Diane Keaton’s nail clippers for $960: what’s behind the new boom in celebrity estate auctions?

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With beloved stars’ personal items increasingly up for grabs after they die, a new generation of fans are bidding on everything from bowler hats to dog bowls From Diane Keaton’s bowler hats and polka dot scarfs, to Gene Hackman’s used paint brushes, to Terence Stamp’s love letters from Jean Shrimpton and even Matthew Perry’s black leather wallet (his credit cards and AAA membership card still inside), fans are being offered – at a price – increasingly personal items from the estates of dead celebrities. The growing trend for auctions of deceased famous people’s personal items – which has boomed ever since the hugely popular Marilyn Monroe estate sale in 1999 – has even attracted its own portmanteau: “deleb” as in dead celebrity. Continue reading... from Film | The Guardian https://ift.tt/4Yh215g via IFTTT
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Springsteen: Deliver Me from Nowhere review – solid biopic both embraces and avoids cliche

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New York film festival: Jeremy Allen White is a convincingly tortured rock star in this smartly narrow and specific look at a particular chapter of music history

The genre of the musical biopic is one that, as Timothée Chalamet acknowledged while accepting a Sag award for playing Bob Dylan earlier this year, “could be perhaps tired”. The beats of the genre – the initial obstacles, the double-edged sword of success, the actors’ pursuit of industry awards for spirited impersonation – are by now so familiar that you’re almost expected to enter with more than a bit of skepticism, even when the artist at hand is one as widely beloved as Bruce Springsteen.

Like A Complete Unknown, in which Chalamet portrayed Dylan from 1961 until his pivot to electric in 1965, Deliver Me from Nowhere, Springsteen’s authorized biopic starring Jeremy Allen White, tries to thread a difficult needle between offering the standard treats and subverting expectations, between narrativizing genius and resisting hagiography. This may be an impossible task, given that the magic and cliches of popular music often go hand in hand, and Deliver Me from Nowhere certainly has its spoof-worthy moments. I went in braced for success montages, leaden flashbacks and capital-R Realizations, and at times met them. (Though to be clear, the expected treat of watching White, of the Bear and Calvin Klein underwear ad fame, tear up the stage as The Boss is still exactly that.) But more often I was won over by its diversions in form – its specificities, its smallness and its portrait of mental fragility.

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