—

What?
“This Gun for Hire” (1942) directed by Frank Tuttle, starring Alan Ladd, Robert Preston and the noir-diva Veronica Lake.

When?
Saturday, December 19th, at 7:30 pm.

Where?
Cinemateca Portuguesa.

How much?
The ticket’s 2,50 euros - a real bargain.

—

—

]]> http://alisonkerr.wordpress.com/2009/10/30/317/ Fri, 30 Oct 2009 17:08:12 +0000 alisonkerr http://alisonkerr.wordpress.com/2009/10/30/317/

As a new print of the film generally regarded as the greatest ever made is released, here’s my guide to the Orson Welles masterwork.

A-Z of Citizen Kane

A is for the American Film Institute which, in 2007, voted Citizen Kane the Greatest Movie of All Time – as it had also done in 1998.

B is for Boy Wonder, the nickname given to stage and radio star Orson Welles even before he made Citizen Kane (1941).

C is for ceilings. One of the innovations of Citizen Kane was the way in which the domineering title character was always shot from below, so that his power was always underlined (weaker characters were shot from above) – the result was that the ceilings of rooms were seen for the first time in the movies; in fact this was the first time the sets had had to have ceilings..

D is for debuts. Citizen Kane would have been a phenomenal achievement no matter who had made it but the fact that it was Welles’s debut as a movie director (and actor and producer) is astounding. He had to learn even the basics of filmmaking while he preparing Kane. Despite this – or perhaps because of his lack of technical experience and willingness to experiment – Welles subverted the rules of filmmaking and created a new vocabulary in the language of cinema.

E is for the end. Citizen Kane opens with the end of Kane’s story – his death – and then goes back to his humble beginnings.

F is for flashbacks. The story of Kane’s life is told through a series of flashbacks triggered by a newspaper reporter’s interviews with the tycoon’s former colleagues, ex-wife and friends.

G is for Gregg Toland, the cinematographer hired by Welles because of his flamboyance and unconventional style. One of Kane’s many innovations was “depth of field”, the method Toland devised of composing shots so that the screen was loaded with information and the figures and objects at the front of the screen were in focus at the same time as those at the back.

H is for Hearst, William Randolph – the American press baron who inspired the character and story of Citizen Kane. The film was essentially a thinly veiled biopic, which showed how power corrupted and how great egos are born – and grow out of control. Before the film was released, Hearst offered RKO Studios $800,000 (the cost of the film) to destroy the negative.

I is for innovation. Citizen Kane is packed full of new techniques, from the pioneering use of overlapping dialogue (which Welles brought from radio) to the ahead-of-its-time make-up which allowed the young star to convincingly age by 50 years during the course of the film.

J is for Judy Holliday. The scenes in which Susan Alexander is being bullied by Kane into being an opera singer are similar to those in the 1950 movie Born Yesterday, in which a gangster tries to turn his moll into a refined lady. By coincidence, Judy Holliday, that movie’s Oscar-winning star, was tested for the part of Susan in Citizen Kane.

K is for “King” Cole. The great pianist (and singer) Nat “King” Cole can be heard playing in the scene at the El Rancho nightclub where Susan is working.

L is for legacy. Citizen Kane stands as an astonishingly fresh piece of work nearly 70 years after it was made, and it has inspired countless filmmakers, among them Martin Scorsese, Woody Allen, Brian De Palma and Steven Spielberg who pays homage to it in Raiders of the Lost Ark (1981).

M is for Mercury Theatre, the stage company that Welles founded with John Houseman in New York in 1937. Known for its bold, original productions, Mercury Theatre branched out into radio drama – most famously its vivid 1938 dramatisation of HG Wells’s The War of the Worlds, which, although broadcast as a Hallowe’en prank, caused a nationwide panic as thousands of Americans believed they were listening to news coverage of a real-life alien invasion.

N is for Neverland. Michael Jackson’s vast estate – a sort of mini-kingdom – is the closest modern-day equivalent to Kane’s Xanadu, where he stored and showed off “the loot of the world” – the art work, architecture and animals he collected from across the globe. The gothic Xanadu was inspired by Hearst’s gargantuan castle San Simeon which was stuffed with antiques and art and had its own zoo.

O is for Only One Oscar. Yup, The Greatest Film of All Time won only one Academy Award – for the screenplay written by Welles and Herman J Mankiewicz. In 2003, Welles’s statuette was about to be sold in an auction at Christie’s in New York (by Welles’s youngest daughter) but was voluntarily withdrawn so that the Academy could buy it back for $1, a deal which all Oscar winners have to agree to. It had been expected to fetch over $300,000.

P is for Parsons. Louella O Parsons was the Hearst newspaper group’s Hollywood gossip columnist who could make or break careers. When she heard that Welles’s film was really about her boss, she demanded to be shown it – and blew a gasket. It was her report to Hearst which triggered his pre-emptive strike of banning advertisements for the film from his papers, a move which led some cinema chains to cancel their bookings.

Q is for the QT. Several key scenes in Citizen Kane were filmed on the quiet, behind closed doors, so that studio executives couldn’t interfere with the production. The projection room scene, plus the interviews, were passed off as tests but Welles fully intended to use them in the movie – and he did.

R is for “rosebud”, the last word uttered by Kane as he dies in the opening scenes of the film. It is the quest to discover what “rosebud” was that drives the whole film as a reporter is assigned the job of getting to the bottom of the mystery by interviewing as many of Kane’s friends and associates as necessary.

S is for score. Bernard Herrmann’s evocative score – his first feature film score – contributed much to the sinister atmosphere of the film. He went on to compose the music for such diverse classics as The Ghost and Mrs Muir (1947) and Taxi Driver (1976).

T is for twenty-four, the age Welles was when he was making “the greatest film ever made”.

U is for unorthodox. A particularly unusual technique was devised by editor Robert Wise (later the director of The Sound of Music) to make the newsreel footage at the start of the film look authentic and grainy: he ran the film through cheesecloth filled with sand.

V is for vendetta. Hearst’s papers conducted a smear campaign against Welles in revenge for Citizen Kane; one rumour which circulated was that Welles was a communist.

W is for “will-they-won’t-they?”. The release of the film very nearly didn’t happen as RKO’s board buckled under pressure not just from Hearst but also from other studio heads, who felt the controversy would damage the industry. Finally, three months after its original scheduled release date, it opened in New York – the result of Welles pointing out to the studio that his contract gave him the right to sue if the film wasn’t shown within a certain period of time.

