L’altra donna del re è un film del 2008, diretto da Justin Chadwick. E’ un adattamento cinematografico all’omonimo romanzo di Philippa Gregory.

Leggi altre notizie su: | Justin Chadwick | Natalie Portman | Scarlett Johansson | Eric Bana | Jim Sturgess

21 è un film del 2008 diretto da Robert Luketic. Il film è basato su una storia vera.

Leggi altre notizie su: | Robert Luketic | Jim Sturgess | Kevin Spacey | Kate Bosworth | Aaron Yoo

FIFTY DEAD MEN WALKING (Reino Unido – Canadá 2.008, 118 Minutos, Drama)
Dirección: Kari Skogland.
Guión: Kari Skogland; sobre el libro de Martin McGartland y Nicholas Davies.
Reparto: Jim Sturgess, Ben Kingsley, Kevin Zegers, Natalie Press, Rose McGowan, Tom Collins, William Houston.
Fotografía: Jonathan Freeman.
Música: Ben Mink.

Valoración: 7/10

Sinopsis: Martin es un joven irlandés que malvive trapicheando con mercancía robada. Su habilidad para moverse por los barrios en los que opera el IRA no pasa desapercibida para Fergus, un agente de la inteligencia británica que decide reclutarlo. Muy a su pesar y con la única intención de salvar vidas, Martin acepta la misión infiltrándose en la banda terrorista y pasando información sobre sus golpes a Fergus. Mientras su amistad con el agente se hace cada vez más cercana, Martin ascenderá dentro del IRA aumentando cada vez más el riesgo de ser descubierto por sus propios amigos.

Crítica: 50 Hombres Muertos es una truculenta historia ambientada en la ya de por sí sórdida guerra de Irlanda del Norte, una aún más sucia que las demás en la que ningún bando escatimó en crueldad para hacerse con una victoria que, como la historia ha demostrado, residía en el entendimiento y el diálogo y no en la represión o la bala en la nuca. Skogland, con un estilo dinámico y acertado visualmente, retrata la sociedad norirlandesa de la época a través de los ojos de Martin, interpretado por un notable Jim Sturgess. Martin, como dictan los cánones del género, es un infiltrado asqueado de sus correligionarios, de sus nuevos amos y de sí mismo. Tal vez este aspecto sea el menos interesante del conjunto, ya que aunque basada en las experiencias propias del protagonista, no escapa a algunos tópicos del subgénero ni logra la intensidad e impacto de algunas otras obras que han tratado el conflicto. El aspecto más comercial de la cinta, historia romántica de por medio, choca de lleno con otros episodios turbios que logran revolver tripas y conciencia hasta que, justo antes de llegar al límite, se lleva al espectador a terrenos más calmados. Siempre en la cuerda floja, Martin deja su vida en las manos de Fergus, un inquietante y manipulador Ben Kingsley por fin alejado de sus demasiado habituales “trabajos alimenticios”, que termina en parte por zamparse sin esfuerzo la película. La relación entre ambos, infiltrado y agente, estrecha pero peligrosa y marcada por sus propias lealtades, lleva continuamente la trama al límite, aunque una vez más sin revasarlo. Skogland, demasiado ambigua pero amparada en los hechos reales en los que se basa el guión, no escatima en mostrar la parte más negra, aterradora y sangrienta del conflicto, aderezándola eso sí con algunos tics propios del cine más comercial que restan legitimidad y autenticidad al conjunto pero sin dañarlo de forma insalvable ni hacerlo perder dignidad ni interés.

De tan buenos, genios y leyendas, Los Beatles a veces caen re gordos. Han pasado décadas y siguen estando en todos lados, continúan sacando discos con las mismas canciones de siempre pero en 5 mil versiones diferentes y por más que pasa el tiempo, la mejor canción del año siempre es Yesterday. No por nada Lennon se echó a media población mundial encima cuando afirmó que Los Beatles eran más famosos que Jesucristo. Y sí, por eso desde siempre han sido protagonistas de cientos de historias, existen películas que cuentan su vida desde todos los ángulos, covers de sus temas en todos los idiomas, un espectáculo de Circ Du Soleil inspirado en sus canciones y hasta en el radio existe, desde hace años, una hora dedicada al cuarteto de Liverpool. Pero es justo cuando ves el trabajo de Julie Taymor que recuerdas por qué John, Paul, Ringo y George son y seguirán siendo unas eminencias musicales.

La directora, que más bien se especiliza en escenografías de teatro, tuvo la grandiosa idea de crear un largometraje inspirado en el extenso repertorio de esta banda. Al contrario de lo que sucede con muchos películas en las que la música se convierte en el fondo o complemento, en esta cinta es el principal motor. Across the Universe no se trata de otra biografía del grupo, y su guión no descubre el hilo negro, de hecho es una tipica historia ambientada en los 60 que retrata la nostalgia de una éopca empañada por la guerra, pero suavizada por el idealismo del movimiento hippie. ¿A quién no le hubiera gustado estar ahí? Aunque pareciera éste un recurso muy choteado, no podría ser de otra manera y el tema principal, como lo dije, no es el guión sino su majestad la música y al mismo tiempo se trata de un caramelo visual.

Julie, la directora, tomó 33 temas de Los Beatles y con ellos nombró a los personajes, les dio un a vida, un lugar y una motivación. Jude, un obrero de Inglaterra viaja a Nueva York para encontrarse con todos los ideales de aquel tiempo: La guerra, el amor, las drogas… Lo que sucede ahí es lo que a muchos nos hubiera gustado hacer alguna vez: vivir en una comuna, no trabajar, protestar por la libertad y promulgar el amor y la paz.

La película abre con una escena de Jude cantando entre la bruma cerca del mar las primeras estrofas de Girl: “Is there anybody going to listen to my story…” A lo primero que me remitió fue a Ewan McGregor en la primera escenea de Moulin Rouge, el parecido con la voz de Jim Sturgess es impresionante (la de éste último un poco más refinada y entonada). Pero no se preocupen, las pelis no se parecen en nada. Es más bien como si estuvieras viendo un videoclip gigante de los Beatles con colores brillantes, camionetas floreadas y viajes psicodélicos. Y aunque para muchos se trata de un guión mediocre, cada aspecto estuvo perfectamente bien cuidado y documentado.

Así, muchos personajes de la película están basados y rinden homenaje a figuras características de los años 60, empezando por The Quarry Men, el grupo que fue la base de la fundación de The Beatles tocando en el Cavern Club de Liverpool, donde Jude baila con su novia. Los personajes de Sadie y Jojo están inspirados en Janis Joplin y Jimi Hendrix, respectivamente. El Dr. Robert y su grupo experimentan con el LSD y viajan en un autobús estrafalario desde California, exactamente igual que el grupo de gente llamado The Merry Pranksters (los Alegres Bromistas) que en los 60 predicaba la experiencia psicodélica por todo el país. De igual modo, el concierto que Sadie y su banda dan al final de la película en lo alto de un edificio es una alegoría del famoso concierto en la azotea de The Beatles, su última actuación en directo antes de la disolución del grupo, y que hasta la fecha ha servido de inspiración para gran cantidad de videos musicales de muchas bandas.

También aparecen unos Hare Krishna danzando en una escena y cantando el estribillo “Jai guru Deva, om” de la canción Across the universe.

Sin duda se trata de un experimento arriesgado, pero para todos aquellos que se jactan de ser melómanos y nostalgicos sesenteros, esta es una cinta obligada.

***De antemano me disculpo: Bono tiene una pequeña aparición en la película, pero nada de cuidado.

50 HOMBRES MUERTOS (estreno 13 de noviembre)

Género: Acción-Crimen
Producción: Canadá-Reino Unido
Director: Kari Skogland
Intérpretes: Ben Kingslay y Jim Sturgess

Sinopsis: 

50 hombres muertos está basada en la novela autobiográfica de Martin McGartland “Fifty dead men walking”, en la que relata sus experiencias como agente infiltrado en el IRA durante la época más sangrienta del conflicto irlandés. Belfast. Finales de los 80. Martin, un gamberro de los barrios dominados por el IRA, es testigo de la brutal  ejecución de un soldado. Gracias a ello, las autoridades británicas le convencen para que trabaje como informador. Fergus, su tutor en el MI5, se convierte en una figura paterna para él y le ofrece toda la protección que puede, pero Martin vive en un mundo de constante peligro, bajo la amenaza de ser descubierto, lo que le llevaría a la tortura y la muerte. Su información vital salva muchas vidas hasta que es descubierto. Las autoridades británicas se desentienden de él, y lo abandonan a una muerte segura. Fergus se enfrenta a un dilema personal, y finalmente rechaza aceptar lo inevitable: rompiendo todas las reglas sale al rescate de Martin…Más información.

