期待之一
《Avatar》《阿凡达》

观众对于《Avatar》的期待已经日渐涨高。詹姆士 卡梅隆过去辉煌的作品表（终结者，泰坦尼克号，异形），《Avatar》精彩的预告片，关于史上最高电影budget的八卦和迷雾。等等等等，有关《Avatar》的新闻在上映临近的时候，成指数级增长中。究竟电影本身，能不能担待得起如此的前期风声，我心里还是有些打鼓。但是是好是坏，都要到银幕上一见分晓。十二月十八日，《Avatar》不见不散。（到时候我回中国了，所以其实到1月份才看得到）

在今年的圣诞档期电影中，说起来只有Avatar一部，给我不折不扣“大片”的感觉。值得一提的是一干实力演员，在圣诞期间也纷纷推出作品。阵容不可小觑。

首推《Nine》

我一直在想《Nine》和费里尼的《八部半》，不知道有没有联系。还是一句话，看过才知道。
关于一个导演，在他生活中诸多女人和创作的苦闷，灵感的漩涡里周旋的故事。亮点在于这个导演的扮演者是丹尼尔 戴刘易斯Daniel Day-Lewis，而那些“女人们”，则包括尼可基德曼Nicole Kidman，佩内洛普克鲁兹Penélope Cruz，凯特哈德森Kate Hudson，马里昂 寇提拉德Marion Cotillard，朱迪 丹奇 Judi Dench，索菲亚 罗兰Sophia Loren。甚至连黑眼豆豆的女主唱 Fergie，都在里面表演了一把。看到这个卡司，有没有被震住？要知道除了Kate Hudson以外，其他每一位主演都有至少一尊奥斯卡金人在手。就连Kate Hudson，也在22岁的时候就拿到过奥斯卡最佳女配角的提名。如此高奥斯卡密度的电影，可以说是前无古人。预告片也极为惊艳，一瞅就是瞄着奥斯卡去的。是为今年期待之二。

期待之三
《The Road》

根据畅销书改编，后世界末日题材。男主角维格 蒙坦森Viggo Mortensen（指环王，暴力史）。我没法描述为什么这部片子是如何吸引我。但是如果你看过预告片的话，就会感觉这是一部故事，拍摄，表演，都极为扎实的片子。沉甸甸的很有分量。我想我会至少读读那本书。

期待之四
《Broken Embraces》

阿尔莫多瓦Pedro Almodóvar再次启用佩内洛普克鲁兹Penélope Cruz。我是从《关于我母亲的一切》《对她说》之后，开始爱上这位西班牙导演几乎每一部作品的。他的故事总有些奇异，有些边缘。取材非常宽泛，总变性人到斗牛士，从小店主到名演员。无论他讲述的是平凡抑或扭曲的人生，你总是无法忘记那一个个小人物对生活的热情和乐观，和命运周旋的小小机智与幽默。如此得怪异，却又爱得如此充沛。笑中带泪，也许可以他是我们这个年代的卓别林。所以他的新片，一定不能错过。

期待之五
《It‘s Complicated》

梅里尔斯特里普的爱情喜剧。她从来也不是经典的爱情喜剧女主角。到老了，反而总是俏皮得可爱。假日里看这样轻松的片子，总不会错的。

期待之六
《A Single Man》

预告片很怪异，很艺术，无法辨识剧情。。。我觉得不会让人失望

期待之七
《Sherlock Holmes》

应该说这部电影无甚惊喜，剧情桥段都十分老套。可是有小罗伯特 唐尼Robert Downey Jr.在撑着场子呢。如钢铁侠那般，俗至谷底的美国英雄片，有他挑逗观众，都显得趣味盎然了。更何况福尔摩斯这样经典的侦探片，还有悬疑故事来提味呢。
唯一可惜的是一代美男裘德 洛Jude Law，江河日下了。

Meu sangue anda coagulando mais rápido por conta de Nine, musical que estreia em 2010 e tem no elenco a maravilhosa Judi Dench, Nicole Kidman, Daniel Day-Lewis, Sophia Loren, Kate Hudson, Fergie e Marion Cotillard.

O trailer já está correndo a web e só aguçou ainda mais a minha curiosidade. Be Italian!

PS1: 15 de Janeiro. Preparem-se.

PS2: Segundo a Ana Maria Bahiana, que já teve a sorte de ver, “num ano paupérrimo é um prazer ver um tributo a um cinema feito com a alma, num tempo em que cinema valia a pena”.

PS3: Na próxima quarta-feira, o GNT exibe o encontro da Oprah com todo o elenco de Nine. Tô em B-O-L-A-S!

PS4: Elas também estão na capa da Vogue.

