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John Wayne vs. Jeff Bridges – which one has more true grit? – My Blog

 Lorey SebastianIt doesn’t take rocket science to see why True Grit enjoyed the biggest opening weekend of any Coen brothers movie to date. The film may not have won the Coens their most rapturous reviews (though the critics were largely enthusiastic), and it’s hardly their best or most defining work. Yet it’s a remake of a famous and, indeed, iconic Hollywood movie — one that, while not quite a “classic,” remains a robust and beloved end-of-the-studio-system-era Western. OMG, I used the R-word! — I called True Grit a “remake.” The vulgarity, the lowbrow cluelessness on my part! From the outset, you see, the directorial and studio spin on this movie has been to insist that it’s a completely different animal from the deeply sentimental 1969 when-fresh-faced-teenybopper-met-grizzled-old-marshal fable of popular vengeance. The Coens, making their publicity rounds, have talked and talked about how they went back to Charles Portis’ original novel, which was published in 1968. But if, like me, you’ve never read the novel (and I would guesstimate that 97 percent of the people who saw True Grit over the weekend have not), then after all the remake? what remake?! spin, you might be startled to see how close the movie really does come to the 1969 version. At times, it borders on being a scene-for-scene, line-for-line gloss on it.

There are differences, of course. The Coen brothers’ version is more tasteful and intimate and art-directed, a kind of color-coordinated curio. Hailee Steinfeld’s Mattie Ross is notably younger than Kim Darby’s (which, at times, makes the new Mattie seem even more of an old movie concoction), and major sections of the picture are set at night (a technique that worked a lot better in No Country for Old Men). That said, the essential hook of the new True Grit is, and always was, the sheer curiosity factor of wanting to see Jeff Bridges, in his born-again middle-aged movie-star prime, take on the role of Rooster Cogburn, the part that won John Wayne his only Academy Award.
There’s a reason that a great many people still don’t hold Wayne’s cornball-crusty performance in very high esteem. By the late ’60s, movies were in the middle of a revolution, and they had a new audience, known (it now sounds so quaint) as the Film Generation. At the time, a lot of folks under a certain age felt that it was almost their duty to hate John Wayne. He’d become the living embodiment of the Old Values. He was a saber-rattling conservative who, only the year before, in 1968, had pushed his pro-Vietnam hawkishness to the nth degree in the jarringly jingoistic The Green Berets. He had every right to, of course. But what made The Green Berets, as a corrective to Hollywood liberalism, so infamous and despised is that it was such a didactically wooden combat movie. All that came through, really, was the propaganda. And this reinforced the notion that Wayne, though he remained the most larger-than-life of all Hollywood movie stars, was never, in the fullest sense, an actor. He had come to be seen as the macho cartoon version of himself: the arms-out swagger, the slow-motion molasses drawl, the toughness that never wavered.
True Grit, the movie that finally won Wayne his Oscar, was transparently one of those movies designed to win an old warhorse legend his Oscar. Here he was — or so the rap went — running through his rawhide-cowboy shtick, only this time with the added gimmick of an eye patch and an attitude. As if to make him seem even more outdated, True Grit was released within a week of The Wild Bunch, the apocalyptic New Hollywood Western in which director Sam Peckinpah, spattering blood and bullets and doom, exploded the mythology of six-gun heroism that John Wayne incarnated. If you love movie-star acting, however, do yourself a favor: Get a hold of the original True Grit and watch it. Because what you’ll see is that John Wayne’s performance is a marvel. He makes Rooster Cogburn a cantankerous old cuss, a kind of cowpoke precursor to Clint Eastwood’s Dirty Harry — the kind of law enforcer who never met a bad guy he didn’t like to shoot.

