I will have poetry in my life. And adventure. And love. Love above all. No… not the artful postures of love, not playful and poetical games of love for the amusement of an evening, but love that… over-throws life. Unbiddable, ungovernable – like a riot in the heart, and nothing to be done, come ruin or rapture. Love – like there has never been in a play.

– Viola de Lesseps

During my senior year, my high school put on a disastrous modernized retelling on Romeo and Juliet. Around the same time, Shakespeare in Love just opened in theaters and it was an assignment to watch the movie for some extra credit. At first, I didn’t know that it was supposed to be a comedy. That aspect of the film went completely over my head. When I owned the movie on video, I paid attention to the comedy and I loved it. I still do.

This movie fictionally retells the life of William Shakespeare (Joseph Fiennes) when he was exiled from his former life circa 1593. Times in his new home, London, are not faring so well. The plague rages across the land. Any public forums are closed including the theaters, which is not good for writers like Will or actors or the theater owners like Mr. Henslowe (Geoffrey Rush).

Henslowe owes a lot of money to Mr. Fennyman (Tom Wilkinson), who is like an investor for new plays in England. Will has to take small acting jobs when he can and other professional actors have to travel to other lands to perform.

Henslowe wants Will to write a new play that could be successful to pay off his debts. There is a problem. Will has no inspirations, no muse to let the words flow. He thought he had a muse with a loose woman, Rosaline (Sandra Reinton), but not.

With the advice of the country’s number playwright at time, Christopher Marlowe (Rupert Everett) plants the idea of Romeo and Juliet to Will. Henslowe has auditions for the men who will plays all the parts. At the time, women were not allowed by law to be on the stage.

One privileged woman, Viola de Lesseps (Gwyneth Paltrow) dreamed about being an actor. She is helped by her nurse (Imelda Staunton) to masquerade as a man, Thomas Kent, to audition to be in William Shakespeare’s new play. Will is taken by Thomas Kent that he wants him as his Romeo.

Their love blossoms at a chance encounter at a party at the de Lessep’s, but there is a wrench in the plan with Lord Wessex (Colin Firth) attends to make Viola his bride and bring her to the New World. Having only two weeks together, Viola and William begin a forbidden love affair that mirror the greatest love story ever told.

This is a love letter to the works of Shakespeare. I thought that it was ironic that at the time Marlowe was a bigger “celebrity” that he was. Shakespeare’s works are still revived today, but Marlowe is almost lost in time. The intertwining of our modern day catch phrase and the Elizabethan language is more hilarious every time I see it.

This movie was controversial when it won Best Picture over Saving Private Ryan. Should it have won? In some ways, yes. The problem with Ryan is that there are too many endings. Spielberg tacked on a happy ending that doesn’t need to be there. To me, Shakespeare in Love was more heart wrenching and sweeping that Ryan. That’s just my opinion.

Judgment: Revisit this movie if you haven’t seen this movie since it won the Oscar.

Rating: ****1/2

posted by: gcallejo

Les Miserábles (1998)

De entre las muchas cualidades que caracterizan al buen guión, hay una que se lleva la palma. Y me atrevería a decir que es un requisito ineludible para que la película merezca nuestros aplausos: la evolución de los personajes. Si el bueno no mejora, si el malo no empeora -o no se redime-, el resto de la historia es en balde.

Hay ejemplos clásicos e inconfundibles por doquier. De Casablanca y su protagonista, Rick, ha hablado con mucha agudeza Pol; de los protagonistas de Good Will Hunting (1997), también Chema ha referido cosas valiosas. Apuntemos ahora otro ejemplo muy ilustrativo: el de Lés Misérables (1998), la fabulosa adaptación que realizó Bille August de la obra de Víctor Hugo.

El protagonista de este título, Liam Neeson, encarna a Jean Valjean, un ex-presidiario que aunque busca la redención moral de sus miserias -la legal ya la ha saldado-, es perseguido incansablemente por el inspector Javert (brillante Geoffrey Rush). Dejo el guión: sin desperdicio.

Aquí cambian los personajes principales. Y lo hacen de una manera tan natural que convierten sus interpretaciones en algo antológico, ejemplar. Liam Neeson sufre, se desespera, reflexiona, olvida, espera, confía… Y cuantos verbos anímicos quepa imaginar; Geoffrey Rush es malévolo y obstinadamente tajante, pero al final deja entrever el lado humano que toda persona lleva dentro; y Uma Thurman, la prostituta acongojada, descubre la felicidad que trae el amor. No son caracterizaciones fáciles las que llevan a cabo estos actores, pero los tres entienden su rol, comprenden ese progreso moral que cualquier vida humana experimenta conforme actúa y lo representan con una solvencia pasmosa.