Il titolo originale del film, tradotto in italiano come Nemico pubblico, è Public Enemies, espresso al plurale, come se già da questo particolare il bravo regista Michael Mann volesse prendere le distanze dalla spesso mitizzata figura del gangster Dillinger (interpretato da Johnny Depp), annoverandolo nell’elenco degli altri suoi “colleghi”(Pretty Boy Floyd, Baby Face Nelson), dei quali vengono accennate le gesta durante la narrazione. Ma “nemici pubblici” possono essere anche le banche, oggetto delle rapine di Dillinger e della sua banda, responsabili del crollo del ‘29 con il seguente periodo della “Grande Depressione”, o ancora i poliziotti facenti parte del costituendo Bureau of Investigation, l’attuale FBI, che usa metodi repressivi non proprio ortodossi, con a capo Melvin Purvis (Christian Bale).“Quando la leggenda diventa realtà, stampa la leggenda”: Mann, coadiuvato dall’efficace sceneggiatura di Ronan Bennet, basata su un romanzo di Brian Burrough, capovolge l’assunto fordiano per basarsi su uno stile essenzialmente cronachistico, con un’attenzione maniacale per ogni piccolo particolare, ambientando la storia nei luoghi reali in cui i fatti si svolsero.Usa poi spesso la camera a mano, la muove a scatti, parte da un’inquadratura “larga” per poi restringerla ed insinuarsi sui volti dei personaggi, rendendo lo spettatore partecipe della vicenda, creando una particolare atmosfera grazie anche all’illuminazione naturale (lampioni e luci dell’epoca) e alla splendida fotografia di Dante Spinotti.
Complice un montaggio “nervoso”(P. Rubell e J.Ford), non sempre si riesce a tenere il filo della successione degli eventi, a partire dalla scena iniziale dell’evasione, passando per le varie rapine, arresti, fughe, sparatorie, con una straniante colonna sonora, che mescola blues e rock, a far da contrappunto alle raffiche dei mitra e ai colpi di pistola, ma si resta comunque affascinati, anche per l’interpretazione minimalista di Depp. Basta un gesto, un semplice sguardo, quando non il silenzio, a conferire profonda espressività al suo personaggio, visto non come un eroe, ma uomo ieraticamente conscio del proprio destino, fedele ai propri ideali, agli amici e alla sua donna, Billie (Marion Cotillard). Mann infatti evita tanto l’enfasi retorica che qualsiasi coinvolgimento emotivo o meccanismi di introspezione psicologica e contrapposizioni manichee tra bene e male:sia i poliziotti che i delinquenti lottano senza regole, anzi, a volte sono proprio i primi ad usare i metodi più drastici e violenti (la scena dell’interrogatorio di Billie, o la costrizione alla delazione della donna che permetterà di scoprire Dillinger).Splendida la scena finale: Dillinger è al cinema, assiste all’ultimo film della sua vita (i federali gli spareranno alle spalle all’uscita), Manhattan Melodrama di Van Dyke, storia di due amici d’infanzia, C. Gable e W. Powell, che nella vita prenderanno due strade diverse, l’uno gangster e l’altro procuratore che lo condannerà alla sedia elettrica: come in un gioco di specchi Dillinger man mano che le immagini scorrono sullo schermo rivede la propria vita, uomo coerentemente e consapevolmente “contro il sistema”, che accetta la morte come unica, estrema, soluzione per continuare ad essere libero.

A Movie Review

Copyright Dragan Antulov 2009

Filmmakers can be aware that certain circumstances beyond their control can conspire in a way that affects the general perception of their work. One of such irresistible forces manifested itself last year when global markets collapsed and everyone started talking about greatest economic crisis since the Great Depression. That period of history suddenly became one of the most talked about and films with plots set in it were bound to receive additional publicity, as well as increased scrutiny by those who like to compare cold historic data with its contemporary artistic interpretation. PUBLIC ENEMIES, 2009 crime biopic directed by Michael Mann, was the best example of those phenomena.

The film, written by Mann, Ronan Bennet and Ann Biderman, is based on Bryan Burough’s non-fiction book PUBLIC ENEMIES: AMERICA’S GREATEST CRIME WAVE AND THE BIRTH OF FBI, 1933-34. The book dealt with series of dramatic events that gripped imagination of American public during the first two years of Roosevelt’s administration, namely the exploits of the few professional criminals who would later become staple of a popular culture, as well as lawmen who tried to put violent end to their careers. This short episode of American history proved to be treasure chest for Hollywood filmmakers; almost every major character in that drama received an homage in the form of a separate biopic. Michael Mann’s film, however, concentrated almost exclusively on the best known of them all – John Dillinger.