Wayne’s Rooster lives by a code, all right, but the movie suggests that he’s trapped by it as well. In one of the key scenes that’s more or less duplicated in the Coen brothers version (though to far less emotional effect), he talks about his past, including his wrecked marriage, and we see that he’s the sort of “noble” loner who’s really a broken-down, half-dead codger. Killing bad guys isn’t just his mission — it’s the major thing that’s keeping him alive. At the same time, he’s an irresistible rascal whose one-eyed squint becomes a wink of valor. Forty years later, Wayne’s performance has aged beautifully, because it’s easier to see now how much acting there really is in it. There is one moment, though, that almost by definition can’t match the power it had back in 1969: When Wayne’s Rooster, just before the famous, climactic, reins-in-his-mouth shoot-out, growls out the line “Fill your hands, you son-of-a-bitch!”…there’s simply no way to recapture how funny-edgy, and even shocking, it once was to hear John Wayne, apostle of American values, spit out an epithet like that. The glory of it, of course, is that the real son-of-a-bitch was Rooster.
And how does Jeff Bridges do? The consensus seems to be: pretty well. And I would agree. He’s winningly gruff, he looks fine and nasty in that grizzly beard, he’s got the body language of “Saddle-Sore Old Drunken Law Enforcer” down pat, and he wears that eye patch as if he’d never once taken it off in 15 years. To me, though, Bridges’ performance lacks the raw magic of Wayne’s, because it rarely, if ever, surprises you. After a while, that croak of his gets a little bit samey. This has something to do with the fact that Bridges, as great an actor as he is, has something of an inner Teddy Bear quality. He’s cuddly and humane, even when playing a crank like Rooster; we warm up to the character almost too quickly. More than that, though, I wish that the Coen brothers, in creating their 2010 version of Rooster Cogburn, had departed from the book and made him a touch wilder — given him, say, not just a missing eye but a missing limb, something (anything) to suggest that he’s not just Mattie’s crusty savior but one hellacious, damaged dude. If they’d done that, their True Grit would have been not only grittier but something that the first movie is and this movie may not be: memorable.
So where do you stand on the two Rooster Cogburns? Which one has more true grit? Which actor, in the end, gives a better performance — the Duke or the Dude? Or am I wrong to even suggest that there should be a contest between them?

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Justin Baldoni Responds to Bombshell Blake Lively Lawsuit

In a surprising turn of events in the entertainment industry, actor and director Justin Baldoni has addressed the recent lawsuit filed by actress Blake Lively. The legal battle has become a hot topic among fans and media alike, stirring discussions about celebrity relationships, professional ethics, and the implications of such lawsuits in Hollywood.

### Background of the Lawsuit

Blake Lively, known for her roles in popular series such as “Gossip Girl” and movies like “A Simple Favor,” has made headlines not only for her acting career but also for her high-profile marriage to actor Ryan Reynolds. The lawsuit reportedly stems from a conflict regarding alleged contractual obligations and personal disputes related to an upcoming project that both actors were involved in. Details of the suit indicate it revolves around claims of breach of contract and defamation, which have raised eyebrows in the industry.

### Justin Baldoni’s Response

Responding to the ongoing situation, Baldoni, who is recognized for his roles in “Jane the Virgin” and his directorial work, expressed his thoughts on social media. “I believe in the power of dialogue and resolution,” Baldoni stated in his post. He emphasized the importance of addressing conflicts in a constructive manner, stating, “This industry is filled with passionate people, and sometimes passions lead to misunderstandings. I hope we can all find a way to resolve this amicably.”

In his response, Baldoni also highlighted the significance of mental health, reinforcing that navigating legal disputes can take a toll on the individuals involved. He encouraged fans to be supportive rather than speculative, urging them to focus on the positive aspects of the artistic community rather than sensationalism.

### Industry Reactions

The news of the lawsuit and Baldoni’s response have generated mixed reactions across social media platforms. While many fans have rallied behind both actors, showing support and understanding, others have expressed concerns about the potential fallout from such legal disputes in an industry already facing scrutiny for various ethical concerns.

Industry insiders have noted that lawsuits in Hollywood are not uncommon but underscore deeper issues related to relationships between collaborators and the pressures of fame. Several celebrities have come forward expressing a desire for more transparency and communication within the industry to avoid such conflicts.

### Conclusion

As the situation unfolds, both Justin Baldoni and Blake Lively have their supporters, and the outcome of this lawsuit remains uncertain. For now, the entertainment industry watches closely, hoping for a resolution that not only reflects mutual respect but also encourages healthier collaborations in the future. In an age where public perceptions can shift rapidly, the importance of handling disputes with grace and dignity is more crucial than ever.

The legal proceedings will likely continue to attract attention, and audiences are left to wonder what this means for future collaborations in Hollywood. As fans await further developments, the emphasis lies on understanding and the potential for growth from this challenging chapter in both actors’ careers.

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The perfect reply comes from 76-year-old Susan Sarandon, who has faced criticism for her appearance

One of the most recognizable actors of all time is Susan Sarandon. The actress is admired for her unflinching self-assurance and capacity to hold her own on screen.

She decided to educate them after they began to criticize her choices.

