LAST DAY THURSDAY: Absurd Hollywood Timing: Trashy, Dark, Messy Once Futuristic "London Fields" (which cut?) opens, bombs 6 weeks before Amber Heard's "Aquaman"

Updated 1 year ago by Tony Rutherford , HNN Entertainment Editor
LAST DAY THURSDAY: Absurd Hollywood Timing: Trashy, Dark, Messy Once Futuristic  "London Fields"  (which cut?) opens, bombs  6 weeks before Amber Heard's "Aquaman"
A messy losers fate odyssey delayed  years by legal intervention has Hollywood time realities gorging with oddities. For  viewers who read a Page Six interview with Amber Heard (she turns red headed for the leading female in December's Aquaman), it's like  gaslighting. After "London Fields" became a dismal boxoffice failure (i.e. bomb, look up what location the title refers), one learns it had more cuts than the fabled three-ending "Clue."

  London Fields might have been a cheesy so bad it's laughable adaptation of a ten year forward  hard boiled noir, societal satire, bizarre self examination bad conduct reality as fiction yarn mocking noirs 40s censorships through a feminist fem fatale.  None of the characters have likable empathetic traits. Addicted or  terminally ill writer's blocked Sam (Billy Bob Thornton)  narrates the last days of  narcissistic  psychic Nichola Six's life ( Heard) who predicts her own murder and believes she can not alter her fate. Six ( a pleasure bot from Blade Runner? )  grants him to permission to eavesdrop   for the elements of a novel that's factual.
LAST DAY THURSDAY: Absurd Hollywood Timing: Trashy, Dark, Messy Once Futuristic  "London Fields"  (which cut?) opens, bombs  6 weeks before Amber Heard's "Aquaman"

Rolling Stone called the film they reviewed "unapologetically male," and ,yes, it has been scrambled. Nicola's in control (or is she) just not in a feminist correct manner. 

 Blotting out the this movie's  history, let's do a film noir 40s/50s flashback before  aspired reinvention. Noir depicted women in non maternal roles hastened by the necessity of performing male factory tasks during World War II.  Once  soldiers returned , they wanted  male dominance back. The femme fatale steps away from a dysfunctional family for independence, but the male controlled the ending in which she  resorted to crime and selling herself  for financial maintenance. Thus, men won.

London Fields  has Heard as a strongly in control woman with resources who sticks it to severely flawed,  cheating males. London's approach places her in a hot  ambitious privileged,  sultry and always glamorous in the spotlight  perspective, brewing up danger  in her psychologically (think Christian Grey in part ) impaired mind. All the males have worse afflictions, thus, no protagonists exist --- something the 40s code would have not allowed. She cruises pubs (that resemble smoky , jazzy music in background speakeasies) in ready for a Vogue shoot styles. No private detective to look out for her and strolling home barefoot carrying high heel sandals is the least of her 40s code sins. (Bed sharing was barred, then.)

Ultimate ironies have occurred  since Ms. Heard became a male fantasy (i.e. Jessica Rabbit , "Who Framed Roger Rabbit") . Producers and debut director Matthew Cullen engaged in lengthy court proceeding over a release cut. They wanted to release a 'producer's cut,' not Cullen's which spawned a nudity rider breach of contract suit from Heard about body double inserts. (Images published in the Daily Mail containing a Lions Gate credit, have cutlines that suggest how film's images could have been altered.)

It takes a bit of research to learn she was "pleased" with Cullen's still explicit (or is it?) for a MeToo age version . Those scenes recall what noir had to hint, suggest and cut  due to the code in its 40s/50s era i.e. bathtub bathing, full rear view, stairway struts  a mostly necessary bedroom scene in which the actress is strategically  covered, and a veiled "Double Indemnity" ending restored. 

The notorious males consist of petty criminal Keith Talent (Jim Sturgess) as a greasy, working class multi tattooed, post-punk grotty  clad "Singing in the Rain" gambler .   He aspires and ,though his harsh muse, he wins and loses sudden success during a  televised darts tournament. Six manipulates  bored, brash millionaire Guy Clinch (Theo James) in a virginal damsel guise. All scheme to seize what they can from each other fueled by lust and perverse dramatics. Johnny Depp has a cameo as a dart champ loan shark. (Heard was married to him when it was shot).

The vague interview has her claiming memory loss, but her  detailed nearly five years old court filing describes her as an exploitable young actress victimized by alleged off the clock body double additions. However,  research reveals You Tube trailers with scenes not in the theatrical release . It appears the disjointed film editing could be a result of trying to appease litigants. Which raises my eyebrows, especially since the London premiere allegedly contained NO nudity, period. The theatrical release contains it. .


Heard can't quite recall which version she's last seen of the movie , although she does still find her character Nicola Six interesting. "You can make different cases for her being empowered or disempowered," Heard said of the clairvoyant femme fatale who's also trapped by an idea that "death is preferable to the decline of youthful female sexuality." "But it's very important for a female actress or any woman to be able to exercise her own control over her own body and her image," Heard added. "I'm glad that the version of the movie being released is supposedly respectful ... with regards specifically to nudity and my nudity agreement.   But again, those issues are in the past." "In the past" is a phrase that Heard repeats often and the release of "London Fields" helps to close a chapter in her life, and allows her to focus on the future.

LAST DAY THURSDAY: Absurd Hollywood Timing: Trashy, Dark, Messy Once Futuristic  "London Fields"  (which cut?) opens, bombs  6 weeks before Amber Heard's "Aquaman"
Lions Gate/Daily Mail

Considering all the negative hype, perhaps, the film would have attracted more viewers AFTER "Aquaman" especially if the near apocalyptic world collapse scenes (that accompany the novel) could have been edited in to solidify certain symbolism and explain the acceptance of haphazard graffiti on the exterior of luxurious lofts.

Despite send ups to  feminist noir ("Girl with the Dragon Tattoo," "Veronica Mars" and "Girl in Spider's Web"), Ms. Heard did say she wanted it behind her. Hurry (or not) to one of three or four WV screens showing the film. 

This updating (?) of dame upstairs noir badly failed to ignite leaving Blumhouse and its repurposed supernatural horror spiking thrillers to come,  such as The Silence , Anna and the  Apocalypse, Possession of Hannah Grace , as the top Hollywood imitated theme  --- leaving J. Lo's Second Act, Mary Poppins Returns, Bumblebee, and Clint Eastwood's "Mule," "Crimes of Ginderelwald," and "Widows," )


TV has caught the go back to mystery storycentric horror as the MeTV family has Alfred Hitchcock, Twilight Zone, Thriller and the vampire soap Dark Shadows back from the grave. 


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