Plot begins in 1933 when Dillinger (played by Johnny Depp), already hardened and experienced criminal, liberates his friends from prison in a daring and violent raid. His newly created gang then begins series of spectacular bank robberies, with local and state authorities unable to stop them because of gang’s clever use of fast automobiles and escapes across state lines. This crime spree is seen as an opportunity by J. Edgar Hoover (played by Billy Crudup), young and ambitious director of US Bureau of Investigation who dreams about turning his underfunded and insignificant federal agency into America’s true national police force. His favourite and equally ambitious agent Melvyn Purvis (played by Christian Bale) is to lead the manhunt whose prime target happens to be Dillinger. Purvis and his men, mostly young and inexperienced college graduates, are at first outmatched, outwitted and outgunned by street-smart gangsters. While Dillinger enjoys luxurious lifestyle, romance with Chicago hat check girl Billie Frechete (played by Marion Cotillard) and reputation of a folk hero among impoverished Depression-era masses, Purvis must abandon his “scientific” methods of law enforcement. Instead he relies on old-fashioned methods like physical torture and informants from criminal underworld, as well as more experienced lawmen like former Texas Ranger Charles Winstead (played by Stephen Lang).

On paper, Michael Mann looked like ideal choice to cover Dillinger saga. He had built his reputation on manneristic combinations of intense drama and even more intense action and used to portray almost epic-like struggles between strong characters on the both sides of law. Therefore, PUBLIC ENEMIES looked like a film tailor-made for Mann, with plenty of opportunity to make great or, at least, a very good film.

Sadly, most of those opportunities were missed, although Mann did his homework in strictly technical sense. Action scenes are directed very competently, and great effort was invested in portraying fascinating saga of Dillinger as realistically as possible. Mann used digital video, clothes, weapons, vehicles and other props and details clearly belong to 1930s. Even the locations used to portray some of the most legendary shootouts are authentic. However, despite all this, PUBLIC ENEMIES is looking false and the viewer is having impression of watching routine low-budget television biopic instead of genuine Hollywood epic.

History buffs would probably point out that Mann’s realistic style only underlines his liberal – to put it mildly – and so Hollywood-like attitude towards historic accuracy. Chronology of the events of Dillinger saga and Hoover’s anti-crime campaign is completely wrong, and many of the characters are either composites or significantly different from their real-life equivalents. Defenders of Mann could use the usual argument of accurate portrayal real life – even in case of such larger-than-life characters like Dillinger – not being attractive for the audience. Furthermore, Burroughs’ book with its epic scope simply couldn’t be realistically adapted in feature film format. Mann was, therefore, forced to cut corners.

However, even those viewers who couldn’t care less about historical accuracy might notice some major flaws in PUBLIC ENEMIES. The most obvious is casting. Johnny Depp was great as larger-than-life outlaw in PIRATES OF THE CARIBBEAN series. That flair and panache is visibly absent in his portrayal of Dillinger. For most of the film he is cold and efficient criminal with almost unnatural abilities to escape law enforcement; he looks more like a vampire or similar gothic character rather than ordinary average American with whom so many impoverished inhabitants of Depression-era America could sympathise. Another bad casting decision is Marion Cotillard, whose presence could be explained only by her latest Oscar and not too justified requirement to have actress who speaks English with thick French accent. There is hardly any chemistry between Depp and Cotillard and their characters’ tragic romance looks only like a lame attempt to give some kind of emotional content to otherwise cold and soulless portrayal of history.

There doesn’t seem to be any purpose for PUBLIC ENEMIES apart from giving “new” and “realistic” treatment to the story already told by Hollywood. There are, however, some hints of this film being allegory of our times. Hoover’s “War on Crime” is hard to disassociate with Bush’s “War on Terror”; scenes of citizens being wiretapped or criminal suspects being brutally tortured could be viewed 1930s equivalent of Abu Ghraib and Guantanamo, just as Dillinger and his gangsters could be viewed as 1930s equivalent of Osama Bin Laden and al-Qaeda – convenient boogeymen that justified suspension of civil liberties and all-powerful government Leviathan. Mann, on the other hand, missed the opportunity to portray the political background behind Hoover’s campaign, as well as the increasing rivalry and rift between director of FBI and its top agent. There are very few scenes with Crudup who – by portraying politician – appears to be more alive and realistic than Bale as robot-like Purvis. Michael Mann’s veteran Stephen Lang, on the other hand, is much more effective as quiet but efficient FBI agent with Wild West experience.

