glick
Screenwriter-director: Bobby Roth
Director of photography: Georg Fick
roduction designer: Dins Danielson
Music: Christopher Franke
Costume designer: Mary Malin
Editor: Margaret Guinee
Color/stereo
Cast:
Jack: Nestor Carbonell
Faith: Barbara Williams
Sam: Andrew J. Ferchland
Buddy: Travis Fine
Rose: Micole Mercurio
Hope: Elzabeth Barondes
Klaus: Juergen Prochnow
Running time -- 85 minutes
No MPAA rating...
As with his best films, "Th Boss' Son" (1978) and "Heartbreakers" (1984), "Jack the Dog" is a ritual of self-examination. Because he draws directly on his own life without the veneer of fiction, rawness sometimes creeps in. Add to this a protagonist that, by design, makes no attemp to gain audience sympathy -- as he acts like a cad for significant stretches of the film -- and you have a movie that should provoke a wide range of audience reactions.
Consequently, its theatrical life will probably be limited to specialty venues, but rospects brighten in cable and video for this self-financed film.
"Jack" is essentially about a man who, after chasing women most of his adult life, discovers true love with his son. The movie picks up Jack (Nestor Carbonell), a Los Angeles free-lance phtographer, as a promiscuous bachelor grown tired of his womanizing. Abruptly, he marries Faith (Barbara Williams) in hopes that marriage will somehow settle him down.
After the birth of their son Sam Andrew J. Ferchland) and several years of domesticity the marriage founders, and Jack resumes his life as a rogue. The common denominator with Jack's women is that they are all slightly nuts and clearly lacking the stability he needs. But needs and wants are not the same thing, so Jack's frantic pursuit of ove in all the wrong places becomes a risible slapstick of misguided desire.
Following their divorce, Jack's ex-wife marries a European (Juergen Prochnow) and moves to London. Jack wins custody of the boy, largely because Sam wants to remain in Los Angels. Then, in "Kramer vs. Kramer" style, Jack must finally take his parenting seriously. To his credit, he does, and the story turns into a love affair between father and son.
Ferchland is most appealing as the son because he doesn't seem like a child acto. He is a complete natural. Roth also has helped him by writing the role with wit and keen insight.
The film's biggest problem lies with its lead. While Carbonell is good-looking and not without talent, he doesn't plumb the depths the part calls for. Thesoul-searching remains too close to the surface. Carbonell is much more at home in the comic scenes where he plays a man well aware of his imprudent sex drive but unable to control those urges.
Roth avoids the obvious and pat ending. Instead of Jack findng the woman of his dreams, Roth concludes his story, fittingly, with the father's discovery of the joys of fatherhood. By implication, Jack has achieved a wholeness that makes him ready for such an encounter.
Technical credits are solid on this low-budgt effort, though the transfer from digital video to film is a little rough at times.
JACK THE DOG
Jung N Restless Prods.
Producers: Bobby Roth, Jeffrey White, Jack Baran, Margie Glick
Screenwriter-director: Bobby Roth
Director of photography: Georg Fick
roduction designer: Dins Danielson
Music: Christopher Franke
Costume designer: Mary Malin
Editor: Margaret Guinee
Color/stereo
Cast:
Jack: Nestor Carbonell
Faith: Barbara Williams
Sam: Andrew J. Ferchland
Buddy: Travis Fine
Rose: Micole Mercurio
Hope: Elzabeth Barondes
Klaus: Juergen Prochnow
Running time -- 85 minutes
No MPAA rating...
- 1/25/2001
- The Hollywood Reporter - Movie News
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