X is for x-tras. These included Alan Ladd (who would become a leading man the following year) as the pipe-smoking reporter at the end of the film.

Y is for years. The story of Citizen Kane spans an epic 65 years, from his childhood when he was sent to live in the care of the family lawyer, to his death as an isolated old man. For 50 of those years, Kane was played by Orson Welles.

Z is for the Ziegfeld Follies, the show in which William Randolph Hearst’s much-younger mistress, Marion Davies, was appearing when they first met. Hearst’s relationship with Davies differed from that of Kane and Susan Alexander in the movie in a few ways: although Hearst undoubtedly got Davies into movies, she was actually an accomplished comedienne, whereas her fictional alter ego was a pretty lousy opera singer. And while Susan marries and divorces Kane, Davies, whose movie career made her independently wealthy, remained devoted to her man (though they never married) until his death.
* A new print of Citizen Kane is showing at the GFT, Glasgow from October 30 until Thursday 5, and at the Filmhouse, Edinburgh from October 30 until Sunday 8.

Billboard Art Makes Alan Ladd Shudder
September 10, 1949

HOLLYWOOD—Maybe you like those billboard posters, plugging “The Great Gatsby,” which show a barechested Alan Ladd flexing his muscles.  Ladd doesn’t.  He says he shudders at the sight of ‘em.

Billboard art is a touchy subject with Ladd.  Again and again he’s splashed in seminude poses on signboards and drama pages to advertise his recent pictures.  He’d like to put a stop to it, but he can’t.

“I have nothing to say about these advertising layouts,” he complained.  “I never see them until they’re used.”

Alan thinks many of these ads misrepresent his films.  In “Gatsby” he wore a bathing suit in one brief scene.  Yet his figure, in scanties, gets plastered on signboards everywhere.

Ladd advocates simple posters—headshots of stars and a title.  But he isn’t reckoning with the somewhat sordid fact that pictures sold on sex are better box office.

The Evening Independent

1953: Shane di George Stevens

“The greatest story of the West ever filmed” (Imdb). Un film mito che è nel cuore di tutti i cinefili, uno dei più grandi successi del cinema americano, esaltato (giustamente) dalla critica del tempo e che sbancò i botteghini di tutto il mondo.

Sceneggiato da A.B. Guthrie Jr., tratto da un romanzo di Jack Schaefer, Il Cavaliere della valle solitaria è il primo e unico western di George Stevens (premiato per questo lavoro come miglior regista dal National Board of Review Awards), uno dei più grandi direttori hollywoodiani (a lui si devono lavori indimenticabili come Follie d‘inverno del 1936, La Donna del giorno del 1942, Un Posto al sole del 1951, Il Gigante del 1956).

Un lavoro imitatissimo, citato come pochi, continua fonte d’ispirazione (nel 1985 Clint Eastwood si è basato su di lui per realizzare Il Cavaliere pallido; Lance Holl nel 1987 rifece il film ambientandolo nel futuro col titolo Alba d’acciaio; Sergio Leone con Per un pugno di dollari e Akira Kurosawa con La Sfida del samurai vi si ispirarono direttamente), e ancora oggi esaltato dalla critica (“Un lavoro eccelso, con inquadrature e composizioni grandiose, in grado di dare al film la forza e il respiro che gli permettono di essere il monumento a un certo tipo di western”, Federico Passi. “Considerato, a ragione, uno dei capolavori non solo del genere western, ma di tutta la storia del cinema in generale”, Spaziofilm.it. “Bellissimo western, tra i migliori di sempre per la perfetta fusione tra avventura e romanticismo”, Il Giornale, 5 Giugno 2003).

Paragonato dai critici francesi ai cavalieri medievali che cercavano il Sacro Graal (una interessante analisi della figura del cavaliere è fatta da Renato Bordone), il protagonista è il simbolo dell’eroe purissimo che difende gli oppressi senza nulla chiedere. E ciò che rende il film notevole e modernissimo è che, nonostante tutto, è assolutamente spoglio di retorica (pur risultando massimamente avvincente e spettacolare).
Uno dei primi western a puntare soprattutto sulla psicologia dei personaggi (non per niente è il film preferito da Woody Allen), colpisce la nostra attenzione non tanto per il susseguirsi degli avvenimenti, quanto per lo splendido paesaggio ritratto con un inedito velo di malinconia (la fotografia vinse l‘Oscar), per l’insolito verismo con cui viene descritta la vita dei contadini, per l’interessante quadro di un momento importante della storia americana (il contrasto tra allevatori e agricoltori), per il ritratto (veritiero e poetico al contempo) di un eroe misterioso (dolce e paziente ma anche –alla bisogna– violento e giustiziere), un personaggio “divenuto il massimo “identificatore” delle giovani generazioni di allora, e massimo eroe del West e probabilmente di tutto il cinema” (MyMovies) -(1)-.

Impreziosito dalla famosa e indimenticabile colonna sonora di Victor Young, Il Cavaliere della valle solitaria (secondo ‘il Farinotti’ “la più alta espressione di tutto il cinema”) si avvale della presenza di un ottimo cast. Oltre a Jack Palance (in una delle sue prime affermazioni), a Ben Johnson (uno dei migliori caratteristi americani), alla rivelazione Brandon De Wilde, al sempre ottimo Van Heflin, a una perfetta Jean Arthur (l’attrice preferita di Frank Capra per tutti gli anni Trenta), abbiamo uno dei più celebri divi hollywoodiani: Alan Ladd, campione d’incassi per tutti gli anni Quaranta, qui offre forse la sua migliore interpretazione, performance straordinaria che lo ha collocato tra i vertici dei miti di ogni tempo.

p.s.
Giustamente tutti i critici hanno sottolineato la bravura e la sensibilità nel delineare la storia d’amore tra i due protagonisti: appena accennata, fatta solo di sguardi e di gesti… La si intuisce più che vederla: una vera e propria lezione di regia e sceneggiatura.

