Ryan Gosling to Produce Busby Berkeley Biopic; May Also Star and Direct

by     Posted 276 days ago

ryan gosling busby berkeley biopic slice

Warner Bros. has optioned the biography Buzz: The Life and Art of Busby Berkeley, written by Jeffrey SpivakTHR reports Ryan Gosling and Marc Platt (Drive) will produce.  They are developing the project as a starring vehicle for Gosling to play the iconic musical director/choreographer.  Gosling may even direct the biopic—triple threat!  However, the project is still in the early stages, so the search is on for a writer.  Gosling recently wrapped production on his directorial debut, How to Catch a Monster, which Platt produced.

Hit the jump for more on Berkeley’s biography and a sampling of his elaborate musical production numbers.

Here’s the synopsis for Buzz:

buzz life and art of busby berkeley book cover

Characterized by grandiose song-and-dance numbers featuring ornate geometric patterns and mimicked in many modern films, Busby Berkeley’s unique artistry is as recognizable and striking as ever. From his years on Broadway to the director’s chair, Berkeley is notorious for his inventiveness and signature style. Through sensational films like 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933), and Dames (1934), Berkeley sought to distract audiences from the troubles of the Great Depression. Although his bold technique is familiar to millions of moviegoers, Berkeley’s life remains a mystery.

Buzz: The Life and Art of Busby Berkeley is a telling portrait of the filmmaker who revolutionized the musical and changed the world of choreography. Berkeley pioneered many conventions still in use today, including the famous “parade of faces” technique, which lends an identity to each anonymous performer in a close-up. Carefully arranging dancers in complex and beautiful formations, Berkeley captured perspectives never seen before. [Amazon]

Here are a few notable examples from Berkeley’s filmography:

busby berkeley gold diggers of 1933




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  • bidi

    when is How to Catch a Monster supposed to come out? is it late this year or next?

  • Ryan Goosling

    This is what happens when you grow up in the House of Mouse (or any other Hollywood big-shitter hangout) – spend a few years pouting at the camera and shouting a bit in shit romantic films “for the ladies”, sell your body and make sure you never say anything that could offend anyone, anything or spark any sort of interest other than “OMG, Ryan Gosling you’re so cute”, go on to star in two senselessly stylish sophomoric and hilariously inoffensive (again) films where you just pout a lot and put your mitts up “for the boyz” and then someone will give you a couple of million dollars to build up your own empire of watered-down, pansy-ass, white-wash, cliche, dollar-driven bullshit entertainments masquerading as ‘art’ (’cause no one’s got time for anything substantial anymore, only the trivial.)

    Hollywood is business.
    And business promotes those it knows and those it likes.
    ‘Cause that’s what sells.

    And people wonder why we’re all such meat-headed morons who couldn’t give a shit about anything if we tried. Your day job sucks and no one cares because neither should you.

    Put it in the garbage with the rest of the trash.
    Recycling’s for sissies and we’re already half-dead.

    • LL

      koo koo.

      • Chris

        OTT but he/she made some valid points. Gosling falls back on the same mannerisms in his movies, has become a parody of himself with the “Hey Girl” thing and his “male model” mode of emoting, and has made some bad movies in various markets lately. Namely Crazy, Stupid, Love, Only God Forgives, and Gangster Squad.

        Two of those were for Warner Brothers, of which one barely broke even and the other was a total flop, so why is Warner Brothers investing in a starring/directing vehicle for Gosling when he has twice failed to help open a movie for them and when his directing debut hasn’t been completed?

        Ryan Gosling might be an example of media and studio hype superseding talent and track record.

      • Chris

        OTT but he/she made some valid points. Gosling falls back on the same mannerisms in his movies, has become a parody of himself with the “Hey Girl” thing and his “male model” mode of emoting, and has made some bad movies in various markets lately. Namely Crazy, Stupid, Love, Only God Forgives, and Gangster Squad.

        Two of those were for Warner Brothers, of which one barely broke even and the other was a total flop, so why is Warner Brothers investing in a starring/directing vehicle for Gosling when he has twice failed to help open a movie for them and when his directing debut hasn’t been completed?

        Ryan Gosling might be an example of media and studio hype superseding talent and track record.

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