Carrie remake and musical

[nocny]

It's another (third) adaptation of the book 'Carrie', not a remake of De Palma movie 'Carrie'. Simple.

[pathoftheturtle]

So does that mean they have to title it Stephen King's Carrie the way that Francis Ford Coppola did with Bram Stoker's Dracula?

I just hope it is a better "remake" than Tim Burton's Planet of the Apes.

[Bev Vincent]

They only get to use King's name with his permission.

[pathoftheturtle]

Oh, sure. I guess that works better with deceased authors.

[herbertwest]

CARRIE 2013 trailer

[Tito_Villa]

Looks good

[Thorin Oakenshield]

They just pretty much showed the entire movie in it.

[herbertwest]

It's not like we dont know what happens..

[ChristineB]

Hard for me to reconcile the way that girl looks with being an outcast in high school, she is just too pretty. JMO

[mikeC]

You can submit fan art to the website. Not sure if you can win anything though.
http://carriemovie.tumblr.com/submit

[mae]

https://bangordailynews.com/2013/08/...eres-in-maine/

Just in time for Halloween weekend, “Carrie” is back.

The Stephen King horror novel from the ’70s hits the University of Southern Maine stage in November set to pop-rock. “CARRIE, the musical” makes its Maine debut Nov. 1-3.

King’s first book tells the tale of a sheltered high school teen with special powers. It opened on Broadway in 1988 and was roundly panned.

“It was one of the biggest Broadway flops ever,” said Ed Reichert, USM’s musical theater vocal coach, who is directing the performance.

With music by Michael Gore, lyrics by Dean Pitchford and book by Lawrence Cohen, it became an instant cult classic after a brief run.

“They got caught up in the special effects, the burning down of the gym and cafeteria,” said Reichert. “It was a multimillion dollar fiasco.”

Since then, the musical has been revamped, updated and shown off-Broadway. When the rights became available less than a year ago, Reichert pounced.

“I knew it would be a good match for the talent that we have right now for musical theater majors,” he said.

And the new bare-bones, stripped-down version is perfect for the intimate 182-seat Corthell Concert Hall, he said.

“People who know the story and like the novel, people who are Stephen King fans, can all come out Halloween weekend and see our little musical in Gorham, Maine,” said Reichert.

Kellie Moody, a USM senior from Caribou, will be the music director.

“The kids are excited because it’s so accessible. They are playing characters their own age and it’s set to pop-rock mostly,” said Reichert.

This is a busy season for King. The remake of the movie “Carrie” is being released by Sony Pictures in October; CBS’ “ Under the Dome” series, based on King’s 2009 science-fiction novel, is a smash; and “ Doctor Sleep,” the sequel to “The Shining,” comes out next month.

Tickets for “CARRIE, the musical” are $15 and can be purchased by calling 780-5555 or visiting http://usm.maine.edu/music/boxoffice. The show runs Nov. 1-3 at Corthell Concert Hall, University of Southern Maine, 37 College Ave., Gorham.

[Ari_Racing]

NY Times article:

http://www.nytimes.com/2013/10/13/mo....html?src=recg

[mae]

http://nypost.com/2013/10/12/carrie-...king-original/

“With the period comes the power,” says Kimberly Peirce.

Menstruation as movie motto is pretty out-there, but such is the chutzpah of director Peirce (“Boys Don’t Cry”), who dared to remake “Carrie,” a horror classic that’s never fared well in previous update attempts — first a legendary Broadway musical flop in 1988, then a resurrection of the musical last year, and a little-seen 2002 TV movie.

With this new version, opening Friday and starring Chloë Grace Moretz as Carrie and Julianne Moore as her terrifying mother, Peirce aims to de-camp a tale known mostly for its images of a blood-soaked and wide-eyed Sissy Spacek, from Brian De Palma’s 1976 original.

The movies are based on Stephen King’s very first novel, about Carrie White, a tormented teenager who discovers she has telekinetic powers. The book has actually never seemed more topical than in the age of “It gets better.” (Spoiler alert: For Carrie — and those who bully her — it doesn’t.)

“It’s undeniably modern and relevant,” Peirce tells The Post. “I read the book a couple of times back-to-back, and I fell in love with this amazing protagonist, who’s a misfit and an outcast.”

In viewing this “Carrie” as both a dark “superhero origin story” and a bullying cautionary tale as much as a horror movie, Peirce brought a very different sensibility to iconic scenes, such as the early one in which Carrie gets her first period in the school showers after gym class.

In the opening of De Palma’s film, the shower is shot as a steamy panorama of naked and near-naked female forms: “Everybody was trying to get their bodies in tiptop shape for that scene,” recalls Betty Buckley, who played the gym teacher in the original. “Some people decided to go completely naked, some didn’t. It wasn’t meant to be exploitative — it’s a beautiful scene.”

In Peirce’s version, the focus is mostly on Moretz alone. “It’s vital you identify with Carrie, that you understand her as a human being: The point of view, when she’s seeking solace in the shower, away from the popular girls and their talk and their beauty. So you [need] to get that she had been humiliated. And with Chloë, it was building up a level of surrender — it feels so good to be under that shower that when the period comes, it’s a horror to her.”