Candy narra a história de um casal que têm suas vidas estragadas pelo vício que os dois têm em comum: a heroína

Por Ronnie Romanini

Dividido em três partes (Paraíso, Terra e Inferno), Candy fala sobre o relacionamento de Candy (Abbie Cornish) com Dan (Heath Ledger) e o de ambos com a heroína, traçando um paralelo interessante entre essas três partes com os três estágios que passa um usuário da droga.

Começando pelo “Paraíso”, o filme mostra o início do relacionamento entre os dois jovens artistas (ela uma aspirante a pintora e ele a poeta). Enquanto Dan não tem uma família por trás, sendo sozinho no mundo, Candy tem toda a superproteção que seus pais, de classe média-alta, podem dar. É quando Candy decide experimentar a heroína que Dan já usava que as coisas começam a mudar na vida de ambos, até então dois jovens promissores em suas carreiras e apaixonados. Essa primeira parte tem seu foco nos efeitos alucinógenos da droga e na sensação de felicidade momentânea que ela traz. Ambos estão felizes e a necessidade cada vez maior de se virar com o pouco dinheiro que possuem, realizando pequenos furtos, parece empolgá-los. É nessa parte que surge Casper (Geoffrey Rush). Professor de Química que usa seu laboratório para produzir drogas e considerado por Dan como um pai que todo mundo gostaria de ter, Casper é quem financia os dois no início, sempre emprestando dinheiro a Dan e às vezes fornecendo a droga ou usando junto.

A situação começa a mudar quando a falta de dinheiro torna-se um problema muito maior do que ambos consideravam. Nessa parte, “Terra”, o filme passa a ser cru e realista, à medida em que retrata a humilhação pela qual Dan e Candy começam a passar em troca do dinheiro para conseguir a droga. Os dois deixam o orgulho de lado e passam a fazer coisas inimagináveis até então, mas que se tornam totalmente naturais em decorrência da necessidade de usar a droga. Dan encara com naturalidade (ou ao menos finge tal naturalidade para não ter que se preocupar com o problema) a solução encontrada por Candy para conseguir o dinheiro.

A terceira parte do filme mostra o “Inferno”. Um acontecimento na vida do casal faz com que eles decidam parar de usar a droga e isolem-se num quarto, com apenas um colchão e uma televisão. Mostrando dia a dia a abstinência da heroína, essa parte torna-se perturbadora e chocante principalmente pela atuação de Abbie Cornish e Heath Ledger que brilham retratando o efeito biológico e psicólogico que a falta da droga causa. A cena em que ambos estão no hospital é estarrecedora.

Longe de ser uma glamourização das drogas, o aspecto negativo do filme reside apenas na comparação com outros filmes que tratam do mesmo assunto. Candy não tem a direção ousada e inovadora de Réquiem para um Sonho e nem é um filme tão original e completo como Trainspotting – Sem Limites. Muito graças ao trio principal de atores (Geoffrey Rush e Heath Ledger estão ótimos como sempre e Abbie Cornish é uma belíssima surpresa, chocando pela força que dá à personagem), Candy trata-se de um bom e triste filme sobre como a dependência química faz o usuário perder qualquer dignidade ou valor pré-concebido.

Candy (Candy): 2006, Austrália. Direção: Neil Armfield. Elenco: Abbie Cornish, Heath Ledger, Geoffrey Rush, Noni Hazlehurst, Tony Martin. Roteiro: Neil Armfield e Luke Davies. Duração: 116 min.

Notas:

Ronnie Romanini [7.5] Rodrigo Gianesi [7.5] Paulo do Valle [10]

Nossa média: [8.3]

Sam Neill, Geoffrey Rush, Hugo Weaving and David Wenham will topline the voice cast of Animal Logic’s 3D animated feature, “Guardians of Ga’hoole,” according to Heat Vision.

The big-budget fantasy film, in production in Sydney and directed by Zack Snyder, also will feature the voices of Aussie actors Emily Barclay, Abbie Cornish, Emilie de Ravin, Ryan Kwanten and Jay Laga’aia, as well as English actors Miriam Margolyes, Helen Mirren and Jim Sturgess.