Ar brīnišķīgo prātu apveltītais talantīgais misters Kempbels (Dž.Stērdžess) studē augstāko matemātiku un kopā ar diviem briļļainiem botāniķiem būvē necilvēkveidīgu un nekaujas robotu, ar kuru piedalīties konkursā. Kādu dienu teicamnieks atklāj, ka fakultātes dzīlēs atrodas telpas, kurā profesors Rosa (K.Speisijs) māca apdāvinātākajiem studentiem kāršu skaitīšanas principus blekdžekā, kas ļautu piejāt viskrutāko kazino. Kempbels tā kā pretojas kārdinājumam, taču kad koledžas triecienblondīne Džila (K.Bosvorta), kura arī ir bandā, mūsu galveno varoni aplaimo ar zemāko instinktu pavadiņu un uzpurni, robots tiek aizmirsts, un jaunais ģēnijs padevīgi sāk strādāt pie Lasvegasas galdiem. To visu kazino monitoros vēro pieredzējušais tumšādainais ornitologs Viljamss (L.Fišbērns) – žaketes kabatā iekrātā desmit gredzenu kolekcija labi palīdz pārrunās ar dabas nemīlētājiem. Ar ko viss beidzas, domāju, nav jāstāsta. Taču interesanti arī ne pārāk.

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“la gente è preda delle emozioni, a te non deve succedere”

Un magistrale, ancora una volta, Kevin Spacey insieme a ottimi giovani attori (Jim Sturgess, Kate Bosworth, Aaron Yoo) ci portano nel mondo del Black Jack. A Las Vegas. Nell’incantato e periglioso universo del gioco d’azzardo. Vincere una grossa somma al gioco d’azzardo, una somma che ci permetta di assestarci economicamente, è un po’ il sogno di tutti noi. Ed era anche il sogno di Ben Campbell.

Ben Campbell ha, guarda caso, solo 21 anni. E’ uno studente modello. Più che modello, è un genietto della matematica, un nerd vecchio stile si potrebbe definire. Il suo sogno non è la matematica; il suo sogno è la facoltà di Medicina di Harvard. Per pagarsi Harvard, tuttavia, ha bisogno di 300mila dollari. E il lavoretto in un negozio di vestiti a otto dollari l’ora non lo aiuterà di certo. Grazie alle sue doti viene notato dall’avido Professor Mickey Rosa. E viene in contatto con un gruppo di studenti che si dedica allo studio del Blackjack. Da quel giorno in poi la vita dell’impacciato studente di Boston cambierà radicalmente. Lo scenario si sposta da Boston a Las Vegas, la patria dell’azzardo in ogni senso. Qua non c’entra nulla la fortuna. Qua è tutto calcolo.

Il gruppo, composto da cinque studenti più il professor Rosa, si propone di studiare il Blackjack attraverso un complicato sistema di conteggio delle carte che permetterà loro di sbancare i tavoli delle sale da gioco. Il sogno di tutti. Sapere di investire i soldi in un gioco sicuro. Vincere grazie alla matematica. In realtà, così si dice nel film, non è neanche illegale il sistema suddetto. Si tratta “semplicemente” di un calcolo statistico e di probabilità applicato al mazzo da 56 e… “21 vittoria, Grande baldoria!”.

Il giovane Ben non immaginava così la sua vita. La immaginava a inseguire la vittoria in un concorso sulla robotica, a studiare anatomia e chimica organica. Non immaginava di trovarsi in poche settimane in uno strip club di lusso con in tasca centinaia di migliaia di dollari e sotto le coperte della più carina del College Jill Taylor. Tutto semplice. Tutto grazie alla matematica. E c’è chi diceva che era inutile. Purtroppo, il cambio radicale di vita non è sempre rose e fiori, specie in un film. I vecchi amici si perdono, il gioco d’azzardo ti prende più del dovuto, e qualcuno si accorge che stai usando il calcolo. In questo mondo frenetico dove ogni secondo vale migliaia di dollari, basta un attimo per rovinarsi.

Buffo pensare che si tratti di una storia vera. Qualcuno, davvero, è riuscito a entrare nel mondo del calcolo applicato al gioco d’azzardo. Gioco d’azzardo che diviene, quindi un calcolo. Vincere grazie a un calcolo. Tutto tradotto in un film senza troppe pretese, piacevole, che ti tiene a tratti incollato allo schermo. Abilmente diretto da un regista dinamico, un’ottima colonna sonora, e uno straordinario Kevin Spacey, che come cattivo rende sempre benissimo.

Un film per chi crede solo nel caso. Per chi si affida troppo alla fortuna. Per chi vuol sognare. Anche solo per 138 minuti.

Good morning (“I’ve got nothing to say but it’s O.K./Good morning, good morning”)

We’ve got Beatles lyrics running through our heads, from the lovely (“Blackbird singing in the dead of night/Take these broken wings and learn to fly”) to the secretive (“Everybody’s got something to hide except for me and my monkey”) and the zen (“I am he/As you are he/As you are me/ And we are all together”) and the nihilistic (“He’s a real Nowhere Man/sitting in his Nowhere Land/Making all his Nowhere plans for nobody…”) and the environmental (“Born a poor young country boy/Mother Nature’s son/All day long I’m sitting singing songs for everyone…”) and we could go on all day.

Last week we asked for your favorite obscure Beatles music and we got several requests.  We’ll get to as many of those as possible and we guarantee you will hear some things you’ve never heard before.  We’ve noticed that the Great River Radio Confluence segment is starting to converge from week to week – like a river of musical ideas with lots of little streams of creativity flowing into it – as we move from birds to Beatles, things are really starting to get connected. And one other hint of things to anticipate: Mae West.

Besides the Beatles, we’ll have a set of songs from Iowa, new music from Molina and Johnson, Vampire Weekend, Air, and Tegan and Sara. We’ve got something you haven’t heard from Bat For Lashes and remixes from Phoenix and Au Revoir Simone. We’ve got a request going out to Brooklyn listeners and a nod to one of the greatest records of all time, released 50 years ago last August.

Remember, you can listen to the recorded show in its entirety at any time following the live broadcast via this Website – just click on the “Play” button below the title of the post.

Catch the show live here: http://www.kustradio.com
iChat/AIM: kustradio

Next week’s “Confluence” assignment: teachers.  We’ve been around them all our lives, formally and informally. We love them, and sometimes we don’t love them. They change our lives, they form us.  But how have they inspired songs? Think, now.  And send us your ideas – songs you associate with the teachers in your life and experience.  We’ll take your requests via email or at the website.

For now, please join us this afternoon from 4:00 to 6:00 or later this week online for another installment of Great River Radio, now in its fourth season.

Brian/Dan

Playlist
You Fell in the River-Ben Connelly
Year of the Ox-Sufjan Stevens
Hell-Tegan and Sara
Horchata-Vampire Weekend
Twenty Cycles to the Ground-Molina and Johnson
Sing Sang Sung-Air
I Want You Back-Discovery
This Is My Favorite Cage-Joe Henry
And Your Bird Can Sing-Guadalcanal Diary
Blackbird-The Beatles
Mockingbirds-Grant Lee Buffalo
Something-Jim Sturgess
Thank You World-World Party
Grow Old With Me-Postal Service
Here There and Everywhere-Jake Shimabukuro
Sgt. Pepper’s Lonely Hearts Club Band-Jimi Hendrix
Daytripper-Mae West
Maybe-Ingrid Michaelson
Things That Scare Me-Neko Case
Shadows (Tanline remix) – Au Revoire Simone
Rome (Devendra Banhart remix)-Phoenix
Fever-Over The Rhine
Crash This Train-Joshua James
Dreams-Brandi Carlile
The Road Theme-Nick Cave and Warren Ellis
In My Mind I Was Talkin’ To Loretta-Pieta Brown
#80-Dave Olson
Freddie Freeloader-Miles Davis

Amb de la meitat de les pel·lícules previstes pel festival ja projectades, intentarem fer un recull de les que hem pogut veure en les jornades de dimarts, dimecres i dijous. Destaquem unes quantes:

KINATAY, de Brillante Mendoza (SOF Competició). Embolic fosc i avorrit.