tuttelerecensioni

Il Western

Regia: George Stevens
Sceneggiatura: A.B. Guthrie Jr., Jack Sher
Cast: Alan Ladd, Jean Arthur, Van Heflin, Brandon De Wilde, Jack Palance, Ben Johnson, Edgar Buchanan, Emile Meyer, Elisha Cook Jr., Douglas Spencer, John Dierkes, Ellen Corby, Paul McVey, Edith Evanson, Leonard Strong
Fotografia: Loyal Griggs
Montaggio: Tom McAdoo, William Hornbeck
Musiche: Victor Young
Produzione: George Stevens e Ivan Moffet per Paramount Pictures
Distribuzione: Paramount
Paese: USA (1953)
Genere: Western
Durata: 116’ circa
Uscita Italia: 24 Settembre 1953
Uscita USA: 23 Aprile 1953

Trama:
Johnny Starret, che coltiva un appezzamento di terreno in una vallata solitaria, è esposto ai soprusi di un certo Ryker: vantando ipotetici diritti, costui
vorrebbe impadronirsi di tutta la valle, cacciandone gli altri coloni. Un giorno capita alla fattoria di Starret un cavaliere sconosciuto…

Note:
“Shane. Shane. Come back!”: frase scelta da 1500 addetti ai lavori dell’American Film Institute come la numero 47 tra le 100 migliori citazioni cinematografiche di tutti i tempi tratte da film di produzione USA.
Nel 1993 è stato scelto per la preservazione nel National Film Registry della Biblioteca del Congresso degli Stati Uniti.
Ultima apparizione di Jean Arthur, in seguito attiva solo in teatro.
-(1)- Nel delineare una piccola storia del genere “western”, a proposito di questo film avevo scritto: forse per la prima volta “la frontiera è vista con sguardo critico più che mitico e si inizia ad affrontare il tema della ragione dei più deboli”.

Nach elf Jahren, in denen er als Schriftsteller jeden Penny fünfmal hatte umdrehen müssen, war er jetzt ein unterforderter aber überbezahlter Angestellter eines Hollywood-Studios. Vertrag lief im September 1944 aus. Chandler hatte genug verdient, um einen Teil des Geldes in Staatsanleihen anzulegen. Schon im Januar 1945 trat er den nächsten Vertrag mit der Paramount an. Ebenfalls einer der ungewöhnlichsten und großzügigsten des damaligen Filmbusiness. Er hatte einen Dreijahresvertrag unterschrieben, in dem er sich verpflichtete, jedes Jahr 26 Wochen anwesend zu sein mit einem Anfangsgehalt von 1000 Dollar die Woche. Außerdem sollte er zu besonderen Bedingungen ein Originaldrehbuch schreiben. Man kann wirklich nicht behaupten, dass Hollywood, oder zumindest die Paramount, nicht alles daran setzte, um Chandler angenehme Bedingungen und einen Haufen Geld zukommen zu lassen.
Als die Paramount erfuhr, dass Alan Ladd eingezogen würde, gerieten alle Verantwortlichen in Panik. Man wollte schnell noch einen Film mit ihm drehen, bevor er für Uncle Sam die Bösewichter umlegte. Verzweifelt suchte man nach einem Stoff. Zögernd zeigte Chandler seinem Freund John Houseman eine halbfertige Geschichte, an der er gerade arbeitete. Houseman war begeistert und kaufte die Rechte für 25 000 Dollar. Der vom Studio angestellte Chandler sollte sie als Drehbuch umarbeiten und zu Ende führen. Anfangs kein Problem, und sobald die ersten Drehbuchseiten vorlagen, begann George Marshall zu drehen. Titel des Films: THE BLUE DAHLIA. Marshall drehte flott und uninspiriert. Entscheidend war nur, dass der Film im Kasten war, bevor Ladd seinen Dienst antrat. Der Vorrat an zu drehenden Szenen schmolz dahin und von Chandler kam nichts mehr. Verzweifelt stellte ihn Houseman zur Rede. Chandler, ebenso verzweifelt, sagte, er habe eine Schreibblockade und sei außer Stande, die Story oder das Drehbuch zu beenden. Er fände einfach keine Möglichkeit, die Geschichte befriedigend aufzulösen. Zu allem Überfluss rief dann auch noch der Chef der Produktionsabteilung an und bot Chandler einen Bonus von 5000 Dollar an, wenn er den Film beende. Nach Housemans Aussage erreichte der Produktionschef damit nur “Chandler auf drei gänzlich verschiedene Weisen aus der Bahn zu werfen. Erstens, sein Glaube an sich selbst war zerstört. Dadurch, daß ich nie an Ray gezweifelt hatte, hatte ich ihn davon überzeugt, daß ich seinen Fähigkeiten vertraute, das Drehbuch rechtzeitig fertigzustellen. Dieses Gefühl der Sicherheit war jetzt hoffnungslos erschüttert. Zweitens, man hatte ihn beleidigt. Für Ray war der Bonus nichts anderes als Bestechung. Eine große zusätzliche Geldsumme für die Erfüllung eines Auftrags angeboten zu bekommen, für den er bereits einen Vertrag unterschrieben hatte, den er selbstverständlich auch erfüllen wollte, war nach seinen Maßstäben entwürdigend und entehrend. Drittens, man hatte ihm zugemutet, einen Freund und Absolventen einer Public School zu hintergehen. Die Art, wie das Gespräch geführt worden war (‘hinter deinem Rücken’), demütigte Ray und erfüllte ihn mit Zorn.” Jetzt wurde erstmal richtig Trübsal geblasen. Nach einiger Zeit kam Chandler mit einem Vorschlag: Er könne das Drehbuch vielleicht betrunken beenden. Schamhaft gestand er Houseman, was jeder in Hollywood längst wussßte: Er war einmal Alkoholiker gewesen und im Suff verfüge er über genügend Selbstvertrauen und werde nicht von Selbstzweifeln aufgefressen.

FORTSETZUNG FOLGT.

Tomorrow, May 26, is the 100th anniversary of the birth of Richard Maibaum, who worked as a screenwriter on 13 of the first 16 James Bond movies produced by Eon Productions.

Maibaum was among a group of crew members — Ken Adam, Peter Hunt and John Barry were among the others — whose talents were key in launching Eon’s 007 series. According to film historian Adrian Turner, Maibaum received $40,000 for his work on the first film, Dr. No. He got the job in part because of his ties to producer Albert R. Broccoli; Maibaum had done scripts for Broccoli and this former partner Irving Allen in the 1950s. He also had scripted movies for Alan Ladd, the star Broccoli and Allen signed in the ’50s, a move that helped put the producing duo on the map.