On the other hand, Mann missed opportunity to make parallels between Great Depression and its contemporary equivalent. World of 1930s is, on the surface, portrayed accurately, yet its main feature – poverty and hopelessness created by Depression – is nowhere to be seen. The audience is left wondering where is “public” that was supposed to be thrilled and scared by Dillinger, and why he was its “enemy” in the first place. More than three decades ago John Milius answered some of those questions in DILLINGER, less ambitious but more effective and memorable Hollywood tale about greatest Depression-era criminal. Michael Mann, just like in ALI, again showed that he doesn’t handle biopics that well.

RATING: 4/10

It’s time for the yearly roundup.

READ:

I’ve read more Children’s books than adult fiction, and more magazines than books this year. These books aren’t necessarily published in 2009.

1. Cory, an intimate portrait.
2. The Traveller.
3. Chung Hyo Ye.
4. Slumdog Millionaire (definitely better and more violent than the movie).
5. Indignation and Every Man (both by Philip Roth)
6. Christian Bok’s Eunoia.

I also read Shakespeare in Love – A Collection of Shakespeare’s Love Poems. I’m totally suggesting you read it over the holidays.

SEEN:

1. Drag Me To Hell is Sam Raimi’s return to the horror genre and has set the bar high for all the other horror movies shown after it. Drag Me To Hell is gross, shocking, suspenseful, funny at times, and did I mention gross? Summed up in two words: Classic Horror. And yes, you’ll never look at dentures the same way again.

2. The Soloist is about real life. Realizing that yes, there really are gaps, unreachability, disconnection. It is in this acceptance lies the movie’s strength.In small scene, Robert Downey Jr sits down on the steps of the shelter and listens to a homeless woman’s random rant with the ears of a kindred spirit. He nails it. The movie is not about friendship, not about schizophrenia, not about big moments.

3. The Hurt Locker is a gripping tale of an American bomb squad in Iraq. It is a viscerally exciting, adrenaline-soaked tour de force of suspense and surprise, full of explosions and hectic scenes of combat, but it blows a hole in the condescending assumption that such effects are just empty spectacle or mindless noise. The thing about this movie is that it ISN’T about that war. Maybe it’s as gripping because it is from a woman’s point of view (directed by former Mrs James Cameron, Katheryn Bigelow). Or maybe because the opening quote in the movie is true. War is a Drug.

4. Watchmen. Comic geeks’ justice since The Dark Knight. Never mind that it is 3 hours long. It has Billy Crudup. Worth it all the way.

5. Public Enemies. Johnny Depp, Christian Bale, Marion Cotillard. And Marion Cotillard. Did I mention Marion Cotillard? I totally forgot that it’s about John Dillinger, the human being, criminal extraordinaire. All I had in mind was Marion Cotillard.

*****Special props to one Filipino movie that sent me laughing for one and a half hour. Kimmydora gave a whole new twist to the phrases:  Get out,  Go to hell,  Go kill yourself.

HEARD:

It’s the year of the best in music. Well, mainly because 2009 is the year when artists are either too lazy to record, or they’re too cramped up with hits, they felt the need to compile their greatest hits

1. Madonna’s Celebration – or 34 Songs that changed the world (+2 new tracks) is the biggest 2-disc compilation released this year. It’s also the most meaningful, if you’re a fan, because the songs in this collection have been voted for by the fans themselves. Madonna releases a greatest hits every so often (Immaculate Collection in the 90s, Something to Remember in 96, GHV2 in 2001), that will make you, Of course, wonder where is What It Feels Like for a Girl, or where’s Drowned World, or Angel; but then again, this non-chronological reminder of Madonna’s reign as queen will make you forgive and forget that the new song Revolver tells that Madge’s sex is a killer and asks if you want to die happy.

2. Incubus’ Monuments and Melodies – or 13 hits, 2 new tracks, and 11 “it takes getting used to” is the first greatest hits compilation album by American rock band Incubus. Monuments chronicles 13 previously released singles from the albums Make Yourself, Morning View, A Crow Left of the Murder…, and Light Grenades, along with two new Brendan O’Brien-produced tracks, “Black Heart Inertia” and “Midnight Swim”. Melodies has a collection of rarities, including B-sides, soundtrack cuts, alternate versions, three previously unreleased songs, and a cover of Prince’s “Let’s Go Crazy”.

3. Snow Patrol’s Up To Now – or I’m not complaining about Snow Patrol’s Kitchen Sink approach. While most listeners have the unanimous feel that Snow Patrol may have thrown everything in in this 30-track collection, I am so not complaining. While a lot have not been crazy over their cover of Beyonce’s Crazy in Love, or that they shouldn’t have included that live version of Chasing Cars, still I won”t complain. It’s good food served on a fancy plate. It’s 30 tracks of proof why Snow Patrol may be the super indie rock group of our time.

