At a time when both the nation and the state of California are in dire need of an economic boost, George Lucas came up with an entertainment business plan that included the creation of hundreds of jobs.

Unfortunately, the employment enhancing idea that Lucas was contemplating involved building a complex, which was to be located in the liberal bastion of Marin County, California, a community just north of San Francisco.

The “Star Wars” filmmaker had been seeking to undergo a significant expansion of his media enterprise, Lucasfilm, in the form of a 269,000-square-foot entertainment complex that was to include a 51-foot-tall mission-style compound with two 85-foot towers, two indoor sound stages, and a large outdoor stage. Screening rooms, guest housing, a general store, and an employee cafeteria were also potentially in the works.

Now, courtesy of the environmentalists in the Marin area, the would-be Lucas jobs are headed elsewhere, along with all of the tax revenue that would have been generated.

Lucasfilm had planned to start construction of the production facility in 2013. However, some homeowners decided to join forces with environmentalists to stop the expansion.

Sympathetic to eco-concerns, Lucas’s company assured those who were opposed to the project that open space would be preserved and steps would be taken to minimize any adverse environmental impact.

Lucasfilm’s approach to the environment was apparently good enough for the Marin County planning commission that unanimously approved the new expansion back in February. Opponents, though, appealed the planning commission’s decision and in March took it to the county Board of Supervisors.

For Lucas, the appeal had evidently been the last straw, and he would no longer be delayed. Lucasfilm announced that it would take its project, along with the jobs that would have been produced, to a place other than the Lucas Valley, which for three decades has been home to what is known as the Skywalker Ranch.

“The level of bitterness and anger expressed by the homeowners in Lucas Valley has convinced us that, even if we were to spend more time and acquire the necessary approvals, we would not be able to maintain a constructive relationship with our neighbors,” Lucasfilm indicated in a statement.

The emotion described in the company’s announcement apparently goes both directions. Not only did Lucasfilm pull the project away from Marin, it intends to sell the historic farmland to a developer interested in constructing low-income housing, a use that the disgruntled residents of Marin are unlikely to appreciate.

“We love working and living in Marin, but the residents of Lucas Valley have fought this project for 25 years, and enough is enough,” the company revealed.

The statement went on to say that the company is seeking to locate in a community that will appreciate the economic benefits that Lucasfilm brings.

“We have several opportunities to build the production stages in communities that see us as a creative asset, not as an evil empire,” the statement read.

Lucas and his company have concisely stated what all entrepreneurs inherently understand: Viewing business expansion as a creative asset as opposed to an evil entity is beneficial for the jobs market as well as the general economy.

The Hunger Games continued its domination at the box office with another first place finish, as it took in $21.5 million. The Three Stooges beat out the highly hyped The Cabin in the Woods for the second spot with $17.1 million, with the latter collecting $14.9 million. Unfortunately, moviegoers did not open the key to the Guy Pearce feature Lockout, as its ninth place show ($6.3 million) was downright abysmal. Here’s the top 10:

1. The Hunger Games - $21.5 million

2. The Three Stooges - $17.1 million

3. The Cabin in the Woods - $14.9 million

4. Titanic 3D - $11.63 million

5. American Reunion - $10.7 million

6. Mirror Mirror - $7 million

7. Wrath of the Titans - $6.9 million

8. 21 Jump Street - $6.8 million

9. Lockout - $6.25 million

10. Dr. Seuss’ The Lorax - $3.02 million

Jennifer Lawrence talks about the greatest challenge of playing Katniss Everdeen in The Hunger Games:

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posted by Greg Srisavasdi

We exist in a world where the summer blockbuster has supplanted character driven narratives, an environment where a cinematic roar drowns out the subtlest of whispers.   It’s with great pleasure to know such tales as Monsieur Lazhar, a quiet and intricate study of a selfless teacher, actually exist.  Filmmaker Philippe Falardeau paints his narrative with a measured, sensitive hand, giving us a portrait of a classroom dealing with a devastating loss.

During an early Montreal morning, Simon (Emilien Neron) brings milk cartons into class and discovers his beloved teacher hanging from a heating pipe, with a scarf tightly fixed around her neck.  It’s a situation that would shake anyone to their core, and understandably the children are left reeling from the suicide.  The death devastates Simon, as withdraws from his classmates, including his closest friend Alice (Sophie Nelisse).  Bachir Lazhar (Fellag), a 55-year-old Algerian immigrant seeking asylum in Canada, willingly steps in as the new elementary school teacher.  Although his unorthodox methods (referencing Balzac to fifth graders is a bit ambitious) is met with slight resistance from the kids, they understand Lazhar’s main goal is to provide a rich education and a bit of direction, and eventually they form a close bond with their instructor.

Adapted from the play Bashir Lazhar, the Academy Award nominated film (A Separation won Best Foreign Film honors), successfully steers away from sentimentality, as Falardeau understands that Mr. Lazhar’s life can only proceed one slow step at a time.   Romantic overtures from an attractive (and lonely) colleague (Brigitte Poupart) would be welcome from most red blooded suitors, but much of Lazhar’s mind and heart, still exists in his native country, where his past continues to haunt him.  He is also attached to his students, most notably Sophie, an old soul whose life is changed (for the better) through Lazhar’s guidance.

Lazhar’s own struggles with loss enables him to connect with his students in a deeper fashion, and his continued devotion to his classroom is admirable.  We may never know if Lazhar finds peace in his new environment - as an immigrant and habitual loner he may always feel a bit out of step.  But the teacher’s heart is in the right place, and thanks to Falardeau’s subtle and sure handed direction, Monsieur Lazhar offers us a glimpse of emotional deliverance sans a syrupy denouement.  The picture’s final moment rings all too true, and it’s in these inspired, intimate exchanges where Monsieur Lazhar’s narrative continues to linger, even if class is already over.

Grade:  A

**Director Philippe Falardeau talks about the creative genesis behind Monsieur Lazhar:

Monsieur Lazhar.  94 Minutes.  PG-13.  In French with English subtitles.

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posted by Greg Srisavasdi