Bud Ornstein, a United Artists executive, wasn’t high on Maibaum, according to a memo quoted by Turner. “I have not been impressed by Maibaum’s work and only hope he will come up with something better next time.”

The next times kept coming.

On Goldfinger and Thunderball, British writers Paul Dehn and John Hopkins were brought in to revamp early Maibaum drafts. Maibuam did receive sole screenwriting credit for From Russia With Love (although Johanna Harwood was given an “adapted by” credit) and On Her Majesty’s Secret Service (where Simon Raven got an “additional dialogue” credit).

Maibaum’s 007 finale was 1989’s Licence to Kill, where his work was limited because of a Writers Guild of America strike. At least one of the trailer for the film listed Michael G. Wilson as the sole writer and didn’t mention Maibaum. The writer died at age 81 in January 1991.

Maibuam’s papers are housed at the University of Iowa, where film historian Turner studied the various drafts of the script for Goldfinger.

Also, below is an example of Maibuam’s non-Bond work. The video includes clips from Ransom! which Maibuam co-wrote with Cyril Hume. The movie was remade in 1996 with Mel Gibson subbing for Glenn Ford. Maibuam and Hume received a “story by” credit in the remake, which was released five years after Maibaum’s death.

83- The Bells Go Down (Basil Dearden, 1943)Mason interpretou todo tipo de pessoa e caráter, nesta produção da Ealing Studios a vez chegou para uma heróico bombeiro. Durante a segunda guerra com os bombardeios constantemente arrasando a Inglaterra, o Corpo de Bombeiros era algo mais importante do que o próprio exército e este filme teve a intenção de prestar-lhe uma pequena homenagem. Basil Dearden sempre fora um cineasta interessante dentro da golden age britânica, mas aparentemente esse tipo de filme sobre heroísmos de guerra não lhe caía muito bem, ou simplesmente não tenho muita tolerância sobre o tema, embora este seja um dos primeiros trabalhos de Dearden na direção, portanto é passível de excusas. Mason é o sério capitão do esquadrão, enquanto o alívio cômico fica por conta do astro popular Tommy Trinder, cujo jeito de falar me lembra o cockney Michael Caine e a forma de interpretar faz-me recordar do Hugh Laurie dos anos 80.

84- Subterrâneo de Assis (The Assisi Underground, Alexander Ramati, 1985) There are 45,000 Italian Jews. They are all our Jews. We are responsible for them. Desta vez Mr Mason não encarna um alemão e sim um bispo italiano, mesmo assim ele não deixa de ter Mr Schell novamente ao seu lado como soldado alemão que, pasmem, ajuda os judeus italianos. A versão que assisti foi a de duas horas, mas a versão original possuía três, não sei qual delas é melhor, mas é um bom filme para a TV, sem o excesso emocional irritante que podemos ver em filmes como A Lista de Schindler, é um fato histórico interessante sobre um dos segmentos católicos que não fecharam os olhos para com o holocausto judeu, se tratavam de franciscanos e todos sabemos que a ordem católica realmente digna de respeito é a dos seguidores de São Francisco de Assis.

85- O Retorno do Pimpinela Escarlate (Return of the Scarlet Pimpernel, Hanns Schwarz, 1937)Mr Mason com 28 aninhos vivendo Jean Tallien, o amiguinho revolucionário que acabou com a farra do Robespierre. Pimpinela Escarlate é um grande personagem de aventura e sinto falta de mais filmes baseados nele, embora até Powell/Pressburger tenham se envolvido com herói, faz falta no cinema dos anos 60 e 70. O problema maior do Pimpinela Escarlate é que tal imagem está irremediavelmente associada ao Patolino por toda a eternidade, é o peso das imagens ligadas à infância.

86- Spring and Port Wine (Peter Hammond, 1970)Ó céus, o homem que outrora espancava mulheres com bengalas e chicotes, agora jogando bocha! Este é o típico filme em que os ingleses costumam muito elogiar, não por outros motivos que não o de retratar de época e costumes familiares do norte têxtil da Inglaterra nos anos 60, o que torna o filme bem mais interessante para quem alí viveu neste período do que para nós, reles habitantes da senzala sul-americana. É esse bairrismo que impede um maior desenvolvimento de temas universais e atemporais, soa mais como um documento histórico do que uma peça de relações humanas com as quais os habitantes do resto do mundo poderiam se identificar. É estranho ver Mason como trabalhador braçal, um pai de família com mão de ferro que joga futebol e bocha, não que deixe de dar conta do recado, mas é um tanto unusual, embora a presença de Susan George mais espevitada do que nunca balanceie as coisas. Se não me engano, este é o único filme para cinema de Peter Hammond, que por décadas foi diretor na televisão inglesa, mas especificamente da BBC.

87- Passageiros do Inferno (The Passage, J. Lee Thompson, 1979)Vejam só, Mr Mason nos Pirineus fazendo filme de ação aos 70 anos! Desta vez Mason é o cientista perseguido pelos nazis e ajudado por Christopher Lee e Anthony Quinn, enquanto no seu encalço segue um Malcolm McDowell ultra perverso e caricato. Nada de novo, nada de sensacional, mas não é todo dia que vemos McDowell colocando fogo no Lee ou uma cueca estampada com suástica.

88- A Quadrilha da Fronteira (Bad Man’s River, Eugenio Martín, 1971)Faroeste modernoso com direito até a rock and roll na trilha. Poderia se esperar mais de um spaghetti onde Mason e Lee Van Cleef dividem Gina Lollobrigida da forma mais amigável possível, embora não deixe de ter seus momentos de ampla diversão.

89- A Nau dos Condenados (Botany Bay, John Farrow, 1953)Rá! A vilania de Mason não tem fim! Mason é o capitão do navio responsável por levar a escória inglesa para a Austrália, na época em que o país ainda era a grande penitenciária do Império, é um sádico que não suja as mãos: manda fazer. É um tipo de papel que fizera a sua fama na Inglaterra e que havia abandonado em Hollywood, ao menos até o ano anterior com o Prisioneiro de Zenda. O filme dá direito a sessão de chicotadas nas costas perfeitas de Alan Ladd, aliás, sempre me esqueço disso, mas Ladd era um puta homem bonito.