La pel·li del millor director de Cannes ens ha semblat enrevessada, inintel·ligible en certs moments i fins i tot pesada. Motius? L’inici sembla una filmació d’estar per casa que sembla fer un estudi sociológic sobre el jovent filipí. Posteriorment, hi ha un segrest, sempre en càmera en mà, fet que provoca claustrofòbia i cert embolic. La trama queda prou clara, però la narració és ferragosa i pobra. La massacre es consuma després del segrest, i per molt que intentis veure una crítica social, el que veus és un exercici monòton i previsible sobre un segrest que acaba en una tortura cruel que ja veus venir. Fosca, incòmoda, tediosa i molt fluixa.

BRONSON, de Nicolas Winding Refn (NV Ficció). Magnètica però cansosa.

Contundent, hiperrealista, violenta, impactant…però exagerada en forma per molts motius. El pastitx kitsch del director britànic sobre el delinqüent Michael Peterson anomenat Charlie Bronson d’entrada promet, perquè explica la vida del perla basada en fets reals utilitzant un recurs narratiu a priori interessant: intercala situacions quotidianes de família i de baralles del protagonista amb una obra de teatre que ell mateix interpreta a modus de monòleg on el públic és l’espectador del cinema. Actúa al seu favor que el metratge es limita a 92 minuts i escaix, i que té alguns moments certament atractius, com la presentació del personatge, inclús com arriba a fer-se el pres més respectat, però finalment trobem que és excessiva, tant en forma, com comentàvem, com en la interpretació de Tom Hardy (Oliver Twist, Rocknrolla, i pròximament a Inception), que sí té mèrit, però acaba per esgotar.

IP MAN, de Wilson Yip (Orient Express-Casa Àsia). Arts marcials.

IP Man o Yip Man, fou el mestre de Bruce Lee. Amb aquesta dada un ja es pot imaginar quina és la trama d’aquesta pel·li d’acció del 2008 hongkonesa. El mestre en arts marcials Donnie Yeng, vist a Blade 2 i coreògraf de les escenes d’acció de Hero és el protagonista. El films s’inicia amb un Yip Man pacífic i que tothom admira pel seu art lluitant. Altres mestres el repten, i Yip Man, quan accepta lluitar, ho fa aporta tancada per no humiliar ningú. La pel·li dóna un gir amb la invasió japonesa. Yip Man ha de guanyar-se les garrofes a una fàbrica de carbó; el menjar escasseja per culpa de la guerra. El general Miura, un japonès obsessionat amb les arts marcials, repta a Yip Man en una lluita en la que està el joc l’orgull dels xinesos. Ben filmada, les coreografies són espectaculars; la història es fa molt amena, per tant, molt recomanble pels fans del cine de Bruce Lee.

THE HURT LOCKER, de Kathryn Bigelow (SOF Panorama British Focus). Antibel·licisme insubstancial.

La pel·li antibel·licista de Kathryn Bigelow té com a gràcia, precisament aquesta, la de ser una proposta que intenta denunciar la guerra, en concret la d’Irak. Un grup de soldats amb la missió de desactivar bombes es troba en més d’un merder que poques vegades saben solucionar. La seva idiotesa els hi dificulta la seva tasca, permetent a l’espectador qüestionar lleugerament la intervenció militar, no només a Irak, sinó a tot arreu. Entre Black Hawk Derribado i Redacted, més propera a la primera, sense arribar ni tan sols al nivell acceptable d’entreteniment que tenia la pel·li de Ridley Scott.

HEARTLESS, de Philip Ridley (SOF Competició). Un thriller fosc i distret.

Nova pel·lícula del britànic Philip Ridley, autor de The Reflecting Skin i The Passion of Darkly Noon. Amant de temes sobre l’ocultisme, Ridley s’endinsa en un Londres fantasmal sacsejada per la violència de les bandes juvenils. Els personatges mostren la seva por davant d’un món apocalíptic, fent alguna reflexió sobre el sense sentit de la vida. Jim Sturgess és el protagonista d’aquest conte de por, interpretant a un jove fotògraf marcat per una taca a la cara. El seu pacte amb el diable en persona li neteja la cara i li ofereix l’oportunitat d’una nova vida, però a canvi haurà de treure el cor a una persona. Narrada de forma clàssica, la pel·li es podria entendre com una metàfora de la situació de cert caos en les grans ciutats, provocats per gent sense estímuls que són capaços de qualsevol cosa perquè la seva vida tingui sentit. Aquí Ridley juga amb la violència i amb les decisions que un ha de prendre per sentir-se persona. No obstant, la pel·li finalment no passa de ser un lleuger entreteniment, perquè s’atura innecessàriament en la incomprenssió d’ Sturgess davant del dia a dia; arriba un moment que la pel·li s’estanca en els problemes existencials de Jamie (Jim Sturgess), quan ja d’entrada queda clar que els fantasmes que veu com a integrants de la més temuda de les bandes juvenils són els que du a sobre i que no li permeten sentir-se viu. Al seu favor, direm que és prou entretinguda i la proposta és ben honesta.

9, de Shane Acker (SOF Panorama). Al nivell de la magnífica Wall-E.

Entenem el cinema com una possibilitat de donar un punt de vista sobre un tema i alhora entretenir. 9 és l’exemple perfecte. Pel·li animada on Tim Burton és co-productor, dirigida per Shane Acker, narra la lluita contra les màquines d’uns petits robots que viuen gràcies a que el seu inventor els hi va donar la seva ànima. Un món apocalíptic com el de Wall-E, però sense humans ni tan sols al cel de creuer, on les màquines han acabat amb tota la vida del planeta després de rebel·lar-se per culpa del mal ús que va fer una mena de Hitler en un passat pròxim. Els petits titelles de drap robotitzats s’atreveixen a posar en dubte la dictadura de la tecnologia, i defensar la vida i la llibertat. 9 és el protagonista; es diu nou, perquè senzillament és el ninot número 9, qui s’encarrega d’espavilar a número 1, un líder vell i poruc, i als altres ninots, amb la inestimable ajuda de 7, l’únic que no ha esta al costat de número 1 i sí s’ha dedicat a lluitar contra l’opressor, i de 3 i 4, dos ninots bessons que són com els historiadors de l’època. Finalment, tots units intentaran acabar amb la dinastia robòtica. Una animació magnífica, una trama divertida i amena, amb un rerefons que ja ha quedat prou clar, fan de 9 una pel·lícula de qualitat cinematogràfica indubtable a tots nivells.

ENTER THE VOID, de Gaspar Noé (SOF Competició). Banalitat màxima i extrema.

Palla mental de Gaspar Noé, i així ho entenem per una de les seqüències finals on veiem un penis penetrant una vagina, com si la càmera estigués dins d’aquesta, fins que ejacula a la cara de l’espectador. “He volgut fer una pel·li que parla del més enllà, de com et sents quan et prens un tripi”. Aquest és el discurs del Sr. Noé, segons ha indicat avui mateix a la roda de premsa; si vol saber-ho, que es faci addicte al tripi, però que no malgasti diners ni faci perdre el temps. El que hem vist és un cúmul de despropòsits, com una narració estúpida on la càmera girava 360º sovint perquè sí, on uns personatges estúpids lluitaven per viure i deien tenir un objectiu a la vida mentre es col·locaven durant tot el dia, vivien de nit i no feien res més que ficar-se en embolics i dir tonteries. El tralalarisme fet cinema, perquè una pel·lícula sense punt de vista, amb trama i personatges estúpids i canvis en el narrador continuus, seqüències ridícules com el plans aeris que Noé considerarà impactants i no són més que pura parafernàlia anestesiadora, situacions tan tontes com la d’una protagonista fornicant amb una amiga després de que la poli pelés injustament al seu germà per camell i de patir un avortament, atempta contra la intel·ligència i el cinema. En definitiva, exercici inútil sobre gent, evidentment guapos, a la moda i amb la paraula snob tatuada al front, que es pren la vida amb insultant estupidesa, i que després es queixen del món en el que viuen i de sentir-se maltractats. Per agreujar-ho encara més, el to pedant i pretenciós ho feia tant grotesc, que només se m’acut dir que el valor cinematogràfic de Enter The Void és el mateix que el de Torrente o Resacón en Las Vegas. Sembla una pel·li de Ben Stiller fent una pel·li enfotent-se de Peter Greenaway, amb la diferència que a Enter The Void rius però per no plorar. Parlant més seriosament del que ens permet fer-ho d’una broma com Enter The Void, li diríem a Gaspar Noé que pel·lis sobre drogues bones ja n’hi ha, com Miedo y Asco en Las Vegas, El Hombre Del Brazo de Oro o inlús Requiem for a Dream…i sobre objectius a la vida, doncs miraríem per exemple, La Melodía de la Vida de Gregory La Cava, i com a innovacions cinematogràfiques, doncs apostaríem per Inland Empire. Com es recordarà Enter The Void d’aquí 40 anys? Per l’esquitxada de semen a la pantalla o pels estúpids diàlegs? O per les imatges d’ordinador d’una mena de teixits orgànics que se suposa que veu el protagonista (quan la càmera són els seus ulls), l’Òscar, quan es col·loca amb DMT? O recordarem els cinc minuts on la pantalla era com un flash gegant que encegava? I de provocativa, hipnòtica i psicodèlica, res de res. Un penis, unes llums no són provocadors ni psicodèlics. La proposta és banal i avorrida.

Splice (SOF Competició), Valhalla Rising (SOF Panorama), Morphia (NV Ficció) o Dorian Gray (SOF Competició) ens han deixat del tot freds. Splice de Vincenzo Natali és un film de série B que no acaba de rutllar, ja que la situació familiar dels dos protagonistes, Adrien Brody i Sarah Polley, amb la criatura que han creat, Dren, en el seu intent de crear una monster movie, finalment queda en res. A Valhalla Rising, veiem combats a mort ben filmats i res més en la Finlàndia del S. XI, però no hi ha història. Morphia narra les aventures d’un metge que arriba a un poblat i mica en mica es da addicte a la morfina i a les amputiacions, en un film fosc, on l’equlibri entre cine d’autor i cine blockbuster grinyola per totes bandes. I de Dorian Gray, direm que l’inici és prometedor, que els efectes especials, per qui li agradin, doncs són espectaculars, però que la pel·li avança i no aporta res a la magnífica història d’Oscar Wilde.

Avui, si tot va bé, veurem George A. Romero’s Survival of the Dead, Cold Souls i Accident. Ens ho estem passant d’allò més bé, el temps acompanya, excepte avui, l’organització immillorable, el tracte a premsa magnífic…aviam si avui encertem amb totes les pel·lícules.

I am not comfortable with the notion of gambling yet I love Vegas. I have never been yet and if I have enjoyed a movie, I really feel th urge to visit the city where it was shot. The bright lights, casinos, hotels, the colors, the excitement. I know I said I am not comfortable because well, I have two good reasons. One, I have an addictive personality – my addictions include rock n’ roll, movies,writing,coffee,cocktails,chocolate,dancing -and I am guessing if I like gambling half as much as I like the stuff I listed above, boy I’m in big trouble. And second, I don’t have much money. So the notion of the possibly of losing what little I have is well, alarming. But I really want to go to Vegas and go crazy for a couple of nights…Oh,yeah: we have 21 to blame.

I don’t want to go all emotional here but some movies hit closer to home. Of course 21 is not exactly a emotional movie. It has some emotional moments about the lead character Ben. But overall, it is based on the real life story of five MIT students who regularly went to Vegas, counted the cards and made some serious cash. I don’t know how much the movie sticks to the real story,but the storyline goes something like this:

Ben Campbell (Jim Sturgess)  is an excellent student.He is about to graduate from MIT with honors to continue to Harvard Medical School. Although his qualities are perfect, he has one gigantic problem: he doesn’t have the insane tuition amount. The fees add up to $300,000. His only chance to go to the school he has been accepted to is to get a scholarship.But the scholarship will only be granted to one student and it will all depend on the extraordinary essay he is going to write about his life- except there is nothing even remotely exciting about his life. All his life, he has worked hard and been the amazing student. But he makes one good impression on the one guy that he is going to change his life forever: his Professor Mickey (Kevin Spacey). Mickey is secretly managing a unique group of students from MIT. Together they practice on perfecting a team play. Mickey is reluctant to join them at first but ultimately he doesn’t have much choice. And then the time of his life begins. Luxurious hotel suits, pretending to be someone else every time they play, the thrill, the chemistry growing between him and his team player/his big crush Jill (Kate Bosworth), ludicrous shopping rounds, oh and a danger they are not noticing: the seasoned yet smart head of security Cole (Laurence Fisburne) .

Of course complications occur when he neglects his best friends, and he has a big fall out with his professor. The thing is Mickey doesn’t play nice when he thinks he is crossed…And yet that is exactly when the real adventure begins…

The movie has been directed by Robert Luketic who recently directed The Ugly Truth (2009). Despite having loved it, I have to stay this movie beats any other movie he has done. Rom-com is one of my favorite genres and Robert is good. But if you want to see him direct something more different and definitely more intriguing, watch 21.

We all need money to make our dreams come true. And I need a similar amount of money-at least- to start my own dream school program. The idea to try your hand in Vegas when all else fails makes sense. But then again, I am no math genius, I don’t go to MIT and I can’t count cards. Not to mention, I am not a fan of the Vegas’ casinos’ security systems and the measures taken when you get caught. Of course my knowledge on the subject is based on what Hollywood tells me, yet somehow I am not inspired to challenge that…

Watch 21. It is fun.It is exciting. It makes your fantasies come alive through a character you can easily identify yourself with. I might be neither able nor willing to cheat, but that doesn’t mean I don’t want to play.

for the trailer: http://www.youtube.com/watch?v=ZRzZX2aN3I0

I have watched a few movies recently and thought that the actor in it has a fantastic career ahead of them so decided to make a top 10 list of those actors. With a few reasons why  I think they will keep progressing and go on to do great things (potentially), from the movies I have seen them in. I decided to define the young actor, as an actor under the age of 30.

10. Robert Pattinson

Age: 23

 Will Robert ever be able to get away from Edward Cullen? Its going to be a massive task especially as the Twilight series is still going to go on for another two installments after New Moon is released in November. I am sure only time will tell as Robert gets older and depending on the choices of movies he makes.

9. Shia Labeouf

Age: 23

Shia has already been touted the next big thing for a few years now and he still only 23 years old. With Transformers being a big box office hit, then going on to star in the sequel with Disturbia and Eagle Eye in between. He so far has seemed to go a bit more towards the action/thriller genre so will be interesting to see what he does in the next few years. He is currently filming Wall Street 2 which should be a different direction for him, I will very much look forward to seeing that one.

8. Channing Tatum

Age: 29

 First came to attention in Step Up and Shes the Man, he has headlined to films this year, G.I. Joe and Fighting (I am yet to see both of these) but I still think Channing has a lot of potential on the acting front. I really did totally fall in love with him in She’s the Man as he was just so lovely in it, especially as he was a footballer as well which kinda helped.

7. Freddie Highmore

Age: 17

 The youngest actor in the list who will soon have to attempt the difficult task of going from child star to actor. But if his young performances are anything to go by he has a very bright future. Staring with Johnny Depp twice in  Charlie and the Chocolate Factory and Finding Neverland. The later of which showed what a bright young talent he is.

6. Michael Cera

Age: 21

 The geeky cute guy you cannot help but like seems to be the type of character Michael plays, in Superbad and my favorite Juno. He really has that adorable edge down with his geekiness. I really do just think that there is something about Michael that is quite difficult to explain, he just seems to have a cute charm going on about him.

5. Ryan Gosling

Age: 28

Ryan already has received an Oscar nomination and been in some high profile movies with some big name actors and actresses including Anthony Hopkins in Fracture, Sandra Bullock in Murder by Numbers. His most well known performance so far has to be as Noah in The Notebook. Ryan just has to keep building after being nominated for an Oscar for his role in Half Nelson. He does not seem to want to stay “mainstream” and took on a tricky role in Lars and the Real Girl. So hopefully he will keep selecting interesting films which call for him to put in a good performance.

4. Ben Barnes

Age: 28

 Recently came to my attention in a massive way with his performance in Dorian Gray. I thought he was just fantastic heading the movie, which while it was not the best thing ever made he still made a very good impression as an actor. I then caught him as Prince Caspin in Chronicles of Narnia and was more impressed. I cannot wait to see more from Ben and catch up on already released movies such as Easy Virtue. Now Ben would seem to have his career in his own hands and could do many different roles from what he has done so far.

3. Zac Efron

Age: 21

 Zac has to be one of the most well known young actors and he is still on 21 years old, all down to the High School Musical franchise. But he has branched out recently starring in 17 Again and has some very different projects in the works away from High School Musical and even musicals in general as he also starred in Hairspray. He dropped out of the remake of Footloose a few months ago in order to change the direction he is going in. So if Zac can change his path and get more serious roles under his belt to help show that he can do different things. He has even stated himself that he wants to move away from the teen heart throb and do more serious roles. Hopefully we will see that from Zac as it is going to be so difficult for him to do this.

2. Joseph Gordon-Levitt

Age: 28

 A former child star who is really starting to make his mark in the past few years. I remember first seeing him in 10 Things I Hate About You and thinking he was very good in that movie. However more recently catching him in 500 Days of Summer really made me think WOW he has something very special and so much potential to do great things in film. I definitely think Joseph can go in many different directions now and I hope that he continues to do movies that I enjoy to watch for different reasons.

1. Jim Sturgess

Age: 28

 Probably a big surprise to be at the top of my list, I have only seen him in two movies as well but was so blown away by him I think he could pretty much do any different roles. The first film I saw him in was Across the Universe which I just found incredible and Jim was fantastic in it. Not long after that I watched 21 and thought he was brilliant in that as well starring opposite Kevin Spacey. I am trying to catch up on movies Jim has already done which I have missed and look forward to what he is going to come up with in the future. He is definitely an actor I am going to be keeping a very close eye on.

Across the Universe | Julie Taymor, 2007

Upon its release, Julie Taymor’s Across the Universe divided the few people who saw it right down the middle. Some saw it as a desecration of something that many people hold dear and that changed the music world, and therefore everyone that was involved in the production must be killed. Others saw it as a creative and imaginative attempt to make todays audiences realize how similar the 60s were today using music that is universally loved and understood by people of all ages. From the first time I saw it I knew that I would fall in the latter category.

Across the Universe is the story of Jude (Jim Sturgess), an Irish man who travels to the United States to look for his dad. Once he get that out of the way, he meets Max (Joe Anderson), a college student who does not belong there. They become friends and Max introduces Jude to his sister Lucy (Evan Rachel Wood). From there on, Max and Jude move on to New York and live with a handful of colorful characters, and also live in the middle of all the protests that arose because of the Vietnam war and soon Jude and Co. would be part of the movement.

As I said before, I loved this movie. It oozes creativity. This all thanks to Julie Taymor’s work. Every musical is inventive and entertaining. This is the best directed musical since Baz Luhrman’s Moulin Rouge!, another extremely divisive movie. To help with the visual greatness is Bruno Delbonnel’s cinematography. The art direction, make up, costumes, and visual effects are also used to great effect to create a dreamy, yet realistic version of the 60s.

Then there are the performances. Most of the performances are fine. Sturgess, Wood, and Anderson do a good job of carrying the film. There are others that were not quite as good, but worked within the context (I’m looking at you Bono).

Finally, the music. I’m no Beattles fanatic, but I do like their music and undertand their cultural importance. I guess that for this reason I find the covers here to be rather great. Every actor in the movie had a nice enough voice and bring their own personality to the performances, which was absoulutely necessary. Props to Elliot Godenthal for his arrangements.

Across the Universe is a great movie. It was always going to be a divisive movie even if the original arrangements had been used. The cast is good enough to carry the film and make it relatable, and Julie Taymor makes that world believable despite all the trippy imagery.

Twenty One

That is fantastic!

Release Date: March 28, 2008
Studio: Columbia Pictures (Sony)
Director: Robert Luketic
Screenwriter: Peter Steinfeld, Allan Loeb
Starring: Jim Sturgess, Kate Bosworth, Laurence Fishburne, Kevin Spacey, Liza Lapira, Josh Gad, Aaron Yoo, Sam Golzari
Genre: Drama
MPAA Rating: PG-13 (for some violence, and sexual content including partial nudity)
Official Website: 21-movie.com
Review: 6/10 rating
DVD Review: Not Available
DVD: DVD | Blu-ray Disc | DVD (2-Disc Deluxe Edition)
Movie Poster: View here
Production Stills: View here

Plot Summary: Columbia Pictures’ high stakes action adventure “21″ is inspired by the true story of the very brightest young minds in the country – and how they took Vegas for millions.

Ben Campbell (Jim Sturgess) is a shy, brilliant M.I.T. student who – needing to pay school tuition – finds the answers in the cards. He is recruited to join a group of the school’s most gifted students that heads to Vegas every weekend armed with fake identities and the know-how to turn the odds at blackjack in their favor. With unorthodox math professor and stats genius Micky Rosa (Kevin Spacey) leading the way, they’ve cracked the code. By counting cards and employing an intricate system of signals, the team can beat the casinos big time. Seduced by the money, the Vegas lifestyle, and by his smart and sexy teammate, Jill Taylor (Kate Bosworth), Ben begins to push the limits. Though counting cards isn’t illegal, the stakes are high, and the challenge becomes not only keeping the numbers straight, but staying one step ahead of the casinos’ menacing enforcer: Cole Williams (Laurence Fishburne).

Trailer (11.16.07):
QuickTime/Flash Player, Various

International Trailer (1.29.08):
QuickTime, Hi-Res
QuickTime, Med-Res
QuickTime, Lo-Res
Windows Media Player, Hi-Res
Windows Media Player, Med-Res
Windows Media Player, Lo-Res

Behind-the-Scenes Clip (2.7.08):
Flash Player (click ‘Videos’)

Clip 1 (3.11.08):
Flash Player

Clip 2 (3.11.08):
Flash Player

3 Clips (3.11.08):
Flash Player, Various

Exclusive Video Interviews (3.25.08):
Flash Player

more information from WIKI following this link:

21 is a 2008 drama film from Columbia Pictures. It is directed by Australian director Robert Luketic and stars Jim Sturgess, Kevin Spacey, Jacob Pitts, Kate Bosworth, Laurence Fishburne, Aaron Yoo and Liza Lapira. The film is inspired by the true story of the MIT Blackjack Team as told in Bringing Down the House, the best-selling book by Ben Mezrich.

//

[edit] Plot

MIT senior math major Ben Campbell (Sturgess) is accepted into Harvard Medical School but cannot afford the $300,000 cost. Despite boasting a 44 MCAT score and a 4.0 GPA, Ben faces fierce competition for the prestigious Robinson Scholarship which would provide a “free ride” through medical school. He is told that he needs a way of “dazzling” Harvard in some way to stand out from the other extremely well-qualified applicants.

One day in math class, Professor Micky Rosa (Spacey) challenges Campbell with the Monty Hall problem, which Campbell solves successfully by using variable change and simple math. Seeing talent, Rosa invites Campbell to join his blackjack team, which consists of fellow students Choi (Yoo), Fisher (Pitts), Jill (Bosworth) and Kianna (Lapira). The system involves card counting, and the team—shepherded by Rosa—is split into two groups. “Spotters” play the minimum bet and keep track of the count. They send secret signals to the “big players,” who place large bets whenever the count at a table is favorable. Campbell is unsure at first, but decides to join the team, telling Rosa he is only doing so until he can pay for medical school.

Rosa takes the team to Las Vegas over many weekends; Campbell comes to enjoy his luxurious lifestyle there. His performance as a “big player” impresses Rosa, but Fisher becomes jealous at Campbell’s blackjack success. Rosa kicks a drunken Fisher off the team after he insults Campbell and incites a melee that requires the team to quickly “cash out” (using dancers from their usual strip-club meeting place) before the casino switches chips. Ben and Jill also develop a mutual attraction, which culminates in the pair having a sexual encounter in Jill’s suite. Meanwhile, security chief Cole Williams (Fishburne) and his sidekick Terry (McGee) monitors the blackjack team, particularly Campbell.

Campbell, distracted by blackjack, botches his part of a project for the 2.09 engineering competition, estranging him from his pre-blackjack friends. During the next trip to Vegas, an emotionally-distracted Campbell continues playing even after he is signaled to walk away, losing $200,000. An angry Rosa leaves the team and demands Campbell repay him for the loss. Campbell and his three remaining teammates agree to go into business for themselves. On their first attempt, however, Williams apprehends Campbell (having been anonymously tipped off by Rosa), physically assails him, then lets him go after giving him a death threat.

Upon his return to Boston, Campbell learns that he has been given an incomplete for one of his classes and therefore will not graduate, and worse, that his winnings have been stolen from his dorm room. He suspects that Rosa is behind everything but has no evidence. Campbell reconciles with his friends and Jill, and approaches Rosa with an offer: He and the team will hit Vegas for one more attempt before the last Strip casinos install biometric software that will quickly identify card counters, as long as Rosa — himself once a very successful “big player” — also plays.

Disguised, the team returns to the Planet Hollywood and win $640,000 before fleeing with their chips from Williams and his men. Campbell and Rosa split up, with Rosa taking the bag of chips. Rosa escapes with the intention of stealing the winnings, but finds his bag is full of chocolate coins and his limo is being driven by the casino manager.

The audience then learns that Williams had made a deal with Campbell after beating him up; Williams wants Rosa, who years earlier cost Williams a casino job by winning a seven-figure take in a single weekend through counting cards. Williams’ business since then has been in decline, as one casino after another opts for biometric software over his more personal approach. Williams will let Campbell come to Vegas for one last night to make a lot of money in exchange for giving him Rosa. Campbell’s pre-blackjack friends joined the team to help their friend. After capturing Rosa, Williams confronts Campbell and double-crosses him by demanding the bag of chips at gunpoint for his “retirement”. Aware that Ben plans on attending medical school to be a doctor, he assures the young man that everything will work out for him in the end. Ben hands the money over to Williams and leaves. Moments later, Rosa is tied to a chair where Williams greets him, informing the professor that he will turn him over to the IRS for evading taxes on his winnings. Ben and Jill return to the casino to regroup with their friends.

The movie closes with Campbell recounting the entire tale to a “dazzled” Harvard administrator.

[edit] Cast

• Jim Sturgess as Ben Campbell
• Kevin Spacey as Prof. Micky Rosa
• Kate Bosworth as Jill Taylor
• Aaron Yoo as Choi
• Liza Lapira as Kianna
• Jacob Pitts as Jimmy Fisher
• Laurence Fishburne as Cole Williams
• Jack McGee as Terry
• Josh Gad as Miles Connoly
• Sam Golzari as Cam Azazi
• Helen Carey as Ellen Campbell
• Jack Gilpin as Bob Phillips
• Spencer Garrett as Stemple
• Jeff Ma (as Jeffrey Ma) as Planet Hollywood Dealer Jeff

This is the third film in which Spacey and Bosworth have starred together. The first was Beyond the Sea, which Spacey directed, and the second was Superman Returns. This is also the second film that Bosworth and director Luketic have made together, the first being Win a Date with Tad Hamilton!.

[edit] Casting controversy

Controversy arose over the decision to make the majority of the characters white, even though the main players in the book Bringing Down the House, upon which the film 21 is based, were mainly Asian. Studio executives determined that “most of the film’s actors would be white, with perhaps an Asian female.”^[1]

Nick Rogers of The Enterprise wrote “The real-life students mostly were Asian-Americans, but 21 whitewashes its cast and disappointingly lumps its only major Asian actors (Aaron Yoo and Liza Lapira) into one-note designations as the team’s kleptomaniac and a slot-playing “loser.”^[2]

Supporters of the decision to cast Jim Sturgess as Ben Campbell claim that producers simply sought the best actor for the job, regardless of race. Ultimately, this meant passing over many Asian-American talents in favor of London-born Jim Sturgess, who required a dialect coach to speak with an American accent.^[3]

Jeff Ma, who was the real-life inspiration for the character Ben Campbell and served as a consultant on the film, was accused of being a “race traitor” on several blogs for not insisting that his character be Asian American. In response, Ma said, “I’m not sure they understand how little control I had in the movie-making process; I didn’t get to cast it.”^[4] Ma said that the controversy was “overblown” and that the important aspect is that a talented actor would portray him.^[5]

[edit] Filming

The movie began filming in March 2007.^[6] Principal filming of the Las Vegas scenes took place at the Planet Hollywood Resort and Casino in Las Vegas. Filming also took place at Harvard Medical School,^[7] Chinatown, People’s Republik in Cambridge, and the Christian Science Center in Boston, Massachusetts. As MIT did not allow filming on campus, the MIT school and dorm interiors, the gymnasium, and the alumni reception were all shot at Boston University.^[8]

[edit] Critical reception

21 received mostly negative reviews from critics. As of 9 September 2008, the review aggregator Rotten Tomatoes reported that 35% of critics gave the film positive reviews, based on 145 reviews.^[9] Metacritic reported the film had an average score of 48 out of 100, based on 28 reviews.^[10]

[edit] Box office performance

In its opening weekend, the film grossed $24,105,943 in 2,648 theaters in the United States and Canada, averaging $9,103 per venue and ranking #1 at the box office.^[11] The film was also the #1 film in its second weekend of release, losing just 36% of its audience, grossing $15,337,418, expanding to 2,653 theaters, and averaging $5,781 per venue. The film dropped to #3 in its third weekend, losing only 32% of its audience, grossing $10,470,173, expanding to 2,736 theaters, and averaging $3,827 per venue. It fell to #6 in its fourth weekend, losing 47% of its audience, grossing $5,520,362 expanding to 2,903 theaters and averaging $1,902 per venue.

By the end of its theatrical run, the movie grossed a total of $157,802,470 worldwide — $81,159,365 in the United States and Canada and $76,643,105 in other territories, against a budget estimated at only $35 million.^[12]

21 was released on DVD and Blu-ray in Region 1 on July 22, 2008.^[13]

[edit] Reaction from casinos

In preproduction, the producers and the book’s original writers predicted that the Vegas casinos would be unhelpful, as a film that told viewers the basics of card counting might hurt their bottom line. A featurette included with the DVD completely and accurately describes the “Hi-Lo” system used by the MIT Blackjack Club and by Rosa’s team in the movie.

In fact, the writers were surprised when told by the producers that MGM Studios would finance the film, though all “MGM” casinos (including one used by the real MIT Blackjack Team) are owned by MGM Mirage and are no longer related to MGM Studios. In reality, as another DVD featurette reveals, the casinos (including MGM Mirage) saw the movie as an attention-getter; people who saw the movie would be encouraged to go to Vegas and play, attempting to count cards, when in reality the movie withheld critical details (such as the conversion from the “base count” to a “true count”), and in any case, although the counting system is simple, it is more difficult to successfully make money at counting cards than the movie portrays.

