Tom Cruise era uno de los hombres más envidiados del mundo cuando se mostraba en público con su radiante pareja, la australiana Nicole Kidman. Durante años muchos creyeron en la simple suerte de acompañarse de una bellísima mujer.

Moulin Rouge, el musical de Baz Luhrman de 2001, fue tal vez el primer aviso de que la esbelta pelirroja no era tan sólo un rostro hermoso que encajaba bien en la estética del jet-set. Sus dotes histriónicas subrayaban el talento poco reconocido hasta entonces.

Tuvo el honor de acompañar a Cruise en el último largometraje de ese gran maestro del séptimo arte que fue Stanley Kubrick, Eyes Wide Shut, antes de llegar al famoso cabaret parisiense de la mano de Luhrman.

Ya luego confirmaría su calidad dramatúrgica con Las horas que le granjeó el Oscar, al cual había sido también nominada por Moulin Rouge, sin dudas el nuevo lanzamiento hacia la cumbre de la comedia musical y, por supuesto, del centro nocturno galo.

El Molino Rojo acaba de cumplir 120 años de existencia y además del regalo promocional que le hicieron Luhrman, Kidman, otros actores del nivel de Ewan McGregor y Jim Broadbent, y delirios musicales a partir de David Bowie, Sting y Elton John, fue siempre objeto del deseo del celuloide.

Ya el cine le había hecho otro inmenso favor al Moulin Rouge en abril de 1955 cuando el director Jean Renoir, célebre cineasta francés, hijo del pintor Pierre-Auguste Renoir, filmó French Cancan.

El séptimo arte reconocía desde entonces a tres figuras ilustres, la mexicana María Félix y los galos Jean Gabin y el maestro Renoir. El cancán adquiría dotes de baile folclórico en lugar de provocativo y vulgar como llegó a calificarse.

Antes de llegar a Nicole Kidman, se rodaron otras ocho películas alrededor del insigne templo del espectáculo con una versión bastante sonada en 1952, bajo la dirección de John Huston. Con José Ferrer y Zsa Zsa Gabor, merecedora de dos Oscar.

“El cancán y el Moulin Rouge tienen firmado un pacto invisible de amor eterno. La película de Renoir le quitó a este tipo de danza sus aires “fogosos” y el sello del baile de patadas altas quedó para siempre”, explica Antoine, uno de los guías del centro nocturno.

De hecho el cancán (vocablo que significa escándalo en francés) llegó a los salones de bailes de la clase obrera del barrio parisino de Montparnasse alrededor de 1830, aunque tenía la marca de danza recreativa durante las protestas de los trabajadores.

MENU CANCAN
Existen tres tipos de menú en el Moulin Rouge, para bolsillos adinerados y con toda la parafernalia que acompaña en Francia al simple acto de cenar. Desde las marcas de champagne, hasta la categoría de los chef, que con una estrella Michelin ya le pueden subir los precios hasta las estrellas.

Uno de los menú se llama Cancán, y es por cierto el más barato de todos, 150 euros. Luego sigue el Toulouse-Lautrec, a 165 euros, y finalmente el Belle Epoque, a 180 euros por persona. Todos acompañados de media botella de champagne y derecho al show, no faltaba más.

Del espectáculo, a fin de cuentas no se le puede quitar sus aires femeninos del pasado, con las mujeres en medio de las marchas populares y huelgas amenizando los ratos libres con el cancán o chahut, otra palabra gala que se traduce como ruido o alboroto.

Por cierto, uno de sus creadores, el catalán Joseph Oller, era propietario entonces del no menos afamado teatro Olympia de París, en una zona más chic de la urbe de los románticos.

La relación del cancán con el Moulin Rouge se hizo evidente poco después de la fundación del sitio el 6 de octubre de 1889, primero como salón de bailes que hizo alianza estrecha con el cancán.

El famoso compositor Jacques Offenbach es el autor de la pieza más conocida, el galop infernal de Orfeo en los Infiernos (1858). También es muy conocida La viuda alegre de Franz Lehár (1905). Después vino el musical Cancán (1954) de Cole Porter.