The animated film is an adaptation of the 14 book bestselling kids series by author Kathryn Lasky and illustrator Richard Cowdry and follows Soren, a young owl enthralled by his father’s epic stories of the Guardians of Ga’Hoole, a mythic band of winged warriors who had fought a great battle to save all of owlkind from the evil Pure Ones.

The film is due for release in Australia on 9th December next year.

Drama sobre la corte británica

Helena Bonham Carter encarnará a la Reina Madre

Foto: Reuters	Ampliar

LOS ANGELES, 17 Nov. (Reuters/Ep)

La actriz británica Helena Bonham Carter interpretará a la futura Reina Madre en The King’s Speech, un drama sobre los entresijos de la corte británica en el que compartirá protagonismo con Colin Firth (Mamma Mia!, La última legión) y Geoffrey Rush (Piratas del caribe, Munich)

La cinta, que según apunta una información publicada por ‘The Hollywood Reporter’ recientemente comenzó su filmación en Inglaterra, relatará la relación entre el rey Jorge VI (Firth) y el logopeda Lionel Logue (Rush), quien ayudó al monarca a perder su tartamudeo y liderar a Gran Bretaña durante la Segunda Guerra Mundial.

Bonham Carter encarnará a su consorte, la reina Isabel, quien se convirtió en Reina Madre tras la muerte prematura de su marido en 1952. La esposa de Tim Burton no deja la corona, ya que interpreta a la Reina de Corazones en la versión de Alicia en el País de las Maravillas que dirige su esposo.

El elenco de la cinta también incluye a los actores Jennifer Ehle, Guy Pearce, Derek Jacobi, Timothy Spall y Michael Gambon. El cineasta Tom Hooper (The Damned United) dirigirá el filme con un guión escrito por David Seidler. Su estreno está previsto para mediados del próximo año.

By Nickie Wang

There have been debates whether the Australian film industry still needs the control and support of the government or not. The cinema of Australia can thrive without any assistance and the industry can do more in terms of global competitiveness if it is not controlled by the government’s funding body, Screen Australia.

The Black Balloon director Elissa Down

The films from Down Under have done more in making people around the world become aware of the country, thanks mainly to the success of actors like Nicole Kidman, Mel Gibson, Russell Crowe, Hugh Jackman, Eric Bana, Geoffrey Rush, Guy Pearce, Naomi Watts and Cate Blanchett who have become synonymous to modern filmmaking.

Australia’s world-class facilities, state-of-the art digital and visual effects production services, acclaimed cast and crew and spectacular locations also make it a sought-after location for foreign films including Superman Returns, Matrix Trilogy, Charlotte’s Web, Ghost Rider and The Ruins. It is, of course, something that our local cinema lacks.

This month, six critically-acclaimed films from Australia are going the rounds of cinemas in Manila and Cebu as the Australian Embassy presents the 7th Australian Film Festival. It runs until Nov. 14, and the last leg is the Ayala Centre Cebu.

“The embassy is pleased to continue its tradition of providing Filipino moviegoers the opportunity to experience Australian film excellence and learn more about Australian popular culture, history and contemporary values,” Australian ambassador to the Philippines Rod Smith said at the opening of the festival.

The festival is opened by visiting Australian director Elissa Down with the premiere of her film The Black Balloon. The Los Angeles-based director arrived in Manila for the screening of the film and to conduct master classes at the University of the Philippines Film Institute and Mowelfund Institute.

“Down’s visit will further strengthen ties between the Australian and Filipino film industries which have developed through the film festival and Cinemanila during the past few years, through workshops for student film producers and directors conducted by visiting Australian actors and directors,” Ambassador Smith said.

The Black Balloon, starring Academy Award-nominated and Emmy Award-winning actress Toni Collette (Sixth Sense, About A Boy), follows the story of 15-year-old Thomas (Rhys Wakefield) who tries to fit in his new life as his family moves to a new home while taking care of his autistic older brother Charlie (Luke Ford, The Mummy-Tomb of the Dragon Emperor) and nurturing a budding romance with new girlfriend Jackie (Australian supermodel and actress Gemma Ward). Charlie takes Thomas on an emotional journey in a story that is funny, confronting and ultimately heart-warming.

“This film is about unconditional love. It’s a dramady [drama-comedy] inspired from the story of my own family,” Down told Standard Today. “I’ve got two brothers who have autism so if you could imagine, growing up with them was a little crazy. Making this movie was really a therapy on my part.”

Down, who also co-wrote and co-produced The Black Balloon, said that the film was awarded by the prestigious Berlin International Film Festival Crystal Bear for Best Feature-Length film last year. Back in her hometown, it received the Australian Film Institute awards for Best Direction, Best Supporting Actress, Best Supporting Actor, Best Film, Best Screenplay, and Best Editing.

