EXCLUSIVE: The Odyssey’s historic IMAX run faces first major change; The End Of Oak Street gets 2 prime slots; Nolan film gets discounted IMAX pricing for FIRST time; Spider-Man joins Rs. 149 Tuesday offer

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Yesterday, Bollywood Hungama reported that The Odyssey continues to remain rock-solid at the box office despite the release of Spider-Man: Brand New Day. The Christopher Nolan-directed film has collected Rs. 166.89 crores in 24 days, of which a huge Rs. 74.21 crores has come from IMAX screens. The film, which released on July 17, has enjoyed exclusive access to IMAX shows ever since, thanks to its historic response. However, from Friday, August 14, The Odyssey will begin sharing IMAX shows with the Anne Hathaway-starrer, The End Of Oak Street. A trade source told Bollywood Hungama, “The End Of Oak Street is a big-scale film and also features dinosaurs. Hence, it’ll make for a great watch in IMAX. It is being released by Warner Bros, which also distributed Universal Pictures’ The Odyssey in India. Since the same team is handling both films, it has become easier to divide the shows between the two.” The source continued, “Warner Bros has asked IMAX theatres to play The End Of Oak Street...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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