Hollywood veteran Susan Sarandon is still going strong after a successful career. She rose to fame as an actress thanks to her portrayal of Janet Weiss in the venerable musical The Rocky Horror Picture Show in 1975.

Thelma and Louise was one of the movies she later starred in, for which she won praise from critics. For her performance in the movie, she was nominated for an Academy Award for Best Actress. For her performance in Dead Man Walking, the actress ultimately received an Academy Award.

The actress has always valued her body and taken great pleasure in expressing herself through her sense of style. She has a rather direct demeanor and is forthright about the causes she supports.

The actress’ decision to show up to a red carpet event wearing a white jacket and a black bra was criticized by some. A reporter criticized her outfit as being “totally inappropriate.”. ”.

But the actress chose to use an image rather than try to defend herself verbally. She shared an old photo in which she was only wearing underwear and flaunted her figure. Because a picture speaks a thousand words, Sarandon successfully silenced those who questioned what was “appropriate” for her and what wasn’t.

The actress puts her priorities first rather than worrying about getting older. She remarked in a chat, “When your sense of time has an ending and isn’t finite, like how it feels when you’re young. ” According to the speaker, “When you understand that time is precious—you tend not to waste energy on the small stuff and only to surround yourself with people who are vital, curious, brave, and adventurous. ”.

Sarandon responded, “If you want to age gracefully, probably laugh a lot, get the recommended amount of exercise, eat well, and stay out of the sun would be the main things,” when asked how she manages to stay so young-looking. But according to the actress, maintaining your appearance also calls for a talented makeup and hair team.

Without a doubt, Susan Sarandon is exceptional! The actress stays on her course and ignores those with negative things to say about her. Please let us know in the comments what you thought of her response to the critics.

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MILEY CYRUS STUNNED IN A VERY CHIC GUCCI DRESS WITH A DARING LEG SLIT THAT WENT ALL THE WAY TO HER WAIST DURING HER GRAMMY ACCEPTANCE SPEECH AND APPARENTLY SHE ‘WASN’T WEARING ANY UɴᴅᴇƦᴡᴇᴀƦ’

Miley Cyrus had the crowd roaring when she closed out her Grammys acceptance speech with a cheeky remark about ‘forgetting’ her underwear.
She did so while rocking a very racy Gucci dress with a daring leg slit that climbed to her waist.But now the singer, 31 — who is now a two-time Grammy winner — is insisting that it was only a joke.Miley took to X (formerly Twitter) on Monday to write: ‘PS I was only kidding…. I had on matching custom @gucci panties [HEART-EMOJI]’She then thanked Gucci’s creative director Sabato De Sarno for the ‘head to toe chocolate custom couture’ that’s earned her a ton of attention online.In the same X post, Miley fawned over Mariah Carey, Meryl Streep and Mark Ronson — the trio of stars who presented her with her first-ever Grammys on Sunday night.

Miley Cyrus had the crowd roaring when she closed out her Grammys acceptance speech with a cheeky remark about ‘forgetting’ her underwear – and now she’s clarifying that it was just a joke.

Miley took to X (formerly Twitter) on Monday to write: ‘PS I was only kidding…. I had on matching custom @gucci panties’

While accepting the Record Of The Year trophy, Miley rocked a very racy Gucci dress with a daring leg slit that climbed to her waistShe included photos from the show that showed Meryl handing Miley her Record Of The Year trophy as well as Miley hugging her team, who joined her on stage.

She wrote that the third photo in her post ‘sums up’ her relationship with her Flowers co-writer Michael Pollack and producers Kid Harpoon and Tyler Johnson ‘perfectly.’The image showed Miley in front of the mic accepting their award while Pollack, Harpoon and Johnson stood idly behind her.‘You 3 wanting me to do all the talking until I start talking….’ she teased.Miley was one of the biggest winners of the night as she earned the coveted Record Of The Year and Best Pop Solo Performance for her hit track Flowers.Along with setting social media ablaze with her underwear joke, Miley also got fans talking about her father Billy Ray Cyrus, who she left out of her Record Of The Year acceptance speech.”This award is amazing,’ she began. ‘But I really hope that it doesn’t change anything because my life was beautiful yesterday. Not everyone in the world will get a Grammy, but everyone in this world is spectacular…

‘So please don’t think that this is important, even though it’s very important, right guys? ‘[I want to thank] everyone that’s standing on this stage right now Tom, Tyler, Michael and Greg.

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