“It won numerous awards abroad and it’s inspiring in a way that it motivates me to write stories and make more films that talk about families, real people. The Black Balloon, as I’ve said, talks about love that knows no limit and everyone can relate most especially to the lead character,” the director said.

Also featured in this year’s festival are Unfinished Sky, a romantic drama about the nature of loss and the language of love; The Bank, a political thriller set in the world of high finance; the romantic comedy Danny Deckchair; Garage Days, a story about a teenager’s dream to be a rock star; and The Hard Word starring Guy Pearce (Memento, The Adventures of Priscilla Queen of the Desert, LA Confidential) and Golden Globe winner Rachel Griffiths (Six Feet Under, Brothers and Sisters).

El actor que encarna en la gran pantalla al villano de la primera entrega de “Piratas del Caribe”, Geoffrey Rush, ha hecho publica en unas declaraciones su incorporación a la cuarta parte de la saga, “Piratas del Caribe: En costas extrañas”.

«Creo que empezamos a rodar esta primavera» comenta el actor, «están esperando a que los escritores terminen un guión que se aleje completamente de la historia de la trilogía anterior, tomándolo en una nueva dirección para que la película sea fresca y, esperemos, que interesante para la audiencia; para que tras ver la película no se sientan que salgan de una máquina de churros o algo así, lo que no sería nada bueno».

No se yo si la próxima primavera comenzara el rodaje o lo aplazarán a causa de los movimientos internos que ha sufrido la Disney en estos últimos meses y que han provocado que Johnny Deep se plantee retomar el papel del Capitán Sparrow. Si yo fuera algún jefazo de la Disney me aseguraría antes el tener bien atado al señorito Deep que de fijar una fecha de estreno e inicio de rodaje, por que esta claro quien es el alma de la saga.

Por ahora, el estreno esta previsto para el verano del 2011.

È una produzione Walt Disney Pictures, che mescola Salgari, tradizioni hollywoodiane ed effetti speciali. Il risultato è una pirotecnica avventura a base di arrembaggi e suspence, arricchita da molta ironia, da una love story ed un accenno di horror fiabesco.

Leggi altre notizie su: | Commedia | Avventura | Fantasy | Gore Verbinski | Johnny Depp | Geoffrey Rush | Orlando BloomKeira Knightley

De entre todas la Novedades recién llegadas a la Mediateca destacamos estos tres títulos…

“La Vida es Un Milagro”,Un Film de Emir Kusturica , premiado con el Cesar de Oro a la Mejor Película Europa de 2005. 

“Quills” un film cargado de sensualidad protagonizado por Kate Winslet y Geoffrey Rush , y con Michael Caine y Joaquin Phoenix entre el reparto.

La sugerente Scarlett Johansson y el actor británico Colin Firth protagonizan la “La Joven de la Perla”

TheEnd

Max types a letter to penpal Mary while wearing her pompom in "Mary and Max".

October 18, 2009

by Joel Crary

I committed to not rating any of the films I saw at the Ottawa International Animation Festival, electing instead to simply watch the films and take in their merits over their faults. I made this decision in order to get at the heart of what the festival is trying to achieve, which is a showcase of extraordinary, unique talent from around the world. All of the work I have seen looks incredibly painstaking. One doesn’t animate a film as simply as one points a camera and shoots. These filmmakers have put outstanding efforts into what they are attempting to accomplish, part of which is to convince others that their stories can be told no other way.

I will return to review Adam Elliot’s “Mary and Max”, for I believe it to be one of the greatest films of the year – not only the best of the animated films I’ve seen, which it is, but of most live action projects. I watched parts of the film with tears in my eyes, in wonder at how Elliot was able to tell such a heartfelt tale about two misfits and portray them more convincingly with claymation than some directors have been able to portray most living persons. These are characters with enormous depth and detail and a sadness that could only accompany 20 years of feeling excluded by the world (and in Max’s case, much longer).

For now, a brief synopsis: We are introduced to 10-year-old Mary Daisy Dinkle (Bethany Whitmore and Toni Collette), who lives in Australia in the 1970’s. We know it’s Australia, because it’s mostly brown. A narrator (Barry Humphries) describes her eyes as the colour of mud puddles and points out the rather obvious birthmark in the middle of her forehead, which is, unfortunately, the colour of poo. Mary’s mother Vera is an alcoholic vamp whose recipes all include cigarette ash. Her father works in a tea bag factory, attaching the little strings (it has to be done somehow).