4. Foo Fighters’ Greatest Hits – or No fuss, no frills. The band didn’t think of a better title to suit the CD. Or maybe they didn’t have much control. Apparently, Dave Grohl is unhappy with the release, and has revealed that the band had no control over the decision. Grohl had been wanting to release a greatest hits when the band retires. Their label however, had been wanting to release one for the last four years, but the band had been countering it with saying that they hadn’t written their true hits yet. Grohl says that the clause was in their contract, or else the band would not have let it happen. He also feels that the track listing is weak and the band has had better songs that could have been included. I, personally, second the motion.

5. U2’s No Line on The Horizon. It happens. That after one good album comes a glitch. Remember Pop after Achtung Baby? This is what happened with No Line on The Horizon. You get what I mean, right?

TOUCHED:

1. Scribe Diary. And that coffeeshop planner. And that Powerbooks perpetual diary. As much as I really fell in love with the Scribe Diary, I am inclined to give it away (do I smell a contest coming?) . It’s so beautiful, I’d like to share my joy when I first saw it. That feeling of Love at First Sight (yeah, yeah, impulse purchase).

2. The Lava Cake. This should be under “tasted”, but since I didn’t put that category, I’d place it under “touched”. Which is still appropriate, because by touching it, I can say that it is indeed soft, and un-spongey. By tasting it, I can say that I’ve reached my chocolate quota this year. Got Momo and order a lava cake – - now!

3. Bass Front Getaway Wallet / Clip. I’m not a wallet kind of person. I still use my money clip as of today, but when a good friend gave me this to compile my cards and stuff, I got used to having it in my pocket. Plus it still has the clip which can hold my bills

4. The Astoboy stuffed toy.

5. The Bacardi Speakers. Because it’s foldable, super portable, and comes with a bottle of Bacardi.

Par deux fois j’ai perdu une (petite) amie devant un film. Comme de par hasards, deux très bons films. On verra le premier à l’occasion, aujourd’hui on parle du second. Enfin, second, c’est le premier long-métrage de Rémi Bezançon, qui a ensuite réalisé l’extraordinaire Premier Jour Du Reste De Ta Vie, son second film. Ca va, vous suivez ? Ma vie en l’air donc, petite vanne pour un grand film de 2005. La comédie romantique semble faire parti de ces genres maudits en France, de ceux qu’on est pas capable de faire aussi bien que les ricains. Beaucoup s’y sont cassés les dents. Mais pas Bezançon, parce qu’il sait tenir une caméra, parce qu’il a un grand sens du script et peut compter sur des acteurs qui en se donnent plus que d’habitude. Avant « l’incident » j’avais vu et revu Ma vie en l’air, film parfait pour s’offrir la surprise d’un bon moment.

La mère de Yann est morte en le mettant au monde dans un avion. La compagnie aura offert à l’enfant un ticket gratuit, à vie. Mais Yann n’en aura jamais profité, traumatisé depuis la naissance et phobique de l’avion. Alors que la femme de sa vie doit partir plusieurs mois à l’étranger, le maintenant vingtenaire est incapable d’aller la rejoindre, mettant un terme à leur relation. Quelques années plus tard, Yann vit avec Ludo, son aussi pénible qu’attachant meilleur ami. Les deux hommes s’étaient juré de ne plus flirter avec les voisines. C’était avant l’emménagement d’Alice, qui ne semble pas non plus indifférente aux charmes de Yann. Le happy end serait trop simple, le passé ressurgit et Yann va devoir choisir et surtout se poser la question. Peut-il laisser sa phobie faire ses choix à sa place et le faire passer à côté de sa vie.

Bon, en fait, ce qui tue dans Ma vie en l’air, c’est la structure. L’histoire ne cesse de faire des bonds dans le temps, insère des flashbacks plus ou moins utiles et se permet quelques petits délires de réalisation. Le film devient ultra efficace et cloue au fauteuil tout en laissant l’ennui au loin. Dans un second temps les dialogues font leur petit effet. J’ose affirmer qu’on y trouve quelques pépites (l’économiseur de mots, les amis d’enfance) qui restent en tête. Niveau casting c’est une des rares fois où j’ai trouvé Marion Cotillard et Gilles Lelouche supportables, ce qui à mon niveau est un bel exploit. Elbaz trouve ici un de ses meilleurs rôles alors que tous les seconds couteaux ont l’opportunité de briller (rhaaa, les autres filles !). Reste à saluer la musique, composée par Sinclair comme sur le Premier jour du reste de ta vie. Super boulot, thèmes qui reviennent et score original. Tous les ingrédients pour un film qui vous reste en tête.