[edit] Soundtrack

21
Soundtrack by Various Artists
Released	18 March 2008
Genre	Soundtrack
Label	Columbia
Professional reviews
Allmusic link

The soundtrack was released at the same time as the movie.^[14]

1. The Rolling Stones—”You Can’t Always Get What You Want” (Remixed by Soulwax) (6:07)
2. MGMT—”Time to Pretend” (Super Clean Version) (4:20)
3. LCD Soundsystem—”Big Ideas” (5:41)
4. D. Sardy featuring Liela Moss—”Giant” (3:42)
5. Amon Tobin—”Always” (3:38)
6. Peter Bjorn and John—”Young Folks” (4:37)
7. Junkie XL featuring Electrocute—”Mad Pursuit” (4:16)
8. Get Shakes—”Sister Self Doubt” (4:22)
9. The Aliens—”I Am The Unknown” (5:27)
10. Rihanna—”Shut Up And Drive” (3:34)
11. Knivez Out—”Alright” (3:31)
12. Domino—”Tropical Moonlight” (3:28)
13. Unkle—”Hold My Hand” (4:58)
14. Mark Ronson featuring Kasabian—”L.S.F. (Lost Souls Forever)” (3:32)
15. Broadcast—”Tender Buttons” (2:51)

[edit] Other tracks

• Although it is not included in the soundtrack, a remix of Moby’s “Slippin’ Away” plays in the scene when Ben is passing through airport security.^[15]
• The song “Everybody Get Dangerous” by Weezer was also featured in the film, but not included on the soundtrack since it was not yet released. It would later be released on Weezer’s new record, The Red Album. It is played on a distant radio when the team is in a poker club.
• The songs “I Want You to Want Me” by Cheap Trick and “Music is Happiness” by The Octopus Project were also featured in the movie but not on the soundtrack album.
• The song “Magnificent” by Estelle (feat. Kardinal Offishall) was also featured in the movie but not on the soundtrack album. It’s played approximately 58 minutes in, after the Weezer song, in the scene where Ben buys Jill a beer. It’s subtle, and has a reggae beat.
• In the trailers for the movie, “Break On Through (To the Other Side)” by The Doors was used.
• During the restaurant scene where the team explains to Ben how they work, “Home” by Great Northern can be heard playing in the background.
• The song “Again With The Subtitles” by Texas artist “Yppah” is another uncredited song in the film.
• The track played as the team makes off at the end of the film is “Rito a Los Angeles” by Giuseppe De Luca, which features part of the main riff of “In-A-Gadda-Da-Vida“. This track is also used in Ocean’s Twelve, the first sequel to the caper film Ocean’s Eleven, about actually robbing casinos in Vegas.

[edit] Notes

[edit] External links

• Official website
• 21 at the Internet Movie Database
• 21 at Rotten Tomatoes
• 21 at Metacritic
• 21 at Box Office Mojo
• 21 at Allmovie
• MIT Alumnus and Busting Vegas Author Describe Experience of Beating the House
• Photos of the filming of 21 near the campus of MIT: 1 2 3 4 5 6 7
• Official world wide release dates with links to different national sites

หลักการแรกเลยนะ – ถ้ากระโดดเข้าไปในวงไพ่แล้ว สามสิบนาทีผ่านไปคุณยังไม่รู้ว่าใครในวงเป็นหมู …… พึงรู้ไว้ซะว่าคุณนั่นแหละ กำลังเป็นหมูให้เขาเชือด…(จากหนังเรื่อง Rounder)

21 – เป็นหนังที่ผมรู้สึกชอบและสนุกดี บางอย่างในหนังอาจจะกระโดดไปบ้าง ไม่ค่อยลงตัวในหลายๆจุด แต่ผมชอบประเด็นและบทสรุปของหนังที่สื่อออกมา (แถมหนังเกี่ยวกับเซียนไพ่แบบนี้หายไปไม่รู้ตั้งนาน จึงพอหายคิดถึงได้บ้าง) 

หนังพูดถึงเรื่องของ เบน แคมแบล นักศึกษาหัวดีทางเลขและคำนวณระดับเกรด 4.00 ที่ต้องการจะเข้าเรียนหมอที่ฮาวาร์ท โอกาสได้ทุนน้อยมาก จะเรียนเองก็ยังขาดเงินอยู่ 3 แสนเหรียญ และเบนได้รู้จักกับ มิกกี้ โรซ่า อาจารย์สอนคณิตศาสตร์ที่ประทับใจเบนตั้งแต่แรกเห็นและชวนกันให้เข้ามาในทีม – ทีมคนเก่งเลขที่เขาจัดขึ้นสำหรับตั้งทีมคำนวณเลขและความน่าจะเป็น เพื่อไปเล่นแบล็คแจ๊คที่ลาสเวกัส

แบล็คแจ๊ค บ้านเราเรียกว่า ป๊อก 21 – คิดว่าคงพอรู้จักกัน แต่ของบ่อนฝรั่งจะต่างกับเมืองไทยคือมีแยกไพ่ได้ และมีเพิ่มเงินเดิมพันได้ (เรียกว่าดับเบิ้ล) และสามารถขอยอมแพ้ก่อนได้โดยเสียเงินที่วางไว้ครึ่งเดียว

ผมเองก็เฉียดๆจะเป็นเซียนเพราะเคยเล่นแบบนี้ตั้งแต่เด็กๆเล่นเอาสติ๊กเกอร์แทนเงินกับเพื่อน ดูเรื่องนี้แล้วก็นึกถึงตอนไปมั่วสุมกับพวกเซียนไพ่อยู่พักหนึ่งสมัยวัยรุ่น

มาเล่นกินเงินจริงๆตอน ม.ปลาย (แรกสุดก็เดิมพันกันตาละบาทถึง 5 บาท ) แต่ตอนเข้ากลุ่มเล่นเดิมพันเป็นเกมละร้อยน่ะตอนเรียนมหาลัย และใช้เงินซื้อชิปในบ่อนใหญ่ – เคยเล่นตั้งแต่ในห้องเรียน (ให้เพื่อนดูต้นทาง) / ห้องน้ำโรงเรียน / หอพักของเพื่อนฝูง / เพื่อนชวนเข้าบ่อนใหญ่ และ คาสิโนประเทศเพื่อนบ้าน (ล่าสุดคาสิโนที่อ่าวฮาลองที่เวียดนาม)

บ่อนและคาสิโนทุกๆทีมีกติกาเหมือนกันคือ ห้ามเอากล้องถ่ายรูปเข้าไปไม่ว่ากรณีใดใดทั้งสิ้น

จริงๆแล้ว ป๊อก 21 น่ะได้เสียไม่ถึงใจ – พวกผมลองหัดเล่นเป็นตั้งแต่ รัมมี่ /ป๊อกเด้ง 8-9 / ไพ่ตีแตก / เก้าเก – ทั้งหมดนี้พอป๋ารู้ก็ไม่ชอบใจเลย บอกว่าไม่ใช่เพราะไปริเล่นไพ่ (อันนั้นมีส่วนนิดๆ)  แต่ป๋าบ่นว่าพยายามสอนไพ่นกกระจอกให้แต่ไอ้ลูกคนนี้ไม่ยอมเรียน ดันไปหัดเล่นไพ่อื่น

ตอนเรียนมหาลัยส่วนใหญ่จะไปเล่นกันคอนโดเพื่อน ในห้องเล็กๆ รมไปด้วยควันบุหรี่ (จนผมต้องถอดเสื้อไว้ที่ระเบียงไม่งั้นกลิ่นจะติดเสื้อ) ไม่มีทางระบายเพราะต้องปิดหน้าต่างเก็บเสียง – ไม่มีใครสนใจอะไรทั้งนั้น – บางคนไม่สนแม้จะกินอาหารเย็น – พวกนี้สนกันแต่ตัวเลขบนไพ่แต่ใบที่จั่วกันได้เท่านั้น

ที่สำคัญคือไอ้ที่เล่นเสียก็เสียไป แต่ที่ได้มาน่ะ มันก็ไม่ได้เก็บเข้าพกเข้าห่อหรอกนะ ผมก็เห็นพวกมันเอาไปเที่ยวบ้าง ซื้อของใช้เสื้อผ้าแพงๆบ้าง ซื้อเหล้านอกมาดื่มบ้าง เรียกว่าเงินมาง่ายมันก็ไปง่าย  มันก็เป็นช่วงหนึ่งของชีวิตที่อยากลองอะไรให้มันมากที่สุด และทุกครั้งที่โดดลงวงไพ่ผมก็มีกติกาของตัวเองอยู่เสมอ

มุมกล้องนี้ดี พวกเขากำลังโปรยเงินที่เล่นได้

ในหนังเรื่อง 21 – เบนขาดเงินอยู่ 300000 เหรียญ ด้วยการวางแผนที่ดีจากมิคกี้และทีมงาน เขาสามารถทำเงินได้อย่างรวดเร็ว และก็เหมือนกับเงินที่ได้มาง่ายๆทั่วไป แม้ส่วนหนึ่งเขาจะเก็บไว้ได้ แต่อีกส่วนหนึ่งก็หมดไปกับของต่างๆที่ไม่จำเป็น ตั้งแต่เสื้อผ้าหรูหราไปจนถึงการเที่ยวคลับชั้นสูงอย่างพวกไฮโซ