Mary doesn’t entirely believe her grandfather when he tells her that babies come from the bottom of a father’s beer glass. One day in the post office, Mary chooses a name at random from an international directory and makes plans to send that person a letter in order to ask him where babies really come from. The name belongs to Max Jerry Horowitz (voiced nearly unrecognizably by Philip Seymour Hoffman), a 44-year-old Jewish atheist suffering from obesity and, as we gradually come to understand, Asperger syndrome.

Max lives in New York, and we know it’s New York because it’s in black and white (Woody Allen would be proud). He doesn’t like to go out much. Neither Mary nor Max have many friends in their real lives, but they form a bond through the letters they send. It is a relationship that lasts a long time and has a profound effect on both lives. Elliot tells his story, which he mentions is based in real life, almost exclusively through either his narrator or the characters as they read their letters.

Elliot’s script is brilliant, filling in what makes his characters tick with extremely fine details. Both travel to very dark places in their attempts to get along in the world in spite of their isolation from it. The ending for Mary and Max is bittersweet, but beautifully poignant in the conclusions it makes about what brings people together, and why that need exists for all of us.

An angel gets his wings, but won't show them off in "$9.99".

It seems like Australia’s year for the market on animated features, as Tatia Rosenthal’s “$9.99″ also ran at the festival. Its claymation action tells the story of an apartment inhabited by several characters with ongoing relationship and money problems. As the film opens, a portly man exits a coffee shop with his beverage as a homeless man asks for a cigarette. The scene progresses with a moral debate and escalates to a gunshot, setting the tone for the film as a whole.

The man is Jim Peck (Anthony LaPaglia). His sons are Lenny (Ben Mendelsohn), who works as a repo man, and Dave (Samuel Johnson), who can’t keep a job because he’s too nice. Something unidentifiable has taken the fun out of Jim’s life. His wife has left and his sons aren’t living up to his expectations. Lenny seems to have his own particular world figured out. He meets a supermodel (Leeanna Walsman) who likes her men a little too smooth. Dave spots an ad in a magazine for a book entitled “The Meaning of Life”. He can’t believe his luck that it’s only $9.99.

Other people in the complex are looking for a little meaning. Albert (Barry Otto) is a pleasant elderly man of faith who hasn’t traveled much since his wife passed. An angel (Geoffrey Rush) shows up at his door, but he looks an awful lot like that homeless man who shot himself. Zack (Jamie Katsamatsas) is a young boy who has his heart set on a soccer-playing action figure, but he starts taking a shine to his piggy bank instead. Ron (Joel Edgerton) is reconnecting with his college boy image of himself after his wife Michelle (Claudia Karvan) moves out.

The film contains several humourously surreal moments that only animation can achieve. The rest of the time, Rosenthal draws us in with the realism of her characters and their neighbourhood. “$9.99″ plays religiously like an indie ensemble film in which the characters are all connected first and foremost by thematic ideas – in this case, the meaning of life and the worthlessness of money. Nobody wants to hear poor Dave talk about the discoveries he’s made, probably because they don’t want to hear that they’ve been doing this whole life thing all wrong.

“$9.99″ was the last of my six-pack. The results of the voting should be revealed as I type these words. The past few days have been an eye-opening experience, one that drove home the possibilities of animation to tell stories in wholly unique and interesting ways. Before the festival, I had been struck by how a film like Pixar’s “Up”, which has garnered a significantly larger following that most of the films competing at OIAF, had the capacity to deal with more adult themes while it told a story that kids could enjoy at the same time. I believe now more than ever that animation is not just kids’ stuff. More importantly, it’s some of the best work I’ve seen in a theatre all year.