90- A.D. – Anno Domini (Stuart Cooper, 1985)Tá bom, eu confesso, não assisti essa desgraça inteira. Essa porra é uma minissérie de 11 horas, um épico que conta a história romana do momento da morte de Jesus ao império de Nero e só assisti até o momento em que Mason morre, o que para a minha salvação ocorreu nas primeiras horas (thank god!). É uma espécie de continuação da minissérie do Zeffirelli sobre Jesus com o mesmo Anthony Burguess como roteirista, daquele elenco retornaram Mason, Fernando Rey e Ian McShane, outrora José de Arimatéia, Gaspar e Judas, agora como Imperador Tibério, Sêneca e Sejano. É lógico que Tibério era pedófilo, é lógico que o único ser em que confiava era sua cobra de estimação, é lógico que ele espanca pessoas até com peixe, é lógico que Mason e McShane formavam um dupla deveras perigosa. Também é o último filme em que Mason e Ava Gardner constam juntos no elenco, embora infelizmente não dividam cena.

91- The Water Babies (Lionel Jeffries, 1978)Neste estranho exemplo de filme infantil mezzo animação, mezzo live-action, Mr Mason encarna uma personagem com ares dickensianos. Não sei, deve ser um filme bacana para as crianças, mas filmes infantis bons têm que passar pelo crivo do passar dos anos e permanecer bom, como só vi Water Babies na fase adulta e não me apeteceu, então não é algo que eu recomende com afinco. A mesma história rendeu aquele curta animado da Disney que é bem melhor do que esse equivocado atentado do ator Lionel Jeffries.

92- Genghis Khan (Henry Levin, 1965)É lógico que Mason é um maldito chinês. É lógico. Recentemente lembramos com aquele inspirado Downey Jr o rídiculo daqueles tempos em que os atores orientais não podiam se estabelecer no cinema ocidental, o que se fazia então? Puxava-se, esticava-se e pintava-se. É deprimente ver Mason aqui, por melhor ator que seja, a impressão estética é dolorosamente fake. O filme não funciona como épico visual, nem como interesse histórico, é um desperdíco de gente boa, tempo e dinheiro. Um dos poucos filmes em que podemos ver Mason com alguma maquiagem, porque simplesmente ele não estaria aqui se não maquiado, nem se aquela Pamela não tivesse tirado até as calças dele no processo de divórcio.

93- A Herdeira (Bloodline, Terence Young, 1979)Uma daquelas tramas absurdas do Sidney Sheldon envolvendo espionagem industrial, filmes snuff, computadores de última geração, serial killers, perversão sexual, etc etc, com elenco estelar e internacional, trilha sonora do Morricone num filme horripilante de horrível. Horrível, horrível. E quem em sã consciência colocaria Mr Mason como vilão num tipo de filme cuja pretensão é deixar em suspenso quem de fato tem a culpa? Mason sempre é o culpado, oras. Não é normal eu pedir para as pessoas correrem de um filme, especialmente por ser a favor de uma segunda chance, mas faça um favor a si mesmo e à aura dos grandes atores que alí estão: FUJA!

Nota 1: Muito me intrigou o fato de Mason nunca ter trabalhado com David Lean, um tipo de cineasta que facilmente trabalharia com ele, até que há algum tempo soube o motivo dessa parceria não realizada: Noel Coward e Nosso Barco, Nossa Alma (In Which We Serve, 1942). Lean queria a escalação de Mason para In Which We Serve, coisa que Coward vetou por conta da notória natureza pacifista e anti-bélica de Mason, clamando que “um homem que não pode vestir um uniforme na vida real, não o poderia fazer no cinema”, sou assumidamente fã da arte do tio Noel, mas o “incidente James Mason” lhe proporcionou a maior bobagem que já disse, como uma das maiores bobagens que já ouvi qualquer ser humano dizer, pois até onde sei Mr Mason era um ator e atores tendem a interpretar e não ser um espelho de suas personagens. Que vergonha, tio Coward!

Nota 2: Nada me doeu mais do que ter que chamar Mason de Mr o tempo todo, quando obviamente deveria chamá-lo de Sir, até aquela porra de Sean Connery que passou os últimos 50 anos pregando publicamente a independencia da Escócia ganhou o título de Cavaleiro e Mr Mason não. Se esta não é a maior vergonha dos almofadinhas palaciais, não tenho a mínima idéia de qual seja (tá bom, tem a Diana também). Não à toa o homem viveu os últimos 20 anos de sua vida na Suíça, o mais neutro dos países, assim como ele mesmo o fora.

Nota 3: Um ator fascinante, um homem fascinante. FASCINANTE.

I recall telling him that one day the camera was going to love him and make him a very great star. James just [looked] at me in disbelief. He was incredibly good-looking, in a dark way. … He had that curious quality of a man with an eternal secret. … That was what was so arresting. … That and, I guess, the voice. – Geraldine Fitzgerald sobre quando o conhecera em 1937

Jim Jarmusch’s distinctive new take on a familiar film premise.

Writer-director Jim Jarmusch’s distinctly off-center style is something of an acquired taste. The creative force behind more than two decades of eclectic work, including especially the critical darlings Down By Law and Mystery Train, Jarmusch’s virtuoso ability at juxtaposing cultures between and among unlikely genres has seldom resulted in anything less than fascinating work with a singular voice. It’s a voice that often needs approaching on its own terms, though. Like Tom Waites’ music or T0m Robbins’ fiction, most people either “get” his work or they don’t.

Still, his latest project looks interesting, if only for that celebrated ability to breathe strange new life into familiar tropes. And with The Limits of Control he’s taken on one of the hoariest sub-genres: the supremely-focused criminal becoming distracted by the colorful, treacherous characters around him. A concept that stretches back in film at least as far as the 1942 Alan Ladd-Veronica Lake vehicle This Gun For Hire, the idea of the complications that arise when an unstoppable force (the hitman/criminal/fixer) meets the irresolute obstacles that change or dissuade him (love, compassion, fate, the actions of others) has long proven a potent conceit.

It’s also a particularly resonant premise in this recent decade of isolation and acrimony, and its basic elements have achored films highbrow (No Country For Old Men), middlebrow (The Bourne series), and low (The Transporter franchise). Several distinguished directors have already taken a run at the concept, including David Mamet with Spartan, Steven Soderbergh with The Limey, and Michael Mann with Collateral. As displayed by No Country For Old Men’s Anton Chigurh, the central unyielding force around which the plot and other characters revolve or flee doesn’t have to be completely well-rounded. In fact, audiences often respond to the type if he remains mysterious for as long as possible. Consequently the success of the film often largely rests on the charisma of the actor playing the central figure. 

