[Click on the image to uncensor it, i.e. to see it as it was originally intended, but beware the naughtiness within...]

OK, adults only for this one. Spectacular Attractions is usually a family show, but this is a different kind of Friday. Here, go and look at Pinocchio, or possibly the Muppets.

A frame grab from Stanley Kubrick’s final film, Eyes Wide Shut. Kubrick died shortly after completing the film, having promised to deliver an R-rated movie (apparently, he watched a bunch of Hollywood’s more sexually explicit films in order to gauge what would be considered acceptable to receive such a rating). The sequence in which Tom Cruise visits a masked orgy was considered to be NC-17 territory, a rating which ostensibly marks something out as unsuitable for children, but which actually decreases its chances at the box office, rejection by self-righteous finger-waggers and unwarranted controversy from a wide variety of spoilsports. However, although MGM surely would have just snipped out the relevant glimpses of humping, they found themselves hidebound by their commitment not to re-edit or cut a frame of Kubrick’s footage. What to do? The simple answer would be to suck it down and release the film unadjusted, take the reduced box office safe in the knowledge that you hadn’t compromised the artistic vision of a man on whose name you’d been happily trading for years. Alternatively, you could take some digital people and graft them onto the film to cover up those dangerous bits of flesh. Very clever – loyal to the exact wording of their commitment to Kubrick, but actually snuffing out the spirit of it in one quick application of polygons. The result can be seen in the image above.

Barbara Creed saw this as an advance notice of the coming age of the synthespian, when human actors would routinely be replaced by digital substitutes. She suggested that as they took over, we might have to change the way we relate to people onscreen, since the virtual actor would have no Unconscious, and thus not be “subject to the same experience as the living star, experiences such as mothering, Oedipal anxiety, hunger, loss, ecstasy, desire, death.” But then, she also predicted that porn stars, already artificially augmented beyond the realms of realism, could be doubled by virtual actors. It all sounded a bit William Gibson to me, and this week’s picture instead made it look as though digital people were just going to show up in films where they weren’t wanted and spoil everyone else’s view.

ლორდის პოსტმა შთამაგონა დამეწერა ეს პოსტი. მინდა გაგახაროთ, რომ ეს არის ჩემი ბოლო პოსტი, რომელიც ასე თუ ისე ეხება კინოს. ბოლო პოსტებს რომ გადავხედე სულ ფილმებია შუაში, თავში ან ბოლოში. ამიტომ გადავწყვიტე, რომ საკმარისია, წიგნების დროც დადგა. რამდენი ხანია საყვარელ და საინტერესო წიგნებზე არაფერი მითქვამს, ბოლო ზარატუსტრა და ოსტატი იყვნენ თუ სწორად მახსოვს. არადა მინდოდა დამეწერა ორიოდ სიტყვა დანაშაულზე და სასჯელზე, დორიან გრეის პორტრეტზე, დაკარგულ სამოთხეზე, ამაოების ბაზარზე, კლოუნის თვალთახედვაზე, აურზაურზე არაფრის გამო და კიდევ ბევრ რამეზე. მაგრამ ამის მაგივრად ვაკეთებ იმას, რასაც არ უნდა ვაკეთებდე და ვჯღაბნი ათასგვარ სისულელეს. ვდებ პირობას, რომ ასე აღარ მოვიქცევი :დამნაშავებავშვისსმაილიკი: (სულ იმის ბრალია ეს ყველაფერი, ოთხშაბათობით  დილის და პარასკევობით ღამის 12 საათზე რომ ვნახულობ და სხვაზე ვეღარაფერზე ვფიქრობ მერე მთელი კვირა). მოკლედ, ეს არის ბოლო პოსტი, რომელიც ეხება კინოს. პოსტი Lord Vader-ის აი ამ პოსტმა შთამაგონა და გადავწყვიტე გამეხსენებინა საყვარელი მუსიკა ფილმებიდან და მუსიკა საყვარელი ფილმებიდან. აი ისინიც (რაც გამახსენდა ის არის, რიგითობა უმნიშვნელოა)

სხვებსაც დავტაგავ თუ არ ეწყინებათ  <img src=”http://www.pic4ever.com/images/34efamg.gif” border=”0″ >

ვთაგავ:

კაპუჩინოს

ეკუსის

ქეთის

kevana-ს

Lord Vader-ს

თუ რა თქმა უნდა არ დაეზარებათ :დ

Hace un par de semanas tuvimos sesión de videoclub en casa para admirar las excelencias de la alta definición en esa pantalla a la que le sobran pulgadas por todas partes, colgada en la pared de mi desproporcionada sala de estar, minúscula en comparación. Mis amigos insistieron en ver ‘Eyes Wide Shut’, del malogrado Stanley Kubrick, a lo que me negué en un principio, aduciendo que ellos ya la habían visto y que, aunque yo no, a mí no me apetecía nada verla. Y es que, ni la pareja protagonista, ni lo poco que conocía de la historia me atraían lo más mínimo.

Por supuesto, como buen anfitrión, finalmente accedí a sus pretensiones y tras una sobria comida, unas cuantas copas de vino, una tarta de la que alguno abusó y unos deliciosos cappuccinos de sobre con exceso de grasa hidrogenada, nos dispusimos a ver la película con los ojos bien abiertos.

Desde luego, la película no está a la altura de las mejores obras de Kubrick, pero se deja ver. Sin embargo, tras más de dos horas y media de metraje, el esperado debate no se centró en la trama, su mensaje o las maravillas técnicas del filme sino en un suceso anecdótico sin importancia aparente. «¿Quién era la chica que intenta ayudar al personaje de Tom Cruise en la escena de la orgía?». A ninguno nos quedó claro. Revisamos las escenas clave. Buscamos respuestas en Internet. Nada. Llegamos a pensar que sería una de esas películas en las que no hay una respuesta única y donde cada uno ha de elegir la que mejor le encaje. Hasta que se nos ocurrió revisar la versión original. Perplejidad y carcajadas. En inglés no había dudas sobre la identidad de la chica. La confusión procedía de un pésimo doblaje de una frase clave.

En épocas pasadas hemos vivido despropósitos en los doblajes donde se desvirtuaban conversaciones o incluso historias completas, como ocurre en los filmes ‘Éxodo’ (1960), de Otto Preminger y ‘Mogambo’ (1953), de John Ford. En la primera, la modificación de un monólogo intenta ocultar las atrocidades nazis. En la segunda, una inadmisible relación adúltera se sustituye por una preferible relación incestuosa. Pero aquello se debía a la censura franquista, no a un imperdonable desliz en manos de expertos profesionales de hoy en día.