Ma vie est l’air est le Divx DVD que je ressortais à la moindre occasion, pour montrer aux potes comme pour passer une bonne soirée dans les bras d’une fille qui sent bon. Depuis « l’incident » j’ai regardé des bouts, mais jamais plus en entier. Ca reviendra. D’ici là, faites moi plaisir en vous faisant plaisir. C’est de la bombe et il fait froid dehors. Aucune excuse.
Oh. Et, heu… Si votre ex appelle pendant le film, décrochez pas. Okay ?

Demain, vous saurez ce qui m’a poussé à me relever à cinq heure du mat’.

TRAILER STAGE !!!

Marion Cotillard reminds us of past icons such as Catherine Deneuve and Isabelle Adjani. She looks typically French and very glamorous when she parties out. However, if you want to know what’s hip in France and has been for a while, it is the Bohemian Chic trend that we call bobo. Celebrities such as Vanessa Paradis and Charlotte Gainsbourg are at the fore front of that trend. Charlotte Gainsbourg is the daughter of Serge Gainsbourg and Jane Birkin.

Serge Gainsbourg Jane Birkin

Charlotte Gainsbourg Ivan Attal

Han aparecido en la red tres posters promocionales de la pelicula mas esperada en diciembre: Nine, dirigida por Rob Marshall la mente maestra detras de Chicago, lo que todos quieren ver es el duelo de divas, aca las actuaciones de Nicole Kidman, Marion Cotillard, PENElope Cruz y la legendaria (por la edad XD) Sophia Loren, lo que me sigo preguntando es porque carajos Kate Hudson y la Vergie estan en la pelicula, ni son cantentes ni mucho buenas actrices…

click en las pics para agrandar

Nine, o novo filme do diretor Rob Marshall (Chicago), ganhou um novo cartaz que mostra as mulheres da vida de Guido, vivido por Daniel Day-Lewis.

O filme é baseado no musical de mesmo nome, que por sua vez foi baseado no filme 8 e meio de Federico Fellini e conta a história de um cineasta que durante a crise de meia idade usa lembranças das mulheres que passaram pela sua vida para poder superar a crise e reaver sua criatividade que anda em baixa.

O de contar com Daniel Day-Lewis no elenco o filme tem também a presença de Sophia Loren, Marion Cotillard, Penelope Cruz, Nicole Kidman, Kate Hudson, Judi Dench e Fergie, que farão os papéis das mulheres da vida de Guido.

Nine entra em cartaz aqui no Brasil no dia 15 de Janeiro de 2010.

นี่คือหนึ่งสุดยอดภาพยนตร์เพลงฟอร์มยักษ์แห่งปีเลยก็ว่าได้ ที่จะมาส่งท้ายปี 2009 สุดยิ่งใหญ่ พร้อมทั้งการได้ถูกเสนอชื่อในเวทีออสการ์ 2010 อีกด้วย ในเรื่อง Nine จากผู้กำกับ Rob Marshall ที่มีผลงานชั้นเยี่ยมอย่าง Chicago เมื่อปี 2002 ที่ดัดแปลงมาจากละครบอร์ดเวย์รางวัล Tony Awards โดยดัดแปลงจากหนังอิตาลี่รางวัลออสการ์เรื่อง 8½ อีกที!!

Nine เป็นเรื่องราวของผู้กำกับหนุ่มที่ต้องเจอมรสุมในชีวิตที่ต้องเผชิญกับอาชีพของเขา แม่ ภรรยา ชู้ ผู้จัดการหญิงส่วนตัว นักแสดงในสังกัดต่าง ๆ และอีกมากมาย เป็นภาพยนตร์รวมดาวค้างฟ้ารุ่นใหญ่รุ่นเล็ก สาว ๆ สวย ๆ เซ็กซี่แห่งฮอลลีวู๊ดไว้มากมาย อาทิ Nicole Kidman,Marion Cotillard,Penélope Cruz,Judi Dench,Sophia Loren,Stacy Ferguson,Kate Hudson และ Daniel Day-Lewis ผู้มารับบทผู้กำกับทีเผชิญมรสุมรอบด้านในเรื่อง พร้อมบทเพลงอันหลากหลายที่ไพเราะต่าง ๆ มากมาย

ผมได้รวบรวมใบปิดของภาพยนตร์ Nine ในหลาย ๆ เวอร์ชั่นมาให้ท่านได้ชมกันครับ ที่บอกได้คำเดียวว่าสวยสุดยอดจริง ๆ ในการออกแบบพร้อมตัวอย่างของภาพยนตร์ที่อ่านอาจจะยังไม่เคยได้ชมกันและหลายท่านคงได้ชมกันไปบ้างแล้ว พร้อมบทเพลงต่าง ๆ ในภาพยนตร์ที่มีให้ชมกันแบบเต็มอิ่มกันไปเลย!!