Well, leave it to Jarmusch to take those ideas and move them away from an American setting and towards a more languid and mysterious pace while stripping the genre formula down to its essentials. Set in a sun-drenched and languid Spain and starring an actor (24’s Isaach DeBankole) more or less unfamiliar to American audiences, the story concerns a criminal carrying out a procession of illegal tasks while encountering a series of people that either help, hinder, or stand opposed to his progress. That’s admittedly not a lot of detail: plot specifics have been kept mum, and the official trailer doesn’t say more than a few genre-standard catchphrases. IMDB and Focus Features’ official site even fail to list character names for the cast, so it’s possible they’re meant to represent archetypes or even just ideas.

Advance press materials say the film is “both intently focused and dreamlike,” meaning its narrative likely has a slippery feel to it that in almost anyone else’s hands but Jarmusch’s would serve as cause for audience hesitation. While it’s a little obvious to say his very European approach to story and image construction seems best in a European setting, it’s maybe a little less obvious that the neo-noir premise plays to his texture-producing strengths. He’s also assembled a terrific cast, full of his favored performers, that’s potentially full of surprise chemistry as well: the film co-stars Bill Murray and Tilda Swinton, who headed his previous Broken Flowers, while The Motorcycle Diaries’ Gael Garcia Bernal and the great John Hurt also appear. The gorgeous woman clad only in reading glasses, by the way, is rising actress Paz de La Huerta.

The film opens in limited release May 22.

- Michael Kabel
:: :: :: :: :: :: :: :: :: :: ::

I have a friend who recently posted a list from a website calling itself ‘Premier’ that named ‘The 100 Greatest Movie Characters of All Time.’  He was shocked and appalled that Darth Vader was languishing at #84 on the list below such spares as Private Benjamin, Doctor Evil, The Dude, and a host of others.  While I agreed that this was a travesty, I quickly noticed a few notable absences from the list, and the more I looked the more great characters were simply missing from the list, while others, such as Gollum were inexplicably placed near the top of the list.

This is where the obsessive compulsive part of my personality kicked in.  I began to look at their list with a more critical eye.  The fist thing I noticed was that some of the characters seemed to be shoe-horned into the list, and often these characters were female.  I’m not trying to say that there are no great female characters in movie history, but it may be a fair indictment to accuse the industry for not writing strong female roles, especially in the early years of cinema, and perhaps just as much today.  This may well be the case, but I don’t think the cure for it is to falsely elevate existing female roles above their actual station as ir appears that Premier did (Bonnie from Bonnie and Clyde and Private Benjamin a two good examples).

I further fed my obsession by attempting to think if all the good characters that they left off their list.  I came up with another 109 examples, some more strong than others and quite a few whose omissions were simply egregious.  Then, I sat down with all 209 names and made my own Top 100 Movie Characters of all Time list.  The biggest deficiency of my list is the fact that I have not seen all of the old classics (though I am currently on a classic movie binge).  Characters like Fred C. Dobbs of Treasure of the Sierra Madre and a few others may suffer unfairly because of this, but I have no regrets about leaving a character like Ninotchka off the list because I, my family and my friends have never heard of her (shoe-horned). 

I tried to take several things into account.  How well the character endures, how much effect the character has had on popular culture, the importance of the character and whether that role or the movie it was associated with received awards while it was out.  Accepting the possible shortcomings and the obvious advantages of my list, I am putting it out, and still argue that it is much better than the list provided by Premier.  Enjoy.