El Moulin Rouge está en Pigalle, la zona roja parisina de corte erótica y salpicada por la pornografía al pie de Montmartre. Sin embargo, el cabaret ubicado en el boulevard de Clichy parece el concierto supremo de la tolerancia.

C´est la France!
Por allí pasaron grandes de todos los tiempos y con mucho orgullo se mencionan a un cuarteto de ídolos franceses, Edith Piaff, Maurice Chevalier, Bourvil y Charles Aznavour. A los que se sumarían Liza Minelli, Elton John y Frank Sinatra (…).

Las chicas top-less se hicieron de un espacio vanguardista y provocador en la medida en que pasaron los años. Lo que en la actualidad es algo casi común en los más relevantes centros nocturnos del orbe, forma parte de la idiosincrasia del Molino Rojo.

“Cada noche vendemos el 97 por ciento de las entradas, con un promedio de 600 mil visitantes por año, que casi siempre abarrotan las 850 butacas del cabaret”, recuerda Antoine.

Los camerinos permiten descubrir pequeñas intimidades de 60 bailarinas que tienen escritos sus nombres (de 14 nacionalidades por lo general) entre plumas, lentejuelas y una verdadera legión de zapatos puntiagudos.

“Hay tres condiciones para ser una chica del Moulin Rouge: el físico (estatura promedio de 1,73 metros), dominio de la danza clásica y la adaptación al rigor del espectáculo, que exige gran resistencia física”, comenta la fuente.

Sin decirlo abiertamente es evidente que las muchachas responden a ciertos patrones de belleza, con largas piernas, esbelta figura y, naturalmente, senos perfectos.

El show por lo general dura de cuatro a cinco años (como el actual Féerie, a un costo de ocho millones de euros), el mismo tiempo que permanecen contratados bailarines y animadores, que luego cambian con un proceso de selección de casting internacional.

Participan 60 Doris Girls y 20 Doris Dancers, nombre de las bailarinas en honor a la fundadora de la compañía de danza, la alemana Doris Haug, que se dividen en dos categorías de espectáculos cada noche.

Joseph Oller y Charles Zidler fueron los creadores del lugar en 1889, que sufrió transformaciones en sus concepciones que al final redundaron en beneficio del emporio lúdico parisino a partir de 1958.

Entre tantos capítulos históricos a los ya mencionados se añaden estrellas como Ray Charles, Dean Martin, Ella Fitzgerald, Gipsy Kings, Jerry Lewis, Ginger Rogers, Yves Montand y Juliette Binoche, además de los intercambios con el Carnaval de Río de Janeiro.

This film was the bane of my existence driving me insane each time I saved it on the DVR only to find that my wife or child managed to burn me by deleting it. For nearly a year this film as proved elusive until one day about two months ago.

Of course I only just had the time to watch the film last night, and I was pleasantly surprised with the film’s visual imagery and the director’s overwhelming attempt to make a story that clung together. Sadly there was an overwhelming feeling that something was just plain missing, and the story was quite slow to unfold.

Still Nicole Kidman was looking yummy and when I realized that this was built up to be a trilogy I was quite happy (as trilogies have a tendancy to redeem themselves completely at somepoint during the story) that I’d get to see more of her character Mrs. Coulter. again.

The story focuses on the character Lyra who escapes from her Harry Potter-esque finishing school having been given the last of the Alethiometers in their world–The Golden Compass; a device which allows you to see the ‘truth’ through time by harnessing the power of  dust…this is vaguelly alluded to as being the very fabric that not only holds the universe together, but binds one world to the next (theirs being one, ours being another). Everyone in this world has a demon (their soul) that had taken an animal form and walks next to them. Children–such as Lyra–have demons that shape-shift because they are sensitive to the powers and influence of dust. The baddies in the film are known as the Magesterium. Their goal is to harness the power of the dust and take over the next world (one assumes it’s ours, but there’s really no obviousness the film). They’re secondary goal seems to be (and it really really isn’t explained in the film) to separate children from their demons in the hopes that they will no longer “suffer” from the influence of dust. The reality is (and one again it’s not really explained in the film) that the Magesterium doesn’t want anyone else to know about or learn about the dust such that they will be the only ones who will try to harness its power and attack/take over/destroy the next world.