Intolerable Cruelty (2003)
★★ / ★★★★

Joel Coen directs this story about a gold-digger (Catherine Zeta-Jones) and a divorce lawyer’s (George Clooney) mind games. The two seemingly like each other despite their bickering but it is really difficult to define their relationship because they always have something up their sleeves (sometimes with the aid of lucky coincidences). I did enjoy the first half of this picture because it was silly and it embraced its screwball nature. However, somewhere in the second half, I grew tired of it mainly because the once astute two lead characters became simple caricatures not worth liking. I kept trying to convince myself there was something more about them other than their scamming ways but I was disappointed that there wasn’t. I know that the Coen brothers have a proclivity for irony but there is such a thing as too much irony. This film is a fine example of the latter so it became convoluted instead of focused, smug instead of welcoming, unfunny instead of dryly funny. I did, however, enjoy the supporting actors such as Cedric the Entertainer, Edward Herrmann, Richard Jenkins, Billy Bob Thornton and Geoffrey Rush. But their presence alone did not save this heavy-handed movie about two bickering infantile adults who have nothing better to do than to make each other’s lives miserable. I liked Zeta-Jones and Clooney’s acting during the first half because it was easy to tell that they were having fun with their characters. However, in the second half, I believe they crossed the line between being funny and trying too hard to be funny but actually failing at it. In the end, I wondered what happened to the power the Coen brothers usually had in their films. But I suppose great directors have their failures as well. Don’t get me wrong, this is not a bad movie. It’s simply a mediocre product given the expectations that usually come in a Coen brothers picture. It was too quirky for its own good when it really should have been working on its substance.

Albert (voiced by Barry Otto) and Angel (voiced by Geoffrey Rush)

Based on a series of short stories about the meaning of life by Israeli writer Etgar Keret and featuring silicon puppets brought to life with stop-motion animation, $9.99 is a sort of animated, metaphysical Short Cuts. A homeless-man returns to earth as an angel, a slacker with girlfriend issues hangs out with his three miniature friends, a repossession officer dates a model who has a disturbing fetish and an unemployed 28-year-old discovers the answer to life in a mail-order book. All occurring within the same apartment block, these stories, and a few more, are skilfully weaved together by New York based writer/director Tatia Rosenthal.

$9.99 is an Israeli-Australian co-production so while the impressive local voice cast (including Geoffrey Rush, Anthony LaPaglia and Claudia Karvan) are Australian and while the script has been adapted to suit the Australian vernacular, the look, setting and themes of $9.99 don’t belong to any specific part of the world so are universal in their neutrality. The animation is unfortunately a little ugly, which distracts from the final product, but it does facilitate the blend of Magical Realism, macabre and whimsy that distinguish this curious film.

Originally appeared in The Big Issue, No. 338, 2009

© Thomas Caldwell, 2009

Read more reviews at MRQE

 Personaje histórico que dio origen al término sadismo sobre el cual no se esta de acuerdo todavía si era un desequilibrado o un genio, paso 30 años de su vida en cárceles y manicomios debido a los sucesivos escándalos pero tratado muy bien debido a su clase social; sino  como pensáis que pudo escribir tantas obras su habitación no era una típica celda. Detestado por su familia (sus hijos rehuían ponerse el titulo de Marqués de Sade) , realzado por la nueva sociedad incipiente francesa ansiosa por la libertad que de forma tan explícita ,en sus textos hay unas escenas extremadamente violentas y sexuales rodeadas de mucha perversión. Leí una biografía muy completita que me hizo indagar mucho mas sobre “el divino marqués”.Para haceros una minima idea tenéis Wikipedia o buscar este libro.  Tuvo varios desencuentros con la justicia pero aunque se piense con sus textos que es una especie de asesino de mujeres o que estaba loco, el mismo Sade lo deja muy claro en su libro “Ideas sobre la novela”:Nunca, repito, nunca pintaré el crimen bajo otros colores que los del infierno; quiero que se lo vea al desnudo, que se le tema, que se le deteste, y no conozco otra forma de lograrlo que mostrarlo con todo el horror que lo caracteriza.

Tras leer su biografia me fije en su bibliografía la cual muy extensa pero parte de ella durante su vida y tras su muerte  quemada por su avergonzada familia .Por ello hay que decir que sus novelas estan llenas de un caracter moralizantes(Sade no era un loco que solo buscara el poner al lector en situaciones repugnantes) con toques de humor e ironia.La obra que he leido es “Justine o los infortunios de la virtud” a grandes rasgos es la historia de dos hermanas que tras la muerte de su padre deben buscarse la vida:Julliete chica con poca conciencia que conseguira gran riqueza con asesinatos y mentiras mientras que Justine chica muy religiosa incapaz de hacer daño a nadie vivira de desgracia en desgracia durante 15 años, la historia es una clara historia sobre lo que ocurre al ser extremadamente buena en la vida.