Nemico pubblico

Date e orari delle proiezioni:

• sabato 28 novembre 2009, ore 21:00
• domenica 29 novembre 2009, ore 16:30 e 21:00

Scheda:

• Paese: Stati Uniti
• Durata: 2h e 23′
• Genere: Azione
• Regia: Michael Mann
• Anno: 2009
• Distributore: Universal Pictures International Italy

Sinossi

Nessuno poteva fermare Dillinger e la sua banda. Non esisteva prigione dalla quale non riuscisse ad evadere. Il suo carisma e le rocambolesche fughe dalle prigioni lo rendevano interessante agli occhi di tutti: da quelli della sua fidanzata Billie Frechette a quelli del pubblico americano che non aveva simpatia per le banche responsabili di aver fatto precipitare il paese nella depressione.

Ma mentre le avventure di Dillinger e della sua banda – che nell’ultimo periodo comprendeva anche due individui sociopatici dal nome Baby Face Nelson e Alvin Karpis – intrigavano i più, Hoover si riproponeva di utilizzare la pubblicità che la cattura del criminale avrebbe potuto generare in suo favore per trasformare il suo Bureau of Investigation nel dipartimento di polizia nazionale che è adesso l’FBI. Fece pertanto di Dillinger il primo Nemico Pubblico Numero Uno degli Stati Uniti d’America, mettendogli alle calcagna Purvis, l’affascinante ‘Clark Gable dell’FBI’.

Sito ufficiale: http://www.cinema.universalpictures.it/online/nemicopubblico/

DEFYING GRAVITY: Currently thrilling all “Gleeks” (as fans of the hit FOX-TV show are called: The new Sony CD, Glee: The Music, Volume 1. Series star

MICHELE: powerhouse

Matthew Morrison (aka Mr Schu) and Wicked alumnus Kristin Chenoweth deliver a powerhouse performance of Heart’s Alone. Spring Awakening star Lea Michele duets with Chenoweth on a dynamic version of Kander & Ebb’s Maybe This Time, pairs with series co-star Chris Colfer on a soaring version of Stephen Schwartz’s Defying Gravity, and joins co-star Cory Monteith on lead vocals for Journey’s Don’t Stop Believin’. Music lovers and Broadway show tune aficionados characterize this first Glee CD as “delectably youthful” and “electrifyingly fresh” — and who are we to argue? And here’s another one to add to your Christmas list. The all-star soundtrack for Rob

FERGIE: one of Nine

Marshall’s screen version of the Broadway hit Nine will be released digitally December 15 and available for purchase in stores on December 22, three days before the film opens here. Bonus material on the disc includes a new version of Quando Quando Quando, performed by Fergie, who also sings one of the show’s big hits, Be Italian. Other so-far unlikely warblers include a clutch of Oscar winners who star in the movie — Daniel Day-Lewis, Penelope Cruz, Sophia Loren, Nicole Kidman, Marion Cotillard and Judi Dench, who gets to deliver the Follies Bergere showstopper. Can’t wait.

THE SHADOW OF HER STYLE: Supertalent Camilla  Scott always delivers the goods, in big stage musicals like Crazy For You, Mamma Mia and We Will Rock You, on U.S. soaps like Days Of Our Lives and The Guiding Light and

SCOTT: Larry's lady?

in intense TV dramas like Law And Order and This Is Wonderland. Now she’s playing another sublimely talented dame – the late, great Vivien Leigh – in Austin Pendleton’s wry behind-the-scenes comedy Orson’s Shadow. Set in 1960, it’s Pendleton’s version of what really happened when legendary London critic Kenneth Tynan brings Orson Welles and Laurence Olivier together to collaborate on the English language premiere of Ionesco’s Rhinoceros. Olivier, deep in the throes of his affair with his young co-star Joan Plowright, is not yet separated from the mercurial, iconic and fatally unstable Ms Leigh, which makes backstage rehearsals very, very interesting. After previews start tomorrow, Orson’s Shadow opens next week at Theatre Passe Muraille, with Christopher Stanton as Kenneth Tynan, Paul Eves as Olivier, Janet Porter as Joan Plowright, and Steve Ross as Orson Welles. To order tickets, click here.

DICKINSON: dog show?