Sin duda, esto no hace más que acrecentar mi convicción de que una buena película ha de verse en versión original. El trabajo de un actor no es simplemente gestual. Los matices de su voz pueden llegar a ser, en ocasiones, incluso más importantes que los propios gestos y, sin duda, el doblaje mutila parte de su creación. Si a esto le sumamos un doblaje impreciso y una mala selección de los actores de doblaje (recordad a Verónica Forqué doblando a Sissy Spacek en ‘El resplandor’ (1980), otra de Kubrick), el resultado puede ser desastroso.

Alguna vez Stanley Kubrick me motivó a ver mas alla de las peliculas, cuando tendría unos 16 años tuve la oportunidad de ver “A Clockwork Orange”(“La Naranja Mecánica”) y después de algo mas de dos horas frente al televisor quedé fascinado, desde entonces se que cualquier trabajo que se realizó bajo la autoría cinematográfica del señor merece verse.

Entre sus pocas películas destacaron muchas y todas ellas en diferentes generos. Se consideran verdaderos clasicos cintas como “2001:A Space Odissey”(ciencia ficción), “Espartaco”(Epico), “The Shining”(terror), la misma “Naranja Mecánica”(inclasificlable y obra maestra del realizador), “Full Metal Jacket”(bélico), “Lolita”(drama), etc.

Precisamente su último trabajo formalizó un genero poco popular y de dificil acceso al mercado comercial que algunos llaman thriller erótico y que consiste en la mezcla de tramas torridas de relajada sexualidad y tintes dramaticos con pretenciones artísticas que se quedan entre lo erótico y lo dramático. Kubrick terminó de montar el corte final en el invierno del 99 a solo semanas de su fallecimiento dejando resueltos el estreno y los problemas de censura y clasificación que sabia acarrearían las fuertes tomas de su peli, a fin de cuentas Kubrick ya se las sabia de todad todas en el renglon de disputas creativas sobre la tapadera moral luego de sucesos como la kilometrica espera que Naranja Mecánica requirió para poder mostrarse en mas de un país, entre ellos México.

La película ademas del morbo a su favor con todo esto de la probable clasificación “X” y las correcciónes digitales que sufrió para tapar algunas de las tomas más fuertes, también contaba en los protagonicos estelares al  “Brangelina” de aquel final de decada nada menos que el matrimonio del momento Cruise – Kidman, y la promesa de encontrarse en la pantalla grande a la hermosisima Nicole nadamas con su traje de Eva puesto.

El argumento de la historia esta basado en la novela de 1926 “Relato Soñado” del austriaco Arthur Schnitzler pero adaptandola a el Nueva York contemporaneo y trata la vida de una matrimonio acomodado y privilegiado. El es un médico exitoso y ella una ama de casa con afición al arte y al cuidado de su hija, ambos asisten como cada año a una lujosa fiesta invitados por un “influyente” amigo y en el lugar suceden algunos incidentes que involucran a ambos en nada mas que inocentes coqueteos extramaritales. Una vez en casa, en el calido momento que comparten ambos con un cigarrillo de marihuana Alice(Nicole Kidman) motivada por incipientes celos le confiesa a su marido una peligrosa fantasía que llego a tener con un joven marino con el que se topó años atras durante unas vacaciones familiares. A partir de ese momento Bill(Tom Cruise) que nunca se habia sentido celoso de su mujer comienza un viaje un tanto onírico por las noches neoyorkinas en busca de una venganza sexual que no se consuma pero le hace caer en cuenta  atravez de su ” roll” por New York de que la sociedad en si sufre transtornos similares por doquier, es entonces que luego de caer a un punto bajisimo el matrimonio deberá superar sus problemas.

“Eyes Wide Shut”(“Ojos Bien Cerrados”) dejó técnicamente unas secuencias super limpias y muy disfrutables, sobre todo en las escenas de fiesta y valla que en esta pelí hay fiestas de todo tipo incluyendo las que empiezan con “o” y terminan con “gia”(les dejo el resto). La actuación de Kidman es muy buena y su belleza es cautivante a lo largo de cada escena en que la australiana aparece. Tom Cruise carga de forma adecuada con su personaje pero no es lo mejor que le he visto, antes estarian claro su papel en “The Color of Money”(Scorcese, 1986) y el inmejorable Les Grossman de “Tropic Thunder” (Ben Stiller, 2008).

La pareja de Tom y Nicloe, se dice sufrieron un desgaste psicológico durante el rodaje que aparentemente aceleró su ruptura posterior. Stanley Kubrick falleció el 7 de Marzo de ese año antes del estreno.La película a encontrado un lugar en el rango de “culto” y por aqui en el blog se las recomiendo mucho.

more about “Dailymotion – Eyes Wide Shut Trailer …“, posted with vodpod

originally published in the middlebury campus

I reviewed films for the Middlebury Campus for about a year and a half. While I held the post people asked for my favorite film on a weekly basis. I get the impression that people ask this of all film majors as well, but I also get the impression that the deadly combination of critic and student makes this question come up more often for me than some others. I’ve never had a ready answer for people, to what I self-centeredly see as their disappointment. I vaguely considered reviewing a new movie for my last column; I mean, X-Men: Wolverine did come out that week. But, in the end, I decided that I didn’t want to end my time as The Campus film critic writing about some Hollywood blockbuster; instead I wanted to answer the oft-asked aforementioned question. Well, here is my potentially surprising answer: Stanley Kubrick’s last film, 1999’s Eyes Wide Shut is my favorite film.

To try and write about a Kubrick film is to realize the limits of words’ applicability to film. It is possible to describe every frame of every shot in Eyes Wide Shut, but even doing that would not convey the dreamlike majesty of Kubrick’s haunting last work. The plot concerns a married Manhattan doctor (played by Tom Cruise) who, after a marijuana fuelled conversation with his wife (Cruise’s then wife Nicole Kidman), realizes he may not know his wife as well as he thought and the fragility of their bond. This begins Cruise’s odyssey into the New York night where he is confronted with obsession, love, and jealousy. To a pretty significant degree the film’s plot, which is manifested as little more than a series of anxious and paranoid sexual temptations, is less important than its dreamy tone. Kubrick is not interested in an examination of sexual psychology but rather in depicting that inner psychology in images and showing how our most basic instincts manifest themselves in a modern world that tells us these instincts must be suppressed. This emphasis on rendering inner psychology visual provides Kubrick with the opportunity to play with audience expectations and toy with what conventional notions of film storytelling are. Shots are held longer than one would expect. Character’s glances off-screen are bizarre and stilted. The pace is languid and spacey. The dialog is fascinatingly off, almost as if these characters aren’t characters in a film but instead characters in a dream. Tom Cruise, who is an aggressively mediocre actor at the best of times, turns in a performance that, in any other film, would be horrendous but here it fits seamlessly into the otherworldly tenor created by Kubrick’s lighting, camera movements, and shot composition. The New York City, which the Manhattan-bred Kubrick knew well, is like not other New York ever depicted. It’s so obviously false as to be unrecognizable, but that only adds to the film’s majestic surrealism.

One of the earliest schools of film criticism was the French impressionist movement, which coined the phrase photogénie. It was a poorly defined term that attempted to capture, in a single word, the experience of a spectator seeing something depicted on-screen that can only be seen by projecting an image onto a screen. It is, partly, a catch-all term for the singular majesty of seeing an object depicted on film in a different way than one would if they were to encounter that object in real life. For me Eyes Wide Shut is full of moments like that, from the strings of Christmas lights that line the walls in the background of the party scene that opens the film, to the blue light that illuminates the bathroom behind Nicole Kidman during the scene where she reveals her lust for a Naval officer she saw while on vacation, to the vibrant red robe draped over the leader of the aristocratic assembly involved in the film’s infamous orgy sequence, Eyes Wide Shut is brimming with images that are striking in a way that is utterly indescribable.

There is a scene in Eyes Wide Shut that has haunted me ever since I first saw the film ten years ago. It is a very simple scene between Cruise and a hotel clerk played by Alan Cumming. The hotel clerk relays some bit of narrative information to Cruise, but the way that Kubrick shoots and constructs the scene is amazing. His shots are held just long enough to create the proper feeling of unease at the narrative information being relayed, but they are deceptively simplistic in their composition, and the cuts are perfectly timed to draw the audience into the emotional and psychological turmoil of Cruise’s character. This is the obvious work of master craftsman, and one of the greatest film makers that has ever lived.

Eyes Wide Shut might not be Kubrick’s best film, but it is the most fitting epitaph imaginable. The film, which was delivered to Warner Brothers four days before Kubrick’s death, is austere like Barry Lyndon, surreal like The Shining, contemplative like 2001: A Space Odyssey, and like A Clockwork Orange, feels as though it could be made by no other. It received mixed reviews at the time of its release. Some felt alienated by its cold style, whist others yearned for the black humor found in Kubrick’s other work. I, however, find myself transfixed by the frigid austerity of Kubrick’s images and the boldly straight forward nature of the emotional complexity on display. Here Kubrick doesn’t hide behind a façade of grotesqueries or irony. In fact it is here, at the end of his final film, that I think we see the real Kubrick; not a man haunted by a bleak world view, but a realist who finally sees the resilience of love as a light at the end of the tunnel. That’s why Eyes Wide Shut is my favorite film.

Before scanning the Internet Movie Database, I didn’t realize how many Stanley Kubrick films I’ve seen throughout my life. I thought Eyes Wide Shut (1999) might have popped my Kubrick cherry, but I thought wrong. Full Metal Jacket (1987) and A Clockwork Orange (1971) are two repressed childhood experiences that now lead me to question my parents’ method of the television babysitter, as both films come up in therapy now and again between sobs and handwringing. The Shining (1980) accompanied my middle school Stephen King phase as a perfect example of the novel to film adaptation. Kubrick did it, and quite well in my opinion. Giving a proper visual to my young, ignorant, anatomically naïve brain, the “woman in the bath” scene was my first image of a chick’s bush, followed by my first non-bathtub erection. Pretty awesome. Then she turns into that leprous grandma, which now attributes to the persisting problem I usually excuse as “whiskey dick.”

“You don’t smell like alcohol,” they’ll say.

I fight the tears. “Well, you smell like old shame.”

Hipsters and math majors dabbling in film (mostly Kubrick’s) hold the man to pretty high esteem. I can’t say I understand their worship, but to each his own. I like a few of the guy’s films, some I can live without—especially Eyes Wide Shut.

Most great filmmakers have a turd floating around in their filmography. They’re like AIDS. Once it’s there, you can’t get rid of it. Eyes Wide Shut is Kubrick’s turd—actually, it’s Kubrick’s turd hunkered out after a long night of unprotected anal sex, brown and ugly, covered in a translucent white film of overdone Freudianisms ejaculated at the end of a K-Hole. Even the most unentertaining films can have some point of expression that the artist, or in this case Kubrick, is trying to invoke to the audience. Shit, even a flop like Berry Levinson’s Envy (2004) shows an apparent yet silly portrayal of Robert Frost’s poem Mending Wall, the “Good fences make good neighbors” idea. Call me over analytical, but dig for it and it’s there. In 2 hours and 59 minutes (that’s not 3 hours, mind you) Eyes Wide Shut could be some kind of social commentary on marriage or relationships or the psychological effects of being married to Tom Cruise, let a lone a man with a dick, but you’ll find these “adult” and “mature” themes conveyed with more believability in any of the American Pie sequels. Especially that one where dude marries the redhead from Buffy (1997, 1996? I can’t remember). Forty minutes into Tom Cruise’s journey of masked naked chicks and Nicole Kidman’s oh so “shocking” dream of screwing a bunch of dudes and liking it, I became tense with anticipation of when the three note piano sonata might start up. One song the entire time. Three hours. Not even a variation of the same song. Three notes. Maybe Kubrick is doing something here with the number three…wait, it’s four notes. And it’s not three hours long. It’s 2 hours 59 minutes and 42 seconds. At least let us scrape the bottom of the barrel, look at the irrelevant shit that people so desperately searching for a reason to watch this trash might not feel as if they’ve wasted 2 hours 59 minutes and 42 seconds of their lives on some yo-yo’s fantasy of unsafe group sex with a bunch of masked women with dog eared ‘nanner titties. Wasn’t there a blowjob scene in The Shining with a wolf mask? Kubrick is obviously drawn to the mask thing because of some childhood trauma involving masks. Or maybe he was raped by a wolf, followed by a peacock, followed by a Mr. Punch doll. That might give us more insight into why Eyes Wide Shut was created. It sounds pretty far fetched, but so is the movie.

Color plays an important role in the cinematography, as Tom Cruise walks down some alleys and stands around in his house with a monochromatic blue shadowing his presence. This gives the impression that Bill (Cruise’s character, so cleverly named) is sad. Down in the dumps. A similar use of color and character is apparent in the music video of Eiffel 65’s “Blue (Da Ba Dee),” released the same year. There is no doubt that Kubrick was inspired by Eiffel 65’s prolific use of emotional digression and the color blue. Think back ten years. Remember the lyrics and the video. Need help? Here:

Yo listen up here’s a story
About a little guy that lives in a blue world
And all day and all night and everything he sees
Is just blue like him inside and outside
Blue his house with a blue little window
And a blue corvette
And everything is blue for him and hisself
And everybody around
Cos he ain’t got nobody to listen to

I’m blue da ba dee da ba die…

Portrayed as the victim of some extraterrestrial holocaust of emotions, the sadness is juxtaposed with the computerized awesomeness of the blue alien and his melancholy little dance, grooving in depression upon the blue grass of a sweet ass digital blue world. Kubrick took his chance at becoming today’s master of blue, because Picasso is dead and Eiffel 65 began to fill his shoes with satanic speed, their Billboard ascent known to those with access to a radio or MTV2—a.k.a. the entire world.

There is also a strange focus on a pathetic little Christmas tree glowing about the house in Eyes Wide Shut, like something Charlie Brown would hang himself over—a wiry little blaspheme that might represent Bill (such a shitty name) and his martyrdom after the birth of a feathery masked anti-Christ in a sexy little manger that’s really just freaky as hell but not in the cool “spooked ya” kind of way. But it really just makes me think of what Tom Cruise’s needle dick might look like with lights strewn about it, a wonky prop from The Nightmare Before Christmas. The Nightmare of Tom Cruise’s Wiener.

A ritual with the Red Guard from Star Wars, Tom Cruise acting like Tom Cruise, some secret society, a nasty hooker, Nicole Kidman looking like Ophelia with a corncob stuck up her ass—that’s pretty much it. There’s not much else one can say about this obvious accident of a film. Kubrick co-wrote it, meaning after a few sessions of condomless and painful man sex with Arthur Schnitzler (author of the novella it’s based on), the idea was conceived with the assumption that something more than diarrhea might come out of his pretentious man innards come birthing time, like in the film Junior (1994) starring Arnold Schwarzenegger. You think he might squeeze it out of his butt, until they come out of left field with a damn c-section. Makes more sense than making us believe a man can pass a baby through his ass. “It’s crowning! Oh, oh, there’s its head—oh, wait, no. That’s just some crap and a DVD copy of Eyes Wide Shut, the 2007 version with the extended orgy scene, meaning more tits of the weird—dog-ear, ‘nanner, and flap jack.

"More like Eyes Wide Shit!"

THE TAKING OF PELHAM 123, THE AMERICAN FRIEND, HANNAH AND HER SISTERS, A CONFEDERACY OF DUNCES, DAWN OF THE DEAD, WILD STRAWBERRIES, PULP FICTION, THE BIG LEBOWSKI, 8 1/2, PSYCHO, TORN CURTAIN, CRIMES AND MISDEMEANORS,  BROADWAY DANNY ROSE, AN INCONVENIENT TRUTH, TIME INDEFINITE, DR. STRANGELOVE OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB, HALLOWEEN, A NIGHTMARE ON ELM STREET, HELLRAISER, DECONSTRUCTING HARRY, EYES WIDE SHUT

(This column first appeared 6/18/05)

Quick. In your best eyes wide shut fashion, check out the marketplace and tell me which
direction is up. Which is down? It is harder than it sounds.

After ten years on a dizzy, vertigo-inducing rocket ship ride to incredible new heights, the G forces (gravity? greed? greenbacks? greenspan?) are finally getting to us. All we can sheepishly say into our headsets is: “Houston, we may have a problem.”

Here we are, standing on the precipice of a fantastic, dreamlike edifice of equity. We are on the roof of a skyscraper breathing rarefied air. Playing in the clouds. The planet of values we left behind a decade ago seems incredibly small and inconsequential. Things are going so well that maybe they are going too well.

We are worried that it will all go away overnight. We keep dreaming about falling. As a market, we have developed a bad case of acrophobia – fear of heights. It was ok climbing up the market ladder. We were so busy concentrating on the steps we didn’t have time to indulge our fears.  Now that we are up here it’s different.

Our brains are working overtime sending warning signals to the pits of our stomachs in the form of the dreaded “what-ifs”. What-ifs are like mind viruses preprogrammed into our genetic code or at least imbedded as negative engrams into our psyches from early childhood. We’re capable of spinning out a zillion of them whenever the going gets fearful.  What if interest rates go up? What if there is a bubble? What if I lose my job?

Imagine that you are minding your own business, riding a bicycle on the roof of the skyscraper. Your Mom pops her head out a window on the 97th floor and shouts: “Be careful, don’t fall.” The first thing you visualize is falling. The handlebars start to wobble and your balance goes. Suddenly riding a bike isn’t automatic. Instead you are watching a movie of yourself doing a long slow swan dive off the edge, straight into the abyss without a parachute.

When you are really high up, people always shout “Don’t look down!” Does anyone ever look down and only imagine themselves falling part way? Just one story? Nah. It is pretty much all or nothing. If you fall in your mind you usually hear the sound of a watermelon splattering on the sidewalk in your mind too.

When (not if) the market changes- if we are mindful, we will notice the market isn’t going up anymore. Our first overreaction will be that the market is going down and that the sky is falling. Even though not going up is not the same as going down, acrophobia is scary. And to quote one of my favorite malapropisms- “Been up so long, looks like down to me.”

I hate to break it to anybody but multiple offers, overbids, quick sales and sellers sitting
at the top of the heap in total control is not a normal market. It is an exceptional market that we have experienced for an exceptionally long time. Equity is not a God-given right. The market can giveth and taketh away.

But it’s ok if the market goes down a bit. If it tripled in the last ten is it so awful to give a
little bit of it back in the short term? If the market falls – it really doesn’t have to fall all the way, despite what Chicken Little or your Mother or your own Inner Phobic says.

Can our fear of heights really blow this whole thing up to the point where we actually believe the market can go from boom to bust in a day? The stock market went down 22% in one day in October of 1987 – can someone make a viable case that this is even possible in real estate?

When flying the space shuttle or standing on the edge of a tall building, quiet wisdom says don’t look up and don’t look down either. Instead pick a longer point on the horizon to focus on and keep your balance. Remember to breath and don’t forget to live. “The only thing we have to fear is the fear of fear itself.”

Voto: 8 (su 10)

Che cos’è il nastro bianco? È un segnale, un simbolo, un monito di innocenza e purezza. Viene applicato ai bambini quando rompono le regole, quando peccano, per ricordare loro di tornare sulla retta via. È un nastro bianco, ma è come una lettera scarlatta. Siamo nel 1913/14, in un villaggio protestante della Germania del Nord, alla vigilia della Prima Guerra Mondiale. Nella comunità, dedita all’agricoltura e all’osservanza di rigide regole morali e religiose, cominciano ad accadere strani avvenimenti. Il medico cade da cavallo dopo che una fune è stata tesa appositamente. L’uccellino del pastore viene trovato trafitto da delle forbici. Il figlio del barone viene trovato ferito. E poi capita anche a un bambino handicappato. È una serie di “funny games”, di giochi per nulla divertenti. Parliamo di giochi perché dietro potrebbero esserci i bambini del paese…

E parliamo di “funny games” perché Il nastro bianco è l’ultimo film di Michael Haneke, l’autore austriaco che in questi anni, da Funny Games a La pianista a Niente da nascondere, ci ha abituato a ogni tipo di sadismo. Che qui va indietro nel tempo e scava nel profondo, per raccontarci le radici di quel male e i semi di quella cattiveria che ci ha mostrato così spesso nelle sue opere. Dietro la facciata puritana della comunità protestante c’è una crudeltà profonda, che appare lontanissima dal messaggio di Cristo di eguaglianza e solidarietà. “Ne ho abbastanza di un ambiente dominato dalla malignità, dall’invidia, dalla stupidità, dalla brutalità, da violenze, minacce, da perverse vendette” sentiamo dire a un personaggio del film. È una donna, una categoria che nel villaggio in questione è trattata nella maniera peggiore. Quello di Haneke è un racconto morale importantissimo. Perché spiega come e quando è nata e cresciuta la Germania più cattiva, quali sono state le idee e i comportamenti che hanno costituito il terreno fertile nel quale sono stati seminati i semi del Male, cioè del Nazismo. I bambini crudeli di oggi, cresciuti a pane e castigo, saranno i Nazisti di domani, creature ai quali un sistema fatto di ordini, obbedienze e punizioni sembrerà la prosecuzione naturale della loro vita.

È un film rigoroso, incredibilmente sobrio ed estremamente cupo e inquietante, Il nastro bianco. Una storia in cui la violenza è quasi sempre fuori campo, mai mostrata come in altre opere di Haneke. È una violenza soprattutto psicologica, che nella confezione raggelata che il bianco e nero di Haneke contribuisce a creare risalta ancora di più. È un bianco e nero di altri tempi (sembra di essere un film di Dreyer, o di Bergman), un bianco e nero classico, con i contrasti poco accentuati, ma con infinite sfumature di grigio. Quasi a voler affermare con forza la volontà di avvicinarsi al cinema d’un tempo, un cinema dal forte afflato morale e spirituale. Haneke gira con maestria, alternando inquadrature fisse del paesaggio, che sembrano quadri, a sequenze in cui la macchina da presa è mobilissima, come nella sequenza del valzer, in cui (come in Eyes Wide Shut di Kubrick) si muove insieme e intorno ai due danzatori, quasi a raccontare la leggerezza dell’unico momento spensierato di una storia opprimente, che si apre e si chiude con una lunghissima dissolvenza da e al nero.

È curioso che proprio quest’anno, e proprio partendo dal Festival di Cannes, due autori come Haneke e Tarantino (Bastardi senza gloria), che hanno fatto della violenza uno dei punti salienti della loro poetica, rappresentandola in maniere estetica, o intellettuale, si siano confrontati con una violenza “storica”, effettiva, come quella della Germania pre-nazista e nazista. Con due opere tra loro agli antipodi (classica contro pop, bianco e nero contro colore, controllo contro passionalità), la loro riflessione sul Male e la violenza, incontrando la realtà, è assunta a livelli ancora più alti. Come spesso accade quando l’Arte incontra la vita.

Da vedere perchè: E’ un grande film, rigoroso, incredibilmente sobrio ed estremamente cupo e inquietante

There’s true intrigue when it comes to lace.  Delicate and dainty, it both conceals and reveals. While we’re all accustomed to seeing its multitude of personalities in fashion, home goods and accessories, reoccurring ties to privacy and obscured visibility have been a constant theme over the past few seasons, making us wonder if everyone’s watching Eyes Wide Shut all over again.

The editors at Dazed and Confused are continuing to manipulate eyes in sadistically interesting layouts just as designers are racing to reinterpret them into tactile accessories.  This Karl Lagerfeld tote is brilliantly inaccessible and proves our point with it’s € 1500.00 price tag.

Uma Thurman’s styling on the May ‘09 NY Times Magazine cover adds a layer of intrigue just as the geometric lace pattern on these Urban Outfitter curtains convey feelings of graphic obscurity. Pulling from past influences, Aperture’s Weegee Spoofs the New Spring Hats spread by Michael Caccaro provides a playful window into the world of advertising and photography in 1957. Fast forward 52 years and Jean Paul Gaultier has created his own interpretation of hooded mystery.

Bringing beauty back to the forefront, this delicate Shu Uemura portrait paired alongside this seductive Dazed spread, reveals the ease with which we can jump mediums and industries, proving sexy or sweet, lace is truly a gatekeeper.

Coverage by: Emily Gup, Kelsey-Lee LeGassick and Shayna Kulik

Well, hello. It is interesting, what kind of reactions one gets, when one is writing a blog. So I got an e-mail from a friend of mine, which in no way ever would agree with me regarding the political and social progress taking place all over the world.

That’s why I chose this topic (as can be seen above). You know, I really don’t criticize my friend for believing, what my friend thinks is right. I just criticize the ignorance regarding some facts. Living in the believe that some things are impossible to happen, my friend ignores things that indeed do happen all the time. Most of them outrageous in their aim and their purpose.

I, otherwise, believe that there is NOTHING that can’t happen. So it’s a collision of believe systems.

And here we go again.

To me it seems like a general problem which stands in the way of the ‘wake up’ process, so to speak. The thing is, that most people, who went to colleges and universities and who are called (and sometimes call themselves) the elite are mostly aligned with official interests, preferred attitudes and political solutions. Many of them are a mirror of their education, not willing – and that’s the important point – to think out of the box. Important because they could think independently, but they do not do it because what they learned is what they believe and what they believe is what they see.

So their behaviour and their opinions are influenced – not to say mounted – by how they were taught to see the world and its political and societal development. So what they see is not what it is, but what they want it to be.

I, for myself, don’t claim to be all knowing or full of the world’s wisdom, but I claim to be informed, to look for news – mainstream and independent alike. I want to widen my political and intellectual horizon. Because I at least want to try to take a look out of the box, represented by my social and political environment, my education and personal interests.

I always thought that education should be used to or enable you to question the world and the processes taking place in it. But instead of doing this, they rather try to justify all of which is happening by their knowledge of international relations, official statements and mainstream media of which we know, don’t even report half of it.

They fall for what they learned, thinking that this is the optimum or peak of society, education, politics, science and so on.

But it is not.

Another friend of mine asked me: “Who should do that and why? Who would want a global dictatorship, at least a centralized world state?”

And I have to admit, I love this question because it shows one very important thing: The attempt to reduce the complicated net of political and economic interests which grew (and were built) for centuries and were always kept in the hands of only a few families, and still are handled this way.

So, when the answer is: The global organisations, corporations and companies in dependence with the political body – they think it is impossible, but still they try to simplify it to an unrecognisable state of being.

It is in fact not one person, they are a few keeping their interests from the public, but acting them out on a global scale, planning them behind closed doors, justifying them by good intentions for the poor, the hungry and human rights.

If there weren’t any references showing the calculated and deliberate misrepresentation of facts I maybe could understand their alignment. But after years not to say decades of lies, i.e. the ‘incubator lie’ (in the 1990 which was the justification for Daddy Bush to intervene in Iraq, which was exposed as a lie later) and the weapons of mass destruction lie (we all remember, so I hope), everybody should be aware of the possibility that we are lied to, because it is not only a possibility but has even happened many times, publicly without a rush of blood to the head by the liar, no matter who he or she was is and will be.

And among them the secret services, always glad to offer solutions and volunteer in the most difficult of decisions.

So, half of politics, media, economy and so on is a fraud and half of it is a scam. So we can choose between being lied to and realizing it or being lied to and playing along.

The world is not flat, it is round, the earth circles the sun and we don’t fall off when we’re at the bottom because of gravity…I think.

Well for one trial weekend we are visiting my mild schizophrenia.  I had originally thought about pretending t interview the celebrities in a hilarious article which everyone would enjoy.  However after seeking legal (and lets face it after this mad turn a doctor would be more appropriate) I have decided we will profile some of films more interesting characters giving an honest and frank opinion on there careers and the work they have produced.  I will also point out that this is not going to be a dull chronological overview it will just be a mixture of points.  So sit back, relax and discover all about the crazy scientologist and brilliant actor that is Tom Cruise.

We will start of with what is in my opinion Tom Cruises best performance is performance in the now infamous Risky Business.  The film follows Mr Cruise as young Joel Goodsen.  He is left to look after his parents house when they go away.  He breaks his fathers Porsche and has to turn the family home into a brothel in order to earn enough money to pay for the repairs.  While this is Cruise when he is young it is still his best performance bar none.  You believe the character and his situation (something that you cannot always see in Cruise films) and you can see that there is a star in the making.  His on  screen chemistry with Rebecca De Mornay is brilliant and surely set cruise off on a pat of playing the dashing male lead for the rest of his career.

We will pick up cruises thrill of  a career at the Mission Impossible Trilogy.  I am actually a big fan of all three film.  It was the money that he made from the first two films that gave him complete freedom to go and do the things he wanted (i.e. appearing in Magnolia and buying his own film studio).  Cruise plays Ethan Hunt a secret agent working for the IMF (Not the international monetary fund as I initially thought).  I won’t give you a breakdown of all his roles in each film.  However, the first one stand out as he thrust into a position where he is accused of being a rogue agent who tried to steal a list of spy names to sell to another organisation.  The film is a masterpiece and surely illustrates that Brian De Palma was back on form (this has probably given him the freedom to pump mediocre films ever since).  Cruise struts around the screen with all the confidence of a classic Hollywood star and is certainly a film not to be missed

Fans of FilmWipe know that I struggle to keep saying nice things for too long.  While i good say that cruise was also excellent in Valkyerie (which is excellent) I would rather talk about some of his horrible performances.

Eyes Wide Shut is the worst film i have ever seen in my life.  Frankly i am not suprised that Stanley Kubrick died after making it.  I would have felt like killing myself after making that rubbish (he did not kill himself but i would have).  Nicole Kidman is terrible.  Tom Cruise is so bad i actually felt like getting sand paper and rubbing it against my eyes until I had removed all possibility of being able to see rubbish like that ever again.  I am sure Kubrisk sat very uncomfortably during those films.  The worst bit is undoubtedly the satanic orgy he finds himself in.  In no way to believe that Tom Cruise’s character is at an orgy.  Instead i do believe the dirty dog Tom Cruise is looking at all naked women and is using a mask to hide his dirty looks.

Lions for Lambs was his other horrible film.  Cruise is bad and the film is bad, even the presence of Meryll Streep can’t make it ok.

Overall Tom cruise is a great actor.  I have pulled some of his best performances.  And have picked out his worst.  Tell me if you agree leave a comment letting me know if you agree with my best and worst of  Tom Cruise.

As with our Ross Martin interview (Episode 15) we present this 1966 interview with Stanley Kubrick by Jeremy Bernstein. Check out Stuff About Stanley Kubrick for more.

Download the mp3

Note: Right-Click in Windows or Control-Click in OS X.

Make no mistake–if SNL is coming out of the gate this season with dead on, edgy performances like Bill Hader’s take on James Carville, then America is in for a great year of SNL.

It’s not pandering. It’s not ridiculing. It’s not silly. It is precise and intelligent…and very funny……..just like Carville.

Oh, and the Stanley Kubrick references scored big points, too.

Love it, guys.  Keep it coming!

Bravo.

SNL Weekend Update (Carville)

Die Film-Highlights dieser Woche:

- Harry Potter und der Stein der Weisen

VOX Datum: Do., 24.09 Uhrzeit: 20:14 – 23:15

- Eyes Wide Shut

Tele 5 Datum: Di., 22.09 Uhrzeit: 22:34 – 01:50
Trailer leider nur englisch!

- Gladiator

Sat 1 Datum: Do., 24.09 Uhrzeit: 20:14 – 23:30

- Wayne’s World 2

Super RTL Datum: Di., 22.09 Uhrzeit: 20:14 – 22:15
Leider kein Trailer

-

Minnesota Vikings [1-0] vs. Detroit Lions [0-1] (Sunday 1:00 p.m., FOX)

Why it’s good football: Well, ok, it’s not actually the best game of the week (Jets v. Pats? Dallas v. Giants? Carolina v. Philly? Pittsburgh v. Chicago? Probably all better games.), but as I mentioned, I’d gotten my whole pop culture analogy ready last week, and then I got sick and never wrote a game of the week. So this week we’re heading back to Green Bay and talking about everyone’s favorite over-exposed QB, Brett Favre.

Why you might care:

True story, when I started this blog last year I was initially going to describe a year in the life of the Tampa Bay Bucs with Brett Favre at the helm. Then he jilted the Bucs at the last minute and headed to the Jets. And I had nothing else to write about, except that I was a girl and I like football. And so FifG was born. Or, as they say in fancy places, bourne.

This background is included simply to ensure you that I, too, am tired of the big guy. And yet, here we are. What can I say, he makes for an interesting read! ESPN would surely agree.

Also compelling, the Lions lost every one of their games last season as well as the first game of this season. Think they would be happy to win their first game in two seasons against a division rival with Favre at the helm? Me too.

Football is Just Like Pop Culture! 
Brett Favre and Tom Cruise both started out small but hit the big time fast. After some work in films like The Outsiders and Losin’ It, Tom took on Risky Business. Not risky at all, as it turns out. The role helped Tom get the lead in Top Gun, which made him a major drama/action star, which led him to roles in dramas (Rain Man), chick flicks (Far and Away), and comedies-ish (Jerry Maguire), which led him to be one of the biggest stars in Hollywood. Everything he touched turned to gold (and green), audiences loved him, and he was showered with awards (Golden Globes) and nominations (Oscars).

Similarly, Brett was drafted by the Atlanta Falcons but managed only a year in the South before heading up to Green Bay, Wisconsin, land of football, to play for the Packers. In only his second season there, Brett led the team to their first playoff game in 11 years. And things got better from there. He was league MVP in 1995, and the Packers went to two consecutive Super Bowls in 1996 and 1997. (They won only in 1996.) Announcers always liked to say that Favre played like a kid in the playground, jumping and hugging and high fiving after every touchdown, and there were lots. Plus, Favre built goodwill across the country with a big win on Monday Night the day after his father’s death, and by playing tough through his wife’s cancer and the destruction of his Mississippi home in Hurricane Katrina.

Not sure when this is from, but let's all think of Tom only this way.

But the longer one’s career lasts, the more time a person has to fall. Tom Cruise? Well, the gay rumors started coming on strong during the filming of Eyes Wide Shut with his then-wife Nicole Kidman. Know what doesn’t help gay rumors? Divorce. But that’s what Tom did, leaving his wife and their adopted children behind to date Penelope Cruz. (Know what else doesn’t help gay rumors? Adopting children. And also dating someone who is also rumored to be gay.) But worse than the gay rumors, the divorce led people to think of Tom as something of a douche. And douche is hard to overcome.
Douche is harder yet to overcome when you go on television and lash out at everyone’s early-morning bestie Matt Lauer for speaking against Scientology. Not to mention the fact that being an active, vehement Scientologist doesn’t do wonders for the rep in and of itself. (People tend to be confused/put off by the whole Xenu thing.) So for the sake of love (one hopes) and good PR, Tom married the most cherubic young teen heart-throb he could find in Katie Holmes. But turns out that overzealous, shrieking love for a girl you just met? Also, not so good for the image. So now, Tom Cruise, one of the most famous and successful actors of all time, well, now he’s just considered sort of off-putting.

Retirement number 15. Or maybe 26.

But Brett Favre couldn’t crush the good will he had, right? Wrong. In 2008, after 16 years of Green Bay idoldom, and after he took a rag-tag bunch of players to the NFC Championship Game (lost to the Super Bowl-winning Giants), Brett Favre decided to retire. Green Bay celebrated their hero. Until, that is, he decided to unretire. But by then Green Bay didn’t need him anymore (and were kinda pissed), so they traded him to the New York Jets, where he played a good first half-season and a terrible second half. And then he re-retired. And Green Bay celebrated their hero. Until, that is, he decided to un-unretire. And play, get this, for the Packers’ most bitter rival, the Minnesota Vikings. In order to send a message to the Packers for not letting him unretired (I won’t tell you the exact message he was sending, but rest assured it includes the letters f and u.) And Green Bay cele… Um, well Green Bay felt terrible. And everyone else was like, wait a sec, what an ass! So now, Brett Favre, one of the most famous and successful players of all time? Well, now he’s just considered sort of a jerk.

Conversation Starters:

What do you think about the Vikings drafting Percy Harvin? Do you think they will reap the benefits like with Randy Moss?

Do you think Adrian Peterson will have another 180-yard game against the Detroit defense?

Have you seen Calvin Johnson’s arms? Man, those are huge! Also, do you think Calvin Johnson will have big fantasy numbers this year even though Detroit has rookie QB Matthew Stafford at the helm?

Do you think Matthew Stafford is destined to be another Joey Harrington? Or will he earn his top-pick-in-the-draft status?

Fun Fact:

The Lions have lost 18 games in a row. That’s only one game shy of the Oakland Raider’s record holding 19-game losing streak in 1961-62.

MN tight end Visanthe Shiancoe was born in Birmingham, England.

Player Pronunciation:

Visanthe Shiancoe (tight end, MN): vih-sahn-tee shain-coh
Jared DeVries (defensive end, DT): jair-ehd de-vreez

Cute Player of the Week:

Calvin Johnson, wide receiver, Detroit Lions
(It’s a repeat performance for Calvin.)

Arms!!

Every Gypsy knows the secret to making any man or woman hot for you is scent. We are animals, scent is everything. Pheromones are what attracts us. We had to give a sniff out to the most delicious scents out there. In true Gypsy form, we only wear oils as perfume is too overbearing for our soft sensitive skin…

PARVATI, from Lakshimi, goddess line is the most delicious, savory delicasy out there. Warning: don’t wear if you don’t want to be groped – it’s a show stopper. And even more delightful, PARVATI is the Goddess of Perseverance. Also known as the Princess of the Mountains, she is Shiva’s female counterpart, worshipped as a goddess of perseverance and devotion. Flowery, cool, light and sweet, Parvati is an ethereal vanilla and amber-based fragrance. Lakshmi NYC carries many other goodies that we can’t wait to get our paws on.

KIKI DE MONTPARNASSE is the most decadent lingerie inspired brand out there. Kiki celebrates sexuality, romance, intimacy and inspires the imagination. We started wearing the Dry Body Oil and Massage Oil a few years back and would give anything for a lifetime supply. To just talk about the oils would be an injustice. Go to the store for an Eyes Wide Shut experience.

Slice of Heaven

El cine actual ha puesto de moda las precuelas, la secuelas y con un poco de tiempo que les demos las cuelas también. Volver al pasado y terminar una saga de películas por el principio es un nuevo filón de las productoras cinematográficas (como en el caso de X-Men, cuya última de las películas cuenta el origen de Lobezno; o La Guerra de las Galaxias, saga de películas cuyos últimos trabajos muestran cómo se llegó a lo que fue el inicio de la saga en los años ‘70, sólo que casi treinta años después; o con una nueva película de Indiana Jones, que sinceramente, sobraba porque con las tres que ya se filmaron había suficiente y no había motivos, en apariencia, para rodar una más y que puede provocar que la saga quede descafeinada). Afortunadamente con La naranja mecánica nadie ha tenido la idea de volver a la infancia de Álex DeLarge, y lo que se ha anunciado es sólo el reestreno de la película de Stanley Kubrick, y no un remake, una precuela o una secuela.

El próximo día 23 de octubre, y durante un tiempo limitado, una de las grandes obras maestras de la historia del cine, La naranja mecánica (protagonizada por Malcolm McDowell, protagonista también del film erótico Calígula) será reestrenada con motivo del décimo aniversario de la muerte de Kubrick -7 de marzo de 1999-. No sólo en el formato original de 35 mm, sino también su versión remasterizada. La digitalización es una gran ayuda para arreglar las imperfecciones de las cintas cinematográficas antiguas, y si las escenas que formaban parte del tratamiento Ludovico al que era sometido el aficionado a la ultraviolencia Álex DeLarge ya tenían una buena calidad de color, como narraba la voz en off de la película, con la remasterización la calidad será mejor todavía (al menos eso parece).

La naranja mecánica es una de las películas que más ha escandalizado. Narra las aventuras de una pandilla de jóvenes británico en un tiempo futurista indeterminado. Álex DeLarge, acompañado por sus drugos, sembraban el terror en las calles con su ultraviolencia, con sus palizas indiscriminadas y sus asaltos a casas, donde violaban a las mujeres que las habitaban. En un momento dado el orden de jerarquías de la pandilla comienza a verse con malos ojos por parte de los drugos, y Álex DeLarge deja claro que él es quien manda, y que los demás obedecen. Hasta que le plantean la posibilidad de entrar en la casa de una señora que está siempre sola. Álex entra en la casa y golpea a la mujer con un falo gigante. Al salir de la casa los drugos le esperan y le agreden con una botella de leche.

Éste es el momento en que la ultraviolencia se acaba para Álex DeLarge. La policía le detiene, y le envían a un centro donde se le tratará con un nuevo método, llamado Método Ludovico, con el que el Gobierno Británico intenta erradicar la violencia de las calles. El Método Ludovico se rige por las leyes del conductismo (a un estímulo determinado le sigue una respuesta también determinada), y en él los pacientes -en este caso Álex DeLarge- reciben dosis de medicamentos, que al ser administrados mientras ven imágenes violentas, provocan ganas de vomitar en el paciente. Tras unas cuantas sesiones, el organismo del joven DeLarge sufrirá ganas de vomitar cada vez que piense o vea imágenes violentas (cualquier persona con mínimos conocimientos sobre el condicionamiento clásico y el condicionamiento operante ve con mayor claridad el significado del Tratamiento Ludovico).

Pero la polémica no solamente surge por este tratamiento para erradicar la violencia y que toca temas morales y sociales muy sensibles (al final de la película, debido a un golpe que se da Álex al huir de una casa -cuyo dueño recibió una paliza por parte de Álex y sus drugos, y cuya esposa fue violada y acabó muriendo, acogió a Álex en su hogar, y mientras DeLarge se daba un daño tarareaba el tema I’m singing in the rain, el dueño reconoció su voz-, el condicionamiento del Método Ludovico desaparece, por lo que el final de la película baja el nivel de la película). Las escenas de violaciones que se muestran, la pelea entre pandillas en el teatro abandonado, donde una pandilla rival a la de DeLarge y los drugos estaba violando a una joven… constituyen escenas provocativas y que escandalizan a parte de la audiencia. De igual manera que escandaliza la novela en la que se basa la película, de Anthony Burgess.

Porque el escándalo no iba asociado a que al personaje principal le guste la música de Beethoven; no iba asociado a que como en las imágenes de los nazis que le proyectaban a DeLarge, con el cuarto movimiento de la 9ª sinfonía de Beethoven de fondo, se asocie a Beethoven con la ultraviolencia -Álex DeLarge lo dice, Beethoven sólo compuso música-. El escándalo llegó por las escenas de ultraviolencia (en ninguna otra película hasta entonces se había mostrado una pelea callejera con tanta violencia como la del teatro abandonado), por las escenas de violaciones, y también por las consecuencias sociales que tiene un tratamiento como el Tratamiento Ludovico para erradicar la violencia de las calles. La naranja mecánica no es una película más que se ve y gusta sin más; es una de las mejores películas del cine, que hace pensar sobre la violencia, sobre su origen, sobre su posible erradicación, sobre los moral o inmoral… que no deja indiferente. Una película con la que su protagonista, Malcolm McDowell, saltó a la fama.

Precisamente, además del reestreno a partir del día 23 de octubre de La naranja mecánica, Malcolm McDowell, recibirá el Gran Premio Honorífico como reconocimiento a su carrera, en el Festival de Sitges (1 de octubre), de las manos de Jan Harlan. Harlan fue el productor de algunas películas de Kubrick, un actor poco prolífico en cuanto a las películas, pero que son recordadas por todos los aficionados al cine, como 2001. Una Odisea en el espacio; La naranja mecánica; Eyes wide shut; o Espartaco.

Por lo tanto, el 23 de octubre unos pocos afortunados vivirán el reestreno de una de las mejores películas que ha dado el cine. No por enaltecer la violencia, no por estar a favor de la ultraviolencia, no por resaltar el nazismo y la filiación hacia esta ideología por jóvenes como Álex DeLarge; sino porque la película es de lo mejor que se ha visto en el cine.

Fuente:

www.20minutos.es