1. Don Michael Corleone of The Godfather: Part II

2. Charles Foster Kane of Citizen Kane

3. Atticus Finch of To Kill a Mockingbird

4. Scarlett O’Hara of Gone With the Wind

5. Indiana Jones of Raiders of the Lost Ark

6. William Wallace of Braveheart

7. Darth Vader of Star Wars

8. Hannibal Lecter of The Silence of the Lambs

9. Robin Hood of The Adventures of Robin Hood

10. Dorothy Gale of The Wizard of Oz

11. Rick Blaine of Casablanca

12. Oskar Schindler of Schindler’s List

13. General George S. Patton of Patton

14. Captain William Bligh of Mutiny on the Bounty

15. Maximus Decimus Meridius of Gladiator

16. Cool Hand Luke of Cool Hand Luke

17. Shane of Shane

18. Marshall Will Kane of High Noon

19. George Bailey of It’s a Wonderful Life

20. Vito Corleone of The Godfather

21. Tom Joad of The Grapes of Wrath

22. Moses of the Ten Commandments

23. James Bond of Dr. No

24. Andy Dufresne of The Shawshank Redemption

25. Jake La Motta of Raging Bull

26. Forrest Gump of Forrest Gump

27. Sparticus of Sparticus

28. Captain Jack Sparrow of Pirates of the Caribbean: The Curse of the Black Pearl

29. Doc Holiday of Tombstone

30. Jefferson Smith of Mr. Smith Goes to Washington

31. T.E. Lawrence of Lawrence of Arabia

32. Ben Hur of Ben Hur

33. Jim Stark of Rebel Without a Cause

34. Rooster Cogburn of True Grit

35. E.T. of E.T. the Extra-Terrestrial

36. Batman of Batman

37. Randle McMurphy of One Flew Over the Cuckoo’s Nest

38. Frankenstein of Frankenstein

39. Spock of Star Trek

40. Spiderman of Spiderman

41. Dracula of Dracula

42. Superman of Superman

43. Harry Potter of Harry Potter and the Sorcerer’s Stone

44. Gordon Gekko of Wall Street

45. Navin Johnson of The Jerk

46. Norman Bates of Psycho

47. Gunnery Sgt. Hartman of Full Metal Jacket

48. Karl Childers of Sling Blade

49. Butch Cassidy of Butch Cassidy and the Sundance Kid

50. Dirty Harry Callahan of Dirty Harry

51. Ferris Bueller of Ferris Bueller’s Day Off

52. George Taylor of Planet of the Apes

53. Daniel E. ‘Rudy’ Ruettiger of Rudy

54. Jeff Spicoli of Fast Times at Ridgemont High

55. Tarzan of Tarzan the Ape Man

56. Jake Blues of The Blues Brothers

57. John Rambo of First Blood

58. Captain Quint of Jaws

59. King Kong of King Kong

60. Willy Wonka of Willy Wonka & the Chocolate Factory

61. Mary Poppins of Mary Poppins

62. The Terminator of The Terminator

63. Jules Winnfield of Pulp Fiction

64. Mrs. Robinson of The Graduate

65. Rocky Balboa of Rocky

66. Tommy DeVito of GoodFellas

67. Raymond Babbitt of Rain Man

68. King Arthur of Camelot/Excalibur

69. Annie Wilkes of Misery

70. John McClane of Die Hard

71. Gunnery Sergeant Emil Foley of An Officer and a Gentleman

72. Lt. Pete ‘Maverick’ Mitchell of Top Gun

73. Mad Max Rockatansky of Mad Max

74. Sandy Olsson of Grease

75. John “Bluto” Blutarsky of Animal House

76. Jack Torrance of The Shining

77. Baronin Maria von Trapp of The Sound of Music

78. Hedley Lamar of Blazing Saddles

79. William Cutting of Gangs of New York

80. Freddy Krueger of A Nightmare on Elm Street

81. Ralphie Parker of A Christmas Story

82. Max Cady of Cape Fear

83. Regan MacNeil of The Exorcist

84. Jason of Friday the 13th

85. Mrs. Doubtfire of Mrs Doubtfire

86. Carrie White of Carrie

87. Carl Spackler of Caddyshack

88. Captain Marko Ramius of The Hunt for Red October

89. Captain Hook of Peter Pan

90. Norma Rae of Norma Rae

91. Mona Lisa Vito of My Cousin Vinny

92. Sally Albright of When Harry Met Sally

93. Marge Gunderson of Fargo

94. Sergeant Martin Riggs of Lethal Weapon

95. Crash Davis of Bull Durham

96. Marty McFly of Back to the Future

97. Inigo Montoya of The Princess Bride

98. Bo ‘Bandit’ Darville of Smokey and the Bandit

99. Lane Meyer of Better Off Dead

100. Curly Washburn of City Slickers

Just to prove that I did my homework, here are the other 109 that were considered, but did not make the list in alphabetical order (my friend hates it when I do this):

Frank Abignale Jr. of Catch Me If You Can

Gust Avrakotos of Charlie Wilson’s War

Arthur Bach of Arthur

Howard Beale of Network

Hans Beckert of M

Judy Benjamin of Private Benjamin

Travis Bickle of Taxi Driver

Blondie of The Good, the Bad, and the Ugly

Frank Booth of Blue Velvet

Borat of Borat

Erin Brockovich of Erin Brockovich

Oda Mae Brown of Ghost

Truman Burbank of The Truman Show

Truman Capote of Capote

Chance the Gardener of Being There

Margo Channing of All About Eve

Inspector Clouseau of The Pink Panther

Conan of Conan the Barbarian

Frank Costello of The Departed

Jane Craig of Broadcast News

Paul Crewe of The Longest Yard

David Crockett of The Alamo

Melanie Daniels of The Birds

Daphne/Jerry of Some Like it Hot

Donnie Darko of Donnie Darko

Rick Deckard of Blade Runner

Alex DeLarge of A Clockwork Orange

Norma Desmond of Sunset Boulevard

Phyliss Dietrichson of Double Indemnity

Dil of The Crying Game

Fred C. Dobbs of The Treasure of the Sierra Madre

Lloyd Dobler of Say Anything

Antoine Doinel of The 400 Blow

Michael Dorsey/Dorthy Michaels of Tootsie

The Dude of The Big Lebowski

Lt. John J. Dunbar of Dances With Wolves

Napoleon Dynamite of Napoleon Dynamite

Wyatt Earp of Gunfight at the OK Corral

Eathan Edwards of The Searchers

Sergeant Elias of Platoon

Dr. Evil of Austin Powers

Irwin ‘Fletch’ Fletcher of Fletch

Gaylord ‘Greg’ Focker of Meet the Parents

Fogell or ‘McLovin’ of Superbad

Axel Foley of Beverly Hills Cop

Alex Forrest of Fatal Attraction

Gandalf Of The Lord of The Rings The Fellowship of the Rings

Ghandi of Ghandi

Happy Gilmore of Happy Gilmore

Jake Gittes of Chinatown

Godzilla of Godzilla

Holly Golightly of Breakfast at Tiffany’s

Gollum of Lord of the Rings

Joel Goodson of Risky Business

Aurora Greenway of Terms of Endearment

Clark Griswold of Vacation

Annie Hall of Annie Hall

Hawkeye (Nathaniel Poe) of The Last of the Mohicans

Pee Wee Herman of Pee Wee’s Big Adventure

Sherlock Holmes of The Hound of the Baskervilles

J.J. Hunsecker of Sweet Smell of Success

Mrs. Iselin of The Manchurian Candidate

Paul Kersey of Deathwish

Lt. Kilgore of Apocalypse Now

Ray Kinsella of Field of Dreams

Roger “Verbal” Kint of The Usual Suspects

Stanley Kowalski of A Streetcar Named Desire

Eric Liddell of Chariots of Fire

Harry Lime of The Third Man

The Little Tramp of Mabel’s Strange Predicament

Logan 5 of Logan’s Run

Jerry Maguire of Jerry Maguire

John Malkovich of Being John Malkovich

Terry Malloy of On the Waterfront

Jim Malone of The Untouchables

Tony Manero of Saturday Night Fever

Kevin McCallister of Home Alone

Tony Montana of Scarface

Wolfgang Amadeus Mozart of Amadeus

John Nash of A Beautiful Mind

Captain Marc Nemo of 20,000 Leagues Under the Sea

Ninotchka of Ninotchka

Danny Ocean of Ocean’s Eleven

Henri ‘Papillon’ Charriere of Papillon

Bonnie Parker of Bonnie and Clyde

Rev. Harry Powell of The Night of the Hunter

Tom Powers of The Public Enemy

Miranda Priestly of The Devil Wears Prada

Buford Pusser of Walking Tall

Matthew Quigley of Quigley Down Under

Jessica Rabbit of Who Framed Roger Rabbit?

Ellen Ripley of Alien

Ratso Rizzo of Midnight Cowboy

Rose Sayer of The African Queen

Ebenezer Scrooge of A Christmas Carol

Edward Scissorhands of Edward Scissorhands

John Shaft of Shaft

Han Solo of Star Wars

Sam Spade of The Maltese Falcon

Steve Stiffler of American Pie

Willard Stiles of Willard

Dr. Strangelove of Dr. Strangelove

Alan Swann of My Favorite Year

Catherine Tramell of Basic Instinct

Virgil Tibbs of In the Heat of the Night

Susan Vance of Bringing up Baby

Dr. Peter Venkman of Ghostbusters

Ace Ventura of Ace Ventura,: Pet Detective

Vivian Ward of Pretty Woman

I’m finally earning my name here, because I am getting to review one of the best noir flicks there is.  I have seen this movie once or twice already, but due to the unexplained fact that TCM seems to have something against Ladd/Lake films, I have been waiting years to see it again.  TCM finally lifted the ban yesterday and gave everyone a treat.  (Btw – if anyone out there knows the reasons why TCM seldom plays the Ladd/Lake films, I’d love to hear about it!)

Just a note to avoid misunderstandings:  The Blue Dahlia is not to be confused with The Blue Gardenia (1953) (which is another great film noir you’re going to hear more about soon) or The Black Dahlia (The failed 2006 attempt at recreating classic film noir.  The title of that film comes from an actual murder case that happened soon after our film was released.  The newspapers dubbed the case “The Black Dahlia” to capitalize on the success of our film and sensationalize the case in the process.)

Back to the review: One of the reasons this film is fantastic is that it is based on a story by Raymond Chandler and he wrote the screenplay.  The basic gist of the story of The Blue Dahlia (1946) revolves around Alan Ladd being accused of murdering his wife.  He didn’t do it, of course, but he’s the only one who believes that.  Although there is one other believer:  Veronica Lake.  Ladd has two friends who are played by superb character actors Hugh Beaumont (aka Ward Cleaver, Beaver’s dad) and William Bendix (affectionently know in our house as Bendi).  You’d never think Ward Cleaver could have been mixed up with such a bunch of shady characters!  It is obviously long before he met June and she reformed him. 

William Bendix is hilarious and sweet as the shell-shocked war vet Buzz.  He has a lot of good lines, especially when he’s mad at people.  Veronica Lake’s clothes in every single scene are noteworthy.  The Blue Dahlia is worth watching just for her clothes alone.  Then, there is the darling roadster that Ladd and Lake spend a good part of the film driving in.  Now I know why I have such a partiality to 40’s roadsters. 

The title comes from the name of a nightclub owned by one of the film’s many suspicious characters.  This man always sends blue dahlias to the women in his life.  Sadly, as far as I know, there are no true blue dahlias in real life.  Just a figment of Raymond Chandler’s imagination.

I’ll leave you with this great bit of repartee from Ladd and Lake:

Johnny Morrison: “You oughta have more sense than to take chances with strangers like this.”

Joyce Harwood: “It’s funny, but practically all the people I know were strangers when I met them.”

Acclaimed director George Stevens’ legendary rendition of the quintessential Western myth earned six Academy Award nominations and made Shane one of the classics of the American cinema. The story brings Alan Ladd, a drifter and retired gunfighter, to the assistance of a homestead family terrorized by a wealthy cattleman and his hired gun (Jack Palance). In fighting the last decisive battle, Shane sees the end of his own way of life. Mysterious, moody and atmospheric, the film is enhanced by the intense performances of its splendid cast.

Consciously crafted by director George Stevens as a piece of American mythmaking, Shane is on nearly everyone’s shortlist of great movie Westerns. A buckskin knight, Shane (Alan Ladd) rides into the middle of a range war between farmers and cattlemen, quickly siding with the “sod-busters.” While helping a kindly farmer (Van Heflin), Shane falls platonically in love with the man’s wife (Jean Arthur, in the last screen performance of a marvelous career). Though the showdowns are exciting, and the story simple but involving, what most people will remember about this movie is the friendship between the stoical Shane and the young son of the farmers. The kid is played by Brandon De Wilde, who gives one of the most amazing child performances in the movies; his parting scene with Shane is guaranteed to draw tears from even the most stonyhearted moviegoer. And speaking of stony hearts, Jack Palance made a sensational impression as the evil gunslinger sent to clean house–he has fewer lines of dialogue than he has lines in his magnificently craggy face, but he makes them count. The photography, highlighting the landscape near Jackson Hole, Wyoming, won an Oscar. –Robert Horton

Shane is available at Amazon for $8.99. To Order click here
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Set during californias gold rush days about a boy born to a native american mother and white father. When he finds vicious killers have murdered his parents he sets out to track them down. Studio: Paramount Home Video Release Date: 05/23/2006 Starring: Steve Mcqueen Martin Landeau Run time: 130 minutes Rating: Nr

The Max Sand backstory in Harold Robbins’s trashy The Carpetbaggers (an enjoyable wallow onscreen in 1964) made for a solid Western vehicle for Steve McQueen at his peak. Nevada Smith is a revenge movie, but closer in spirit to The Bravados than a Death Wish-style exercise in nihilism. Young Max, offspring of a white father and Indian mother, sets out to avenge their slaughter by three villains. His odyssey includes spiritual re-parenting at several stages, most notably by canny gun dealer Jonas Cord (a swell character part for Brian Keith). The supporting cast will have you saying, “He’s in it, too!” at regular intervals (from costars Karl Malden and Arthur Kennedy down to such incidental interlopers as L.Q. Jones and Strother Martin). Since director Henry Hathaway and cameraman Lucien Ballard couldn’t frame a bad shot if their lives depended on it, it’s a relief that this movie is finally available in a widescreen format. –Richard T. Jameson

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Discusses the Reconstruction Era, the name of the period following the Civil War, and the citizens who moved from the Northern to the Southern United States, known as carpetbaggers, and their experiences to rebuild the South.

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Apuesto.
De origen celta.

Es auténtico, sincero y seguro
de sí mismo

Es un poco posesivo pero da lo mejor.

Nombres: Alan Poma, Alan Turing, Alan Garcia, Alan Rickman, Alan Moore, Alan Schlenker, Alan Ladd, Alan Resnais, Alan Watts, Alan Rojas, Alan Bennet, Alan Shore, Alan Parsons

Recuerdo que Alan Ladd se suicidó.