The director also found a different way into the psychology of the girls who turn on Carrie, pelting her with tampons and yelling “Plug it up!” after she grabs at them asking for help.

“In rehearsal, I asked the girls to think about what it would be like if somebody got period blood on you,” says Peirce. “It would be gross, I don’t care how much of a feminist you are.”

She wanted the audience to understand the other side — the mean girls’ side — as well. “We identify with the girls who are bullying her,” she says. “We’re not blind to why they’re doing it. [Carrie] is odd. She is a misfit. She is weak.

“At first, they’re just girls having fun. Then their better nature goes out the window, and they start acting like animals. Like a pack.”

It was one of the scenes that allowed Peirce to truly modernize the story, as the girls whip out their cellphones and take video of Carrie cowering on the shower floor — then post it to Facebook.

Modern technology aside, the director says that she “went back to King’s characterization of Carrie, her mother, and the girls, and to Carrie’s response to being bullied.” Unlike De Palma’s version, which begins with the aforementioned shower scene, Peirce starts with a moment that’s in the book but wasn’t included in the 1976 movie: Her mother, Margaret, giving birth to Carrie and nearly murdering her as a baby, in a bloody and highly dramatic sequence.

But even as Peirce planned to be more faithful to the novel — including keeping the gym teacher’s original name, Miss Desjardin (played by Judy Greer) — the author was distancing himself from the project. When it was first announced in 2011, King weighed in, saying: “The real question is why, when the original was so good? I mean, not ‘Casablanca’ or anything, but a really good horror-suspense film, much better than the book.”

The author’s sentiments were echoed by members of the original cast: “[The 1976 movie] is one of the great American classic horror films,” Buckley says.

Though actress Piper Laurie, who played Margaret in the original, now agrees, she initially wanted nothing to do with the movie.

“I didn’t care for the script,” recalls Laurie, who was a veteran among the cast of mostly newcomers (including John Travolta). “But my husband at the time said De Palma has a comedic approach to what he does, and on the basis of that, I went in to meet with him.”

Laurie says her performance was colored by that belief: “I never thought of it as a horror movie. I thought of it as a lyrical black comedy.

“In the scene where I’m trying to get [Carrie] not to go out [with a boy], I’m saying, ‘He’s not going to come,’ and I did a thing where I was pulling myself across the room by my own hair. And Brian stopped me and said, ‘Piper, you can’t do that — you’re going to get a laugh!’ ”

And Peirce was certainly not going for comedy in her direction to Moretz and Moore in their scenes together. “We were shooting the closet scene — where Margaret is dragging Carrie to the closet to pray — and out of deference to Julianne, Chloë kind of gave in too easy. I was like, ‘You gotta stay the hell out of that closet! This is life or death!’ ”

Moore echoes Peirce’s more humanistic take: “At its core, ‘Carrie’ is about adolescent rebellion,” she has said. “It is certainly extreme, but at a certain point in everyone’s life, they grow up and away from who they are as a child.”

Still, one big question remains: Will this update fly with Carrie White’s creator? “We haven’t heard from Stephen King,” Peirce says. “But I hope he loves it.”

[Joka42]

I like that in this remake is well exemplifies the religious fanaticism of the mother of Carrie, which affects her psychologically and not only display the outcome of it. But then maybe this is not within the standards of commercial cinema

[mae]

http://www.firstshowing.net/2013/rev...and-pointless/

Stephen King's 1974 novel "Carrie," the author's first published, caused an ensuing avalanche in the horror world. The landscapes of horror fiction on both bookshelves and in theaters was forever changed. It was only a matter of time before the senseless remakes began down the assembly line. Coming 37 years after the Brian De Palma-directed debut of King's source material to the big screen, Carrie has once again been adapted to film, and the results are predictable. Despite a strong showing from its two leads, this new version of Carrie is a lazy retread of King's original story, retold without a shred of creativity or new blood refreshing the atmosphere surrounding it. It's now become a thing that just kind of goes "Meh" in the night.

Chloë Grace Moretz stars as Carrie White, awkward high schooler made as such by her overbearing and deeply religious mother, played here by Julian Moore. Carrie's mother fears the worst for her child and wishes to shroud her from any and all of life's depravities. Because of this, Carrie's misunderstanding of even her own body plays a horrible prank on the girl when she has her first period at school, an event that sparks an onslaught of bullying and humiliation.

But Carrie's misunderstanding of herself grows even stronger when she begins to understand the powers she has, telekinetic powers allowing her to move and alter objects with her mind. As the bullying at school and the mental and physical abuse at home continue to escalate, Carrie's abilities appear to be growing in strength. As you can imagine, the prom at the end of this one isn't all slow dances and spiked punch.

To that end it seems almost senseless to be vague about the plot details and horrific events that transpire in the back half of Carrie. King's novel and De Palma's film contain imagery so ingrained in the minds of horror fans that even those who haven't experienced the full story in either capacity are fully aware of what goes down. A certain bucket of pig's blood has become the Titanic iceberg to this story. You know it's going to drop. You just dread that moment and everything that comes after.