Muchas filmografía hay sobre su obra especialmente porno aunque tambien de caracter mas comercial.Hollywood realizo Quills una historia sobre sus  ultimos años de vida en el manicomio de Charenton, sobre su rigor historico decir que me decepciono mucho ya que ni su muerte ni parte de las  historais del manicomio fueron reales solo sirven en la pelicula para darle mas espeectacularidad aunque no por ellos grandes papeles tuvo como los de Geoffrey Rush que hace del marques,Kate Elizabeth  que hace de Constance(aunque en la pelicula llamada Madeleine) criada del manicomio que fue inseparable del marques durante sus ultimos años era la que sacaba sus obras de la prision que soporto o gozo con sus excentricidades,Joaquin Phoenix hace de capellan de la prision que vive atormentado por el amor e intentando que los escritos del Marques no salieran de alli,Michael Caine hace de un medico de practicas muy crueles hacia los enfermos mentales que llega por orden de Napoleon a la prisión para controlar a mas de cerca al Marqués

Em entrevista à MTV dos EUA, Geoffrey Rush disse que está pronto para voltar a viver o Capitão Barbossa em Pirates of the Caribbean: On Stranger Tides, quarto filme da série Piratas do Caribe.

“Estou pronto para voltar. Eles estão esperando os roteiristas criarem algo que esteja além da trilogia, que leve a franquia a uma nova direção. Algo que seja novo e, esperamos, interessante para o público. Eles não querem simplesmente espremer a série e tirar um novo filme qualquer dali”, disse.

On Stranger Tides está sendo escrito pelos autores do original, Terry Rossio e Ted Elliot. O intuito da Walt Disney Pictures é começar a filmar em abril ou maio do ano que vem, para uma estreia em 2011. Resta saber, porém, se Johnny Depp retomará seu entusiasmo com o projeto

Little Bill Daggett: a villain unlike any other.

I’m a villain girl.

Yes, I know the history of cinema is filled with do-gooder types who rob from the rich, give to the poor, cuff up the bad guys and try, in their kind-hearted ways, to rid the world of wrongdoing. I even know that these men and women usually end up celebrating with pints while the other guys rot in prison cells or asylums or push up daisies. These characters, the good guys with honorable intentions and clean consciences, they have their shining moments.

But the villains? Well, the villains are way more interesting.

Twisty and edgy and scary, they do it for me. Always have. To be fair, though, who doesn’t love a great villain? There’s something about the vicarious thrill of watching the bad eggs do all the things we don’t have the guts to do. And the really crazy ones — the Norman Bates types, the killers and the maniacs — they fascinate us too. The dark side of human nature, the cobweb-covered hidden parts of the psyche, draw us in. 

So how’s about I initiate a little celebration of villainy (the good guys get enough press, if you ask me) with this list of 10 awesomely mean-spirited, wily and just plain evil villains:

1. Little Bill Daggett, “Unforgiven” — “You have never hated anyone in your entire life as much as you hate Gene Hackman in this movie” insists my friend Jason the Comedian, and damn if he isn’t right. There’s no villain more hateful than the amoral, swaggering, ruthless Little Bill Daggett in Clint Eastwood’s “Unforgiven.” He is the human embodiment of villainy, evil incarnate, and he eyes everyone he meets the way a lioness sizes up a limping gazelle. Emotions don’t concern him; people mean nothing; murder merits not a second thought. Bill’s stunning lack of humanity solidifies his spot as the meanest bad guy of all-time.

Col. Landa speaks softly, but he carries a big pipe.

2. Colonel Hans Landa, “Inglourious Basterds” – In the process of writing, directing and producing one of the best films of 2009, that brainy sicko genius Quentin Tarantino created Col. Hans Landa (Christoph Waltz), a smooth-talking Jew hunter possessed of probing intellect, unbelievable cunning and lacerating wit. This wily chap, who treats everything as a social experiment, takes such pure delight in seeking out and devouring weakness it’s impossible not to laugh along with him. Just don’t lie to him. Ever.

3. Max Cady, “Cape Fear” — What makes Max Cady (Robert Mitchum in ‘62, DeNiro in ‘91) such an iconic villain is his pure, unyielding relentlessness. Single-minded to the point of murder, he refuses to stop his mission to rain down a vengeance storm upon the lawyer who put him in prison. His determination — which leads to a most unsettling, nightmare-inducing car trip — makes him practically invincible. And everyone knows that there’s nothing scarier than evil you just can’t kill.

Disrespect Chigurh's bob at your own peril...

4. Anton Chigurh, “No Country for Old Men” — Before the Coen brothers’ eerily calm, otherworldly assassin Anton Chigurh strolled into our lives, we never had any reason to fear cattle guns, Buster Brown coiffures or coin tosses. Now we can’t pick stray pennies off the ground without shuddering. Writer Cormac McCarthy created this iconic figurehead of evil, but Javier Bardem brings him to wicked, freaky life in Oscar-worthy ways. Chigurh’s the kind of baddie you won’t soon forget.