DRAGONS’ DEN GOES TO THE DOGS: Woofstock creator Marlene Cook, the brainy entrepreneur whose annual summer salute to Man’s Best Friend drew 300,000 participants to downtown T.O. this year, pitches the Dragons tonight with five look-alike dogs — one for each dragon. Would you be surprised to learn that Ms Cook matched Kevin O’Leary to an English bull terrier?  Probably not. But apparently finding an apricot poodle with a coat that was just the right shade of red to represent Arlene Dickinson was a far greater challenge. To catch all the Dragons and their canine cut-ups, tune in CBC-TV tonight at 8 pm.

TOMORROW:

Julia Roberts, The Frantics, and more Dragons!

Aunque son nueve son bastantes menos las que se llevan el protagonismo, elegidas probablemente por carismáticas y talentosas sí, pero también por jóvenes, exhuberantes y famosas. Kate Hudson, Fergie, Nicole Kidman, Marion Cotillard o una despampanante Penélope Cruz (que sigue evolucionando sin límites, cual Pokemon) se llevan el estrellato en esta serie de nuevos carteles para Nine, película y espectáculo que intentará acaparar flashes durante la recta final de este 2.009. Hay que destacar también que entre tanta hembra potente se cuela ese hombre tranquilo y discreto que se transfigura en monstruo imparable sobre un escenario, conocido como Daniel Day Lewis, un tipo al que nadie querría enfrentarse en una gala de premios.

:::::ACTUALIZADO::::: Un cartel más de la película.

Lynn Hirschberg needs to upload more screen tests. The one or two she does every now and then isn’t enough to satisfy my hunger for more stylistic interviews. Whatever it’s just an interview right? I suppose you’re right, but what sets these apart for me is the black and white close-ups with only their responses cut together.

To be honest with you, I’m not a huge fan of Megan Fox. I’m not involved in the Fox hotness craze. I enjoy the likes of Marion Cotillard, Melanie Laurent, Cintia Dicker or better yet, Sonya Sydoryshyn more than Megan Fox. However, I’ve got to admit that she’s pretty enjoyable to watch when she’s not filmed as a super sex vixen ready to sizzle your heart with her pouty lips. My favourite screen tests are still Jospeh Gordon-Levitt, Natalie Portman, Marion Cotillard, and (surprise) Tyra Banks. The designer series featuring Alber Elbaz, Stefano Pilati, and Takashi Murakami are also pretty interesting. If you want to see the entire collection, you can find it here.

Three posters have now been released for “Nine”. This really builds up the suspense of wanting to see this movie even more. I like all three of them, as they are all different, with different pictures of the actors on them.

Estos videos representan apenas una puntita de lo que se podrá disfrutar en el musical Nine, a estrenarse el 25 de diciembre en Estados Unidos y el 4 de febrero en Argentina. Dirige Rob Marshall, que ya obtuvo reconocimiento en el género gracias a Chicago, en el 2002.

Lo acepto, no he visto Singin’ in the Rain ni Amor sin Barreras y ni siquiera soy fanático de cualquier musical (Across the Universe está muy cerca) pero muy probablemente ame esta película. ¿por qué? Por la sencilla razón de que salen en pantalla:

1. Nicole Kidman
2. Penélope Cruz (me fascinó en Los abrazos rotos)
3. Kate Hudson (que sale en un papel decente desde mmm… ¿Almost Famous? y que me encanta y la adoro, a pesar de todas sus malas películas hasta ahora)
4. Y por supuesto, Marion Cotillard, que literalemente la deseo y la adoro con toda mi carne y corazón.
5. Y claro, Daniel Day-Lewis, que #yoconfieso, lo AMO.

Estoy hablando por supuesto de la nueva película de Rob Marshall, la adaptación del éxito de Broadway, Nine.  Que dicho musical de teatro está adaptado de otra obra maestra (me dicen, porque, desgraciadamente, no la he visto) que es 8½.

Aquí les dejo unos posters de dichoso filme, que sale el 25 de diciembre en USA y la tendremos aquí, Dios mediante, antes de que termine Enero del 2010.

Ya con sólo pensar en las maravillas que mis ojos verán (la historia es lo de menos, hombre) me doy por bien servido. ¡Salud!

P.S. Si acason quieren ver videos, trailers y presentaciónes de NINE (y darse una idea de lo que les espera) les suplico, vayan a este menú donde podrán se dará gusto cualquier clase de apetito…fílmico.

Visto en: First Showing

It appears that one of this season’s hottest accessories is the trilby. Anyone who is someone is wearing one!

Katherine Heigl wears her trilby at a slant.

Beyonce has some cool detailing on hers

Oscar winner Marion Cotillard adds some style to her outfit

But where to buy a good trilby?

Well, store of the moment Reiss happens to have a few amazing trilby hats starting at just £39.

Reiss Medoc Black, £39

Reