A production company co-founded by Mel Gibson obtained a mixed outcome in court Tuesday when a judge issued some rulings favorable to it and others adverse in a lawsuit alleging a group of entities and a CEO interfered with the actor-director’s ability to approve the final cut of the unreleased film, “The Professor and the Madman.”

The suit filed on behalf of Icon Productions, which Gibson and producing partner Bruce Davey founded in August 1989, names as defendants Voltage Productions LLC, Voltage Pictures LLC, Christchurch Productions DAC and Nicolas Chartier, CEO of Voltage and a stakeholder in Christchurch.

Los Angeles Superior Court Judge Ruth Kwan dismissed Voltage Pictures from the case, but ruled that the other companies and Chartier will remain defendants.

In the suit filed in January 2017, “The Professor and the Madman” is described as “a labor of love for … Gibson and Davey, and the picture’s director, Farhad Safinia.” The suit alleges breach of contract, fraud and that the defendants put their interests ahead of those of Icon.

Gibson is cast in the film as a professor who began compiling the Oxford English dictionary in 1957. Sean Penn co-stars as an insane asylum inmate who submitted more than 10,000 entries to the dictionary.

Production began on the film in 2016, but the defendants failed to provide a final budget, according to the suit, which also alleges they refused to allow critical scenes to be shot in part in Oxford, England, and prevented Safinia “from producing a cut of the film to be considered by Mr. Gibson in his selection of the final cut.”

Icon asked the defendants to correct their alleged breaches, but they “simply ignored plaintiffs’ notices,” and the end result is a film that is “inconsistent with the approved script,” the complaint alleges.

The defendants screened an unapproved cut at the Cannes Film Festival and were doing the same in Los Angeles County, which “violates Mr. Gibson’s ultimate right to select the final cut of the picture,” the suit alleged.

In June, the judge denied a motion by Icon attorneys to reclaim the rights to the film, making it harder for the plaintiffs to block its release.

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