5. The Joker (Heath Ledger), “The Dark Knight” — If it’s true there’s nothing scarier than a bad guy who refuses to die, it’s also true that nothing inspires a mean case of the wiggins like a villain who has no logical reason for anything he does. In his role as The Joker, the late Ledger went to dank, unsavory depths to create a character so raving mad he lights mountainous heaps of cash on fire and drives pencils in the craniums of hardened goodfellas. The Joker’s beyond reason, and that makes him one seriously terrifying mischief-maker.

6. Annie Wilkes, “Misery” – For some reason, the really frightening movie villains always seem to be male, or non-human, or both. Not so with Kathy Bates’ startling turn as disturbed psycho fan Annie, a character so creepy she probably lurks in the mind of every writer who hits the NY Times best-seller list. Bates makes us feel (figuratively and literally) the hammer blows of Annie’s rage. Then, in a flash, she turns sweet, accomodating and gentle … and that’s when the real chills come calling.

7. Keyser Soze, “The Usual Suspects” – Something tells me Bryan Singer had no idea the mysterious bad guy who wielded immeasurable power in 1995’s film noir hit would become such a pop-culture icon. After all, how can we fear a villain who has no face? It has everything to do with the “things you don’t see are scarier than the things you do” principle. The fact we don’t see him only heightens the anxiety. There’s not much more horrifying than a bad guy who’s everywhere and nowhere all at once. 

When Hopkins is done with you, you'll never drink Chianti again.

8. Dr. Hannibal Lecter, “The Silence of the Lambs” — No list of iconic evildoers would be complete without the name “Hannibal Lecter” on it, but that’s not why he merits inclusion. Lecter’s scare power, as played by Sir Anthony Hopkins, comes from his uncanny ability to read people’s darkest secrets and use them to get exactly what he wants (there’s a bit of Lecter in Col. Landa, it seems). That he’s also a cannibalistic serial killer is almost beside the point — he rips into human frailty like a plate of fava beans. How tasty and terrifying.

9. Casanova Frankenstein, “Mystery Men” — Sometimes villains don’t have to be scary to make a big impression on us. Nobody knows that better than Geoffrey Rush, who makes being bad look so effortlessly cool as Casanova Frankenstein, the glib, supersmart supervillain (he invented a cholorform-deploying portable enticement snare!) out for the blood of the dim Captain Amazing (Greg Kinnear). He’s witty, charming and deliciously mean-spirited. Who needs murder and mayhem, again?

10. Joan Crawford, “Mommie Dearest” — Moms, according to our collective human consciousness, are supposed to be kind, warm and comforting. So when a movie mom goes off the grid — in the all-noble way Faye Dunaway does in “Mommie Dearest” — it’s the stuff of paralyzing night terrors. Also, there’s a very good reason wire hangers have fallen out of fashion. Watch this movie if you’re screaming to know why.

Honorable mentions: Loren Visser (“Blood Simple”); Norman Bates (“Psycho”); Lester Long (“Clay Pigeons”); Commodus (“Gladiator”)

Primeiras informações sobre Piratas do Caribe começam a surgir.

Piratas do Caribe, uma das melhores trilogias lançadas pelos Estúdios Disney, já está com seu 4º filme em fase de produção e inclusive com nome e data de estreia já definidos, sendo assim os produtores começam a pensar nas histórias a serem desenvolvidas no filme. Uma das histórias mais cogitadas pelos sites de fofocas dava como certa a introdução de uma “fonte da juventude” como sendo o ponto principal de trama para o filme e uma nova informação veio a confirmar essas especulações.

 De acordo com o site Hollywood Elsewhere, um “amigo bem informado” dentro da equipe confidenciou que o Capitão Jack Sparrow (Johnny Depp) estará em busca dessa fonte ao lado do Capitão Barbossa (Geoffrey Rush) e que também o vilão do filme seria um personagem bem ao estilo do Capitão Nemo, líder do submarino em 20.000 Léguas Submarinas, e que possui uma tecnologia bastante inovadora para os padrões da época.

 Vale lembrar que tudo isso ainda não passam de rumores, mas já seriam informações bem mais satisfatórias para os fãs. Agora vamos aguardar o término do roteiro final, que está sendo escrito pela dupla Terry Rossio e Ted Elliot, para dessa forma começar as gravações entre os meses de abril e maio de 2010.

Posted by M.P