For all of the built-in tension that comes from the story, though, this new telling of Carrie, written by Lawrence D. Cohen and Roberto Aguirre-Sacasa, gets bogged down in hitting all the key points that come along the way. That's all well and good, but King's novel - and De Palma's film, for that matter - tells a slight story with little depth with which to pull from. The screenwriters here could have added that depth, built on the foundation King has already provided. They could have even gone a different route as the original adaptation - also written by Cohen, by the way - and told the story in nonlinear fashion, something King's original novel does. Any diversion from being the same, old story would do a Carrie remake wonders. Alas, this isn't that wondrous.

Director Kimberly Peirce is, to the say the least, an interesting choice to tell this story having already hit solid marks with Boys Don't Cry, a different story about female misunderstanding of one's own body. Peirce's vision in Carrie never aids the screenplay in any way, though, the execution choosing flashy CGI and loud, Final Destination-level death sequences in favor of grit or subtlety. As with the story, visually, Carrie goes through familiar motions, the results now in 2013 being too glitzy and vibrant to ever be scary.

Peirce does succeed and has always succeeded in getting powerful performances from top-notch actors. Moretz and Moore flesh out their respective roles with more subtlety than the rest of the film suggests. Even this is quite loud. Moretz goes from uncomfortable wallflower to black-eyed hellraiser with quite a bit of nuance, her performance suggesting a much more drastic transformation than what her physical appearance suggests. Moore, on the other hand, is full-on psycho from frame one, but the decision to keep from playing to the back row throughout the film is a welcome one. When she does explode, it matters, and Carrie/Moretz's reaction to her is made all the more impact

Unfortunately, these performances is all Carrie really has to offer. Even at that, it's difficult to see more suitable and spot-on performances in these roles than Sissy Spacek and Piper Laurie. What there was to work with in King's original novel has already been taken care of on the cinematic front. If Carrie is any indication where the future of King adaptations are headed, we're in for a long, tedious ride through some familiar territory, and unlike Carrie's schoolmates, we only wish we could simply laugh at them.

[Bev Vincent]

Alas, the early reviews have been dismal. I had higher hopes when I heard who was involved with the project.

[mae]

https://twitter.com/BretEastonEllis/...31793868460032

Why remake one of the greatest American movies of the 1970s? CARRIE 2013 was the most depressing filmgoing experience I've had this year...

[Lookwhoitis]

I hated the remake.

Watched 1976 version again last night, though

[mtdman]

I saw it today and liked it. I thought it was pretty well done and the acting all around was solid. I have no allegiance to the earlier movie though, and was not comparing it to that movie. My wife did not like the new movie.

[Joka42]

Last Thursday saw the premiere of the movie and I really liked more than the Brian De Palma, or talk to Carrie 2 which is disastrous

[mae]

[mae]

http://wgbhnews.org/post/arts-week-s...and-foodtrucks

Carrie Presented by SpeakEasy Stage Company,it plays at the Calderwood Pavilion through June 7th.

Academy Award-winning composer Michael Gore takes on Stephen King’s debut novel to create Carrie the Musical. Carrie White is a Maine teen relentlessly bullied at school by the popular crowd and tormented at home by her fanatical mother. When she is unexpectedly invited to her senior prom, Carrie dares to dream that her life might finally improve. Little does she know, however, what cruelty her classmates have in store for her and what terrifying power her anger will unleash. Elizabeth Erardi plays Carrie, and says the desperate anger in Carrie's story is universal. She told me, "…there’s a little bit of the underdog and the bullied teenager in everybody and I think, I think she’s a relatable character."

[herbertwest]

Apparently, seomeone created a SIM 2 version of the CARRIE movie.
I wasnt going to pay attention to it, until I noticed that it's an actual MOVIE (meaning 1h30) and not only 2 or 3 mins!

Some people really have to time to kill !
>>> http://www.youtube.com/watch?v=_uU9bzL_pH0

[mae]

http://statenews.com/article/2014/09/carrieatwharton

Bullying is about to become center stage.

MSU will welcome New York City native Joe Barros as the guest director for the production of Carrie the Musical, coming to the Pasant Theatre at Wharton Center from October 10 through October 19.

Barros said he wanted to incorporate the themes of bullying by use of technology, so the production features prominent use of technological advances, such as the use of cell phones throughout the performance. The audience will be able to publicly tweet things about Carrie before curtain and elect to receive texts, pictures, and hashtags throughout the show.

Barros is a part of the Guest Artist Initiative Program through the Stage Directors and Choreographers Foundation, which enables MSU to hire professional directors to be in control of theatrical productions at universities and colleges across the country.

Based off of Stephen King’s classic terrifying tale, Carrie tells the story of an awkward teenage girl whose lonely life is controlled by her religious fanatic mother. Finally having reached the breaking point with the bullying, she wreaks havoc on her school prom with her telekinetic powers.

Though the actual novel is based more on the horror of the blood curdling final scene, the musical focuses much more strongly on the effects of bullying.

Tickets are on sale now for $15 for students and $20 for general admission.

[needfulthings]

PRE-BROADWAY U.K. FLYER.

OPENING NIGHT PLAYBILL MAY 12 1988.