หนังเดินเรื่องแบบ rise and fall – ค่อนเรื่องแรกทำให้เราเห็นแต่ด้านที่ดูง่ายๆ สบายๆ ของการนับไพ่และเล่นได้เงิน พวกเขาพักโรงแรมชั้นหนึ่ง / อาบแดด / แต่งตัวหรูหรา / ช๊อปปิ้ง / กินอาหารดีๆ / มีสาวๆล้อมรอบ – ก่อนหนังจะกระชากมาสู่ความจริงช่วงค่อนหลังเมื่อผีการพนันเข้าสิง เบนเริ่มลืมกติกาที่เขาและมิคกี้ตั้งเอาไว้และเสียไพ่จำนวนมหาศาล – เมื่อริจะทำงานเอง ก็ถูกจับได้ว่าเล่นนับไพ่ 

และหนังก็บอกกับผมและคนดูทุกๆคนว่า เมื่อทำพลาดและอวดดี มันก็มีราคาที่ต้องจ่ายคืนอย่างแพง และในวงการพนันก็ไม่มีคำว่ามิตรภาพและน้ำใจเท่ากับผลประโยชน์ต่างตอบแทน

หนังอ้างอิงจากเรื่องจริงที่เคยพิมพ์เป็นหนังสือเรื่อง Bringing Down the House ด้านการแสดงทำได้ดีนะ ทุกๆคนเล่นใช้ได้โดยเฉพาะ  Jim Sturgess ที่เล่นเป็นดารานำเกือบจะคนเดียวทั้งเรื่องก็ทำให้คนดูเชื่อในบุคลิก(โดยเฉพาะท่าทางฉลาดเฉลียว) และดาราประกอบอย่าง Kevin Spacey ก็เล่นเป็นมิกกี้ได้น่ากระทืบในความหลงตัวเองและไร้น้ำใจ แถม Laurence Fishburne มารับบทประกอบเล็กๆเป็นนักจับโกงไพ่คู่ปรับเก่าของมิกกี้

เวลาเล่นไพ่เขาให้ดูว่าใครหมูที่สุด แต่ถ้าดูไม่ออก ก็ต้องยิ่งเล่นให้ระมัดระวังมากๆ – กำหนดเงินไว้ชัดเจนแน่นอน ผมเองถ้าจะเล่นก็กันไว้เลยสมัยเรียนก็ 1 พัน สองพัน ว่ากันไป หมดเมื่อไรลุกเมื่อนั้น (ล่าสุดที่อ่าวฮาลองแลก 200 เหรียญ ตอนเลิกมี 240 กว่าเหรียญ) – แต่ก็นั้นแหละ ถึงเวลามันก็อดไม่ได้หมดแล้วยังขอยืมเพื่อนเล่นต่อก็มีครั้งสองครั้ง

sometimes people give in to their emotions – you will not  – มิกกี้ก็ตักเตือนเบนเอาไว้เช่นนี้ แต่ถึงเวลาบนโต๊ะพนันจริงๆ เบนก็คุมตัวเองเอาไว้ไม่อยู๋

วงไพ่แต่ละวงก็มีมารยาทต่างๆกัน แต่ในแวดวงพวกผม พวกเราจะตกลงกันว่าเวลาเล่นได้จะไม่ลุกจนกว่าคนอื่นๆจะเสียหมดและเลิกราไปเอง ทำให้บางทีไปจบเอาใกล้เวลาพระทำวัตรเช้าบ่อยๆ ผมเองเคยเป็นทั้งผู้ชนะ (ยอดกินเพื่อนๆสูงสุด 6000 บาท สมัยเรียนมหาลัย  และมันก็หมดไปง่ายๆอย่างที่บอก) คราวแพ้มีเสียบ้าง ถึงโดยรวมจะได้มากกว่าเสียก็เถอะ

ในหนังเบนเจอบทเรียนที่เจ็บปวดเมื่อหลงเข้าไปพัวพันกับการเล่นได้เสีย ถึงเงินได้มาจากมากในคราวแรก แต่เมื่อถึงจังหวะจะเสียที เขาโดนทั้งรุมซ้อมและเงินที่เก็บหามาก็หมดไปจนแทบจะไม่เหลือ

ตอนเริ่มเดินเข้าวง อาจจะแค่คิดว่าสนุกๆ หรือมั่นใจว่าตัวเองฉลาดกว่าผู้อื่น แต่ถึงที่สุดแล้ว การพนันไม่เคยจริงใจกับใคร ผมเองก็ไม่เคยเจอเพื่อนจริงๆในวงพนันเลย ทุกคนจ้องจะกินกันทั้งนั้น และผลกระทบที่ส่วนใหญ่เจอกันก็มีทั้งสอบไม่ผ่าน ต้องเอารถ เอาทองไปแอบขาย (บางคนยกทีวีไปขายเอามาเงินมาเล่นแก้ตัว) กลายเป็นคนมีแต่หนี้ ฯลฯ ยื่งริเดินเข้าวงใหญ่บ่อนใหญ่ ยิ่งหาทางกลับไม่เจอ

แต่ผมก็รู้สึกว่าเป็นอีกช่วงชีวิตที่สนุกดี และโชคดีที่ยังมีเพื่อนดีๆอีกหลายคนพยายามชวนออกมาเสีย ประกอบกับเห็นตัวอย่างความหายนะชัดเจนของหลายๆคน  หลังจากลองไปคบหาพวกเซียนไพ่แบบจริงๆจังๆราวๆ 6 เดือน เมื่อถึงเวลาผมก็เดินออกมาจากกลุ่ม เลิกเล่นแบบนั้นอีกเด็ดขาด – เอาเวลาไปทำกิจกรรมมหาลัยหรือไปดูหนังกับฟังเพลงตามเดิม

แต่ก็นั่นแหละ ยังเห็นคนที่เดินลึกเข้าไปเรื่อยๆก็มี บางคนไม่หยุดแค่วงไพ่ ไปต่อตู้สล๊อท ตู้ม้า เข้าบ่อนใหญ่เต็มตัว พวกนี้บางคนก็เรียนไม่จบ บางคนตอนนี้ก็แทบไม่มีอะไรเหลือ

ใจแข็งยังไง เซียนแค่ไหนก็เถอะ ผีพนันมันเข้าสิงเมื่อไรก็ลืมตัวกันง่ายๆทุกคนล่ะครับ

we ‘re counting cards – we ‘re not gambling – พวกเรานับไพ่กัน ไม่ใช่นักพนัน มิกกี้ก็บอกกับเบนอย่างนั้น แต่วงพนันก็คือนักพนัน เอาเข้าจริงๆมิกกี้ก็อดใจอะไรบางอย่างไม่ได้ และทำให้แผนย้อนเกล็ดเอาคืนของเบน (ที่วางไว้สองสามชั้น) ได้ผลเกินคุ้ม

หนังแตกต่างจากหนังสือเรื่อง Bringing Down the House พอสมควร (ในหนังสือรู้สึกว่าพวกเขาจะเลิกรากันไปเอง) หนังได้คำชมแบบกลางๆ แต่ผมว่าตัวผู้กำกับ Robert Luketic ก็เดินเรื่องได้สนุกดี ดูลุ้นไปได้เพลินๆไปจนจบ ที่เด่นสำหรับผมคือ ตัวบทที่ถึงเรื่องราวดูแปลกใหม่บางส่วนและก็มีประเด็นที่เข้าท่า และภาคการแสดงที่เลือกคนมาเล่นได้ดีทุกคน

หนังก็จบได้ค่อนข้างสวยและมีหักมุมเฉือนคมกันเล็กน้อยตามธรรมเนียม พอให้รำลึกถึงหนังทำนองนี้ และบทสรุปมันก็เหมือนกับที่ผมเคยประสบมากับตัวเองอยู่บ้างนะ

คือถึงเวลา คนที่จะเดินมาช่วยเหลือแก้ปัญหา ไม่ใช่คนในแวดวงพนันหรอก เป็นเพื่อนวงนอกที่คอยเป็นห่วงอยู่ห่างๆ….

ปล.ชื่อเอนทรี่เอามาจากชื่อหนังเกี่ยวกับเซียนไพ่สมัยก่อนน่ะ ไม่ได้คิดเอง ผมจำได้ว่าชอบชื่อหนังเรื่องนี้มากๆ ฮ่าฮ่า

Um dos melhores filmes que vi ultimamente. É um musical mas a banda sonora é do crl!