As talk of dust and other such tomfoolery are banned in this world so is the discussion of Alethiometers. At the Magesterium’s request all of them were destroyed…the significance of the Alethiometer in the film is sorely missed (from what I understand from the books), and it’s really more of a play thing that gets used a couple of times as a deux ex machina to move the characters from one situation to the next–quite simply lining up impossibly disparate aspects of the story.

And finally there is Daniel Craig who brings his cool crisp no shitting around bond performance to Compass. He plays Lord Asriel who comes to Harry Potter University to ask for the support and funding of the academia so that he can travel to the North (one assumes the North Pole because there’s ice and snow) to find out why dust is flowing from the sky through a demon into a man who just stands there. He needs the funds because the location is far and he must travel alone. The HPU staff agree to fund him against the Magesterium’s wishes, and off he goes…we see him infrequently in the film, and while there are subtle etchings that his role has been played down either due to budget holes or the studio’s will his moments are memorable; but barely move the plot along.

Clearly something has been missed in the adaptation from the novel–a book I have yet to read, so I can’t even comment on the studio’s departure from the book; and I say studio because even the director Chris Weitz has said that he wanted the next two to be much more faithful to the books. Good on you mate. Too bad the studio cancelled the project due to gaps in the economy, and the film’s overall ability to perform in the box office despite a memorable video game.

Overall rating: Tepid.

IMDB: http://www.imdb.com/title/tt0385752/

Trailer: http://www.youtube.com/watch?v=2vMmf8YALbc

She’s always been one to keep her private life as private as possible, but in the latest issue of British GQ, Nicole Kidman opens up more than usual.

Dishing out the details, the “Australia” actress discusses all the different types of love that she’s experienced.

She says, “I’ve explored obsession. I’ve explored loss and love in terms of being in a grief-stricken place, I’ve explored strange sexual fetish stuff, I’ve explored the mundane aspect of marriage, and monogamy.”

However, when asked about her split with Tom Cruise, the 42-year-old went back to being tight lipped and said, “I want to honor that marriage for what it was, and there is nothing I would go into about that. I have never discussed the intricacies of it and I never will.

Kidman also told GQ that she set fire to her early diaries after marrying Keith Urban.

Antichrist, Lars von Trier’s latest atrocity, calls into question my absolutism about censorship. I oppose censorship absolutely, and I have always decried efforts to justify suppression of art and speech in the name of causes or sentiment.

I have followed von Trier’s career with some curiosity and interest because he makes visually arresting films that raise difficult questions.  I have no problem with that, nor do I mind the extreme formalism with which he raises uncomfortable reflections of the Human Self in the cultural mirror.  Taken alone, movies like Dancer in the Dark, breaking the Waves, or Dogville might seem interesting for the mirror he holds up to our fear and prejudices. Instead, I object to the unmistakable conclusion he has delivered over more than a decade of movies, and one which propels Antichrist to its grisly conclusion.

The implication von Trier populates several of his movies with can be phrased in three propositions, and they depend on each other to get his point across.

• The orderly society we depend on for income, happiness, ambulances, and artistic beauty represses Feminine sexuality fiercely and strictly.
• The moment people relax their grip and let women be honestly sexual beings, society crumbles, men misbehave, the Nature turns violent.
• Only death or exile of the women who dare to express themselves sexually will restore a benign state of Nature and society.

We have watched as von Trier immolates Emily Watson, Bjork, Nicole Kidman, and now Charlotte Gainsbourg on the funeral bier of his hatred for women.  We have watched as interviews emerge in which his female stars describe psychological bullying of the worst sort.  And we have flocked back to the box office for more.

I find myself MOST offended with the last point.  It wasn’t until Antichrist that I realized von trier has done one really clever thing each movie — through the tedium of Dogme 95 techniques, flashy but claustrophobic cinematography, and the sheer dreadful inevitability of his characters’ unraveling, he makes us, the audience, thoroughly complicit in his hatred of the women he depicts.

I have agreed with people wishing that the movie would end.  It was true of Watson’s repressed Scottish wife; it was all the more so of Bjork’s sad and blind death row prisoner.  We yearned for Nicole Kidman’s punishment in Dogville, and I heard more than one person mutter “would she die already, please” in the theater where I saw Antichrist. He sets up such an orgy of hatred for the women in his movies we cheer for their demise, literal or metaphorical.

Okay, so I would never back censorship of any movie.  That doesn’t mean I ever want to see another von Trier movie, and I wish I could inspire others to boycott him, as well. This director flagrantly demonstrates his violent loathing of over 53% of the population on Earth.  Do you wish to reward him for this loathsome and blatant hatred?

I know I don’t.

It drives me crazy when Hollywood hits Washington. I wish they would stay in their gated communities and play like zoo animals.

http://www.politico.com/click/stories/0910/kidman_stands_up_for_women.html

At times, I run into the possibility that I won’t finish a book for various reasons.  When starting the Human Stain, I was ready to be enlightened and see what awesomeness I could get from this award-winning novel.  It is also a movie, so I wanted to read the novel.  Alas, I could only get through about maybe half of the darn thing.  The reason behind this is because it’s an extremely tedious book to read and very, very, and-did-I-mention-very drawn out novel.  Too drawn out for me, it seems.  The only other author that has done this to me is Gabriel Garcia Marquez; the writer of “Love in the Time of Cholera”.  I get it; they are supposed to be literary masterpieces, but I don’t like stories that want to elaborate too much on some mundane thing that has nothing to do with the plot.  Jane Austen and the Bronte sisters are literary classics, but even now are not boring and beautifully written.

The story doesn’t even really speak to me.  I could care less about the story of an old and disillusioned retired college professor set at the height of Pres. Clinton’s impeachment.  (Yes, inappropriate jokes revolving around cigars, blue dresses, and alternate sexual positions are mentioned). Usually, I don’t like politically themed books; they bore me to death.  I’d much rather watch the news all day if I want to know more about politics. But because I’d heard such good things about it, I tried it.  So this is a review of the things I did and didn’t like.

Likes

1. The fact that the man stands up for himself. Kudos to “showing them” when you’re in your seventies and about to lose your job in the face of being in the midst of racial controversy.

Dislikes

1. The fact that he stood up for himself.  Yes, people, you read that right.  I like and dislike the same thing!  I’ll explain.  The way he handles the situation starts off with the right reactions and then turns him into an old and ridiculously bitter man.  He could have resolved this whole situation had he just told his coworkers that he’s half black, then that would have cleared lots of things up.  But he never does because he’s embarrassed by himself and his own wife and family don’t know because he’s hidden it all these years.
2. The college professor’s wife died because of all the madness that happens due to her husband’s crazy situation.
3. Then said professor, who’s 70-something, hooks up with a cleaning lady from the college, who is in her thirties.  He pretty much calls her dumb and that’s okay because they just want to have sex with lots of Viagra.  Not to mention she has a crazy ex-husband who stalks them.
4. The man telling the story has to wear man-panty liners because of a surgery he had.  It’s then explained how that is supposed to feel and how uncomfortable he was, etc. They had me at man-panty liners.  Oh and he lives in a cabin by himself somewhere.  Not really a character I want to get to know better.

Of half of the book, this is all I can make myself chat about.  It takes that long to progress through the story.  There were some parts were written nicely, but the majority is too drawn out and the plot is too slow for me.  It might be a great read for some, but for me, not at all.  At least I gave it a shot, but when you skim-read 8 pages and are still on the same topic, you might as well put it down.

I haven’t decided on the next book yet, but hopefully it won’t take quite as long for me to post!  Moral of the story: only read stories that interest you, otherwise you’ll be just wasting time.

Sixth time’s the charm for Kate Winslet – Perennial Oscar contender finally nabs a statue

By ADAM DAWTREY

Posted: Wed., Sep. 23, 2009, 4:12pm PT

Five-time Oscar bridesmaid Kate Winslet must have caught the bouquet when Helen Mirren flung it over her shoulder, because she finally got her turn at the altar this year.

Winslet is too young for her Academy Award to feel overdue, but with a total of six nominations by the tender age of 33, not to mention having co-starred in the biggest box office hit in history, the perennial contender’s career momentum and daring choices finally registered with Academy voters.

Yet winning the 2008 actress Oscar for “The Reader” wasn’t part of the plan. When she agreed to replace the pregnant Nicole Kidman in the role of Hanna Schmitz, it was on the understanding that filmmaker Stephen Daldry couldn’t possibly have his film ready for release until 2009, when “Revolutionary Road,” directed by her husband, Sam Mendes, was expected to be a heavy awards season favorite.

Schmitz was a new kind of role for Winslet, a woman old enough to have a past. Ever since her debut at 17 in “Heavenly Creatures,” Winslet has excelled at playing emotionally vulnerable young women. Her triumph with Schmitz was to peel back the tough skin and reveal the immature girl she used to be. Winslet does emotional nakedness like nobody else, often expressed through actual nudity. “I’m the kind of actress that absolutely believes in exposing myself,” she has said.

Her choice of roles is led by passion rather than career calculation. Now that she has an Oscar, she’s likely to be even more liberated. Who else would follow an Oscar by signing up for an HBO miniseries, “Mildred Pierce,” just as she followed “Titanic” with several small indie pics?

“There are so many emotions to play with when you’re playing somebody who’s difficult and complex and emotionally strung out and confused,” she told Variety in 2007, the year she won BAFTA’s Britannia Award for British actor of the year. “It just makes the job more exciting and challenging. I’m drawn to challenge really.”

IN A NUTSHELL

Job title: Actress

Mentors: Emma Thompson picked Winslet for the role of her younger sister in “Sense and Sensibility,” and Winslet has been visibly influenced by Thompson’s self-deprecating intelligence and down-to-earth manner ever since.

Career mantra: “There’s more to life than cheekbones.” (Rolling Stone, 1998)

Leisure pursuits: Spending time with family.

Philanthropic passion: Family Haven, a small English charity helping vulnerable families.

“Last Hope” by Andrew Kidman

sans conteste le meilleur film de soul surfing de ces dix dernières années.

Sant såg den för några år sedan . Jag måste köpa den för den är nog den mest underbara Filmen som Någonsin Skapats ! . Älskar all musik och allt . Den är helt omöjlig att inte gilla ! Med Nicole Kidman och Ewan McGregor . Handlar om en Hora som kommer till stan ( Nicole Kidman ) och en fattig poet blir kär i henne men hon har en kund vilket blir ett litet problem… Det utspelar sig i Paris vid slutet på 1800 talet . Utgiven år 2001 . Otroligt att sådana Skådespelare kan sjunga så bra! Min favorit låt är helt klart Elephant Love Medely . Sök på det och ladda ner och lyssna eller om du har spotify sök där . Den är helt obestrivligt bra och första gången kan man faktiskt fälla en tår nån gång . Gjorde jag i alla fall . REKOMMENDERAS TILL 10000000000%
Till alla !

Sigge

LOS ANGELES (Hollywood Reporter) – Baz Luhrmann’s untitled 1930s drama starring Russell Crowe and
Nicole Kidman, which was eyeing a September start date in Australia, has been pushed back to February because of scheduling conflicts and budget debates with 20th Century Fox, sources have confirmed.

Crowe is set to reunite with “Gladiator” director Ridley Scott in July on Universal’s “American Gangster,” and won’t be ready in time for Luhrmann’s project. The Universal film, which will shoot in New York, also stars Denzel Washington as a Harlem heroin druglord, while Crowe will play a New York City detective, a role originally set for Benicio Del Toro.

Kidman, meanwhile, began work this week on writer/director Noah Baumbach’s follow-up to “The Squid and the Whale.” Set in New York state, the untitled family drama co-stars Jack Black, and Jennifer Jason Leigh as Kidman’s sister. It is being produced by Paramount’s specialty division. Crowe and Kidman have been looking to work together since another Australian project, Fox Searchlight’s “Eucalyptus,” fell apart a year ago reportedly because of script concerns.

Luhrmann, who previously worked with Kidman in “Moulin Rouge,” had begun hiring crew on his ambitious $150 million Australian outback saga, but they are now free to seek other employment. Fox declined comment.

Crowe recently told the Sydney Morning Herald that he was still keen to do the Luhrmann film, and that the director was keeping him apprised of developments. “We talk … he is mysterious,” Crowe told the paper. “(But) it’s all good.”

news.yahoo.com

Mi è bastata la visione di un film (Australia) per dire:
“Uh! Ma chi è quest’attrice? Ride come la Parietti e poi anche come la Marini e ha gli stessi zigomi della Brigliadori, le stesse espressioni della Gruber…uh! Ma guarda un po’…è Nicole Kidman.
Sì, insomma, anche lei si è fumata il cervello e tutta l’originalità che aveva  è andata a farsi benedire.

Mi è bastata la visione distratta di un film di Truffaut (Effetto Notte) per dire: “Ah…guarda come erano belle le attrici, una volta. Tutte incantevoli, uniche, singolari, da innamorarsene”.

Da oggi non prenderò più in considerazione i film prodotti dagli anni novanta in poi.

Filmul cel mai asteptat al anului 2010? Rob Marshall va reuni in filmul de lungmetraj, ,,Nine”, crema actritelor de la Hollywood. Comedia muzicala va reprezenta povestea unui producator din anii ‘40, vanat de toate femeile care i-au marcat viata. Pe afis vor fii Daniel Day-Lewis inconjurat de Penelope Cruz, Marion Cotillard, Kate Hudson, Nicole Kidman, Sophia Loren si Judy Dench. Primele imagini din film sunt deja disponibile pe internet. In ceea ce priveste data aparitiei, aceasta nu a fost inca dezvaluita, ne informeaza elle.fr. ,,Putintica rabdare.”

Sinopse:

O filme de Luhrmann se passa no norte da Austrália, no período da Segunda Guerra Mundial, e foca uma aristocrata inglesa (Nicole Kidman) que herda uma fazenda de gado do tamanho do estado de Maryland. Quando os barões do gado tramam conquistar suas terras, ela relutantemente une forças com um homem áspero (Hugh Jackman) para guiar suas duas mil cabeças de gado através de milhares de quilômetros das terras do país, e enfrenta um bombardeio na cidade de Darwin pelas tropas japonesas, que haviam atacado Pearl Harbor alguns meses antes.

- Massa! Legal o filme! Recomendo!

- Assistido em 08/08/2009

2. Dünya Savaşı’nın hemen öncesinde geçen romantik bir macerada, kendisine miras kalan toprakları almak için gelen Lady Sarah, bölgenin yerlilerinden, sert mizaçlı ve kaba Drover ile aynı safta yer almak istemese de buna mecbur kalır. Bulundukları yerden çok uzakta olan topraklara varabilmek için yola çıktıktan sonra Darwin isimli şehrin Japon kuvvetleri tarafından bombalandığını öğrenirler. Zarif ve kaba; yerli ve şehirli; inat ve tutku, aşk ile savaş arasında incelikle örülmüş bu hikayeyi uzun süre unutamayacaksınız.

Igår var vi på Kontiki, jag har inte vart där sen jag spelade där när Kidman gjorde en spelning där, och om sanningen ska fram vet jag inte om jag gillar stället, det är så himla litet och trångt och svettigt och så luktar det konstigt. Efter det var det i alla fall Smaka där jag träffade världens finaste granne Klara och Hanna och Christians kusin Emanuel, killen med stans största gris tatuerad på magen. Christian tycker att vi ska gå på dejt, men jag känner mig något misstänksam till tatueringen. Kommer kännas konstigt när man ligger där nakna bredvid varandra o ska vara gulliga. Åååååh min lille gris, mitt svin, min lilla kulting. Nej, jag låter det vara så. Vi hade i alla fall två efterfester igår, först en på en stor terass o sen hos Göran, och en var det bara att spatsera hemåt. Då var klockan 7. Idag kanske Cazuma o jag åker till en ö, bor i lada och lyssnar på musik. Men det är inte säkert.

Upptäckte just ett skavsår i naveln, hur det nu kom sig.

Jag har försökt sola ryggen lite sen Jonas så snällt påpekade att jag var lite ojämnt solbränd. Vi får se hur det blir med det, jag tycket det är lite läskigt att ligga på mage, det är någon stor åder som liksom pulserar när jag ligger ner. Väldigt obehagligt.

Pyret har gått o lagt sig längst in i Rhodedendron och hon har grävt ner sig i någon jordhög, ska inte bli roligt att göra rent henne sen.

Nu ska jag öva lite på att prata så att det inte låter läst för det har Jocke berättat är viktigt för mig i framtiden om jag vill ta alla med storm under min jobbintervju. Och så ska jag kanske göra någonting att äta. Dock något annat är mackisar med ketchup.

Henrik (Henrik o jag skulle ta körkort ihop i Karlsborg för en herrans massa år sedan, han tog körkort, jag åker fortfarande kommunalt) frågade mig just hur gärna jag ville ha jobbet jag ska på intervju för. Efter mitt mycket uttömmande svar var han tyst.
“För allt i världen, jag hade dumpat min kille om jag hade någon, sålt min själ, prostituerat mig, flyttat till Bukarest
Typ så gärna”
Henrik själv pluggar i Skåne. Och ja pappa, jag ska fråga om han sett Prinsen.

Och så tänkte jag slutligen bjuda på en bild. Som plåster på såren så att säga. Nej hörrni, det blev ingen bild.

Nicole Kidman, Chris Cleave’in Little Bee romanından uyarlanacak filmde başrolü üstleniyor…

BBC Films, Chris Cleave’in Little Bee isimli romanının sinema haklarını satın aldı. Filmin başrolünü aynı zamanda yapımcı olarak da katkıda bulunacak olan Nicole Kidman üstleniyor. Filmin senaryosu Shawn Slovo tarafından yazılıyor.

Filmde Afrika’da bir plajda, İngiliz bir çift Nijeryalı bir kız ile tanışıyor. 16 yaşındaki Little Bee ile güvenli otellerinden uzakta gezinmekte olan çift arasındaki dostluk hepsinin hayatını değiştiriyor.

“It’s like having the biggest stars at your home everyday.”

Ostatnio byli panowie, więc dzisiaj panie:

7) Charlize Theron jako Aileen Wuornos w “Monster” – genialna charakteryzacja i dodatkowe kilogramy zdałyby się na nic, gdyby Charlize Theron nie miała wielkiego talentu. Sposób, w jaki się porusza, wymowa, spojrzenia, zaciskanie ust – ona się po prostu całkowicie przeistoczyła w tę postać. Wierzę, że całe życie czekała na rolę, w której jej uroda nie będzie mieć znaczenia. Re-we-la-cja.

Jodie Foster jako Nell w “Nell” – w jakimś wywiadzie Foster powiedziała, że granie Nell było dla niej bardzo naturalne i nie wymagało wysiłku. Ciekawe, zważywszy, że Nell to dzika dziewczyna, która mówi własnym językiem Brawa za odwagę.

9) Nicole Kidman jako Grace w “Innych” – być może rola Grace nie była tak wymagająca jak dwie powyższe, ale i tak kreacja Nicole zasługuje na wyróżnienie. Uważam, że wspaniale pokazała kogoś na wskroś zdenerwowanego. Jej nerwy nawet w spokojnych scenach udzielają się widzom. A na pewno mi

Quest’uomo, è un danese di 53 anni, si chiama Lars Von Trier ed è una di quelle anime tormentate che rendono grande l’Arte. Scava l’anima. Negli “Idioti”, senza paura affrontava il tema della demenza in tutte le sue sfaccettature, facendo una poesia unica in un film che è stato anche titolo omonimo di un mio spettacolo. “Dancer in the dark” è un musical in cui lui ha preso Bjork, ci ha fatto delle litigate tremende e l’ha fatta diventare un’interprete enorme e toccante. In “Dogville” ha chiuso Nicole Kidman e un cast strepitoso in un teatro disegnando le scene col gesso, perchè tanto bastava quello: un buon cast e il gesso per tracciare le scene. Un poeta d’altri livelli insomma.

Ieri sono andato al cinema con Ga’, Banana e Bananina (si, sono una coppia, Marco e Silvia, chiamati così dagli amici, non ci posso fare nulla) e abbiamo visto “Antichrist”, l’ultima fatica di Lars Von Trier, film che a Cannes ha fatto molto discutere, premiando Charlotte Gainsbourg come miglior attrice. Il film, manco a dirlo, era uno Spettacolo, ma il pubblico ha fatto l’altro spettacolo, perchè il regista è riuscito a trasformare la sala in un teatro in cui il pubblico si è sentito parte attiva dello show. Giocando con immagini e tematiche molto vicine alla gente (la morte, il cazzo, la figa,  il cazzo nella figa, la natura sempre in primo piano) è riuscito a rendere scomoda quella poltroncina del Warner Village che certe volte ha cullato i miei sogni di spettatore annoiato.

La gente era rumorosa, molesta perché molestata, ma attratta e turbata. E cosa c’è di meglio che turbare e attrarre un pubblico che si aspettava di vedere un film horror? Metà pubblico ha abbandonato la sala durante la proiezione, la metà che è rimasta era indignata dal fatto che c’era chi usciva e io prendevo nota del fatto che, come sempre, la gente ha paura dell’onestà artistica, di vedersi riflessa su un palcoscenico o nello schermo del cinema. All’inizio nella scena della doccia, il regista ha ripreso in primo piano la penetrazione, quasi a dire “qui si fa sul serio, si, stanno scopando”. Ed è sempre sulle viscere che ha fatto muovere la bravissima Charlotte Gainsbourg e il grande Willem Dafoe, immergendoli prima in un quotidiano pericoloso, poi nel selvaggio del diavolo. Primo piano dell’auto infibulazione, della masturbazione sanguigna, della carne viva e martoriata degli animali, della tortura, perché non ci sono alibi per nessuno: o si fa sul serio oppure meglio cambiare mestiere (sia per chi il film l’ha fatto che per chi l’ha visto).

Un pugno nello stomaco. Davvero. Di film così sinceri ce ne sono pochi

Ho lavorato con un artista simile a Lars Von Trier, uno che litiga tremendamente con gli attori ma li fa diventare enormi, uno che gioca (e gioca davvero con rispetto) con queste tematiche “vere” e fa scappare metà sala durante i suoi spettacoli, perché o lo ami o lo odi, non ci sono sfumature. Scuola danese anche lui, Odin Teatret, Pierfranco Zappareddu è una delle ultime voci in Sardegna di quell’Arte che chiama pane il pane e vino il vino. Bella esperienza lavorarci e rubare tutto ciò che c’era da rubare. Un percorso formativo di un paio d’anni, cinque spettacoli e tanti bei ricordi. Una vita fa, un secolo fa, altra storia.

Ma questa è la mia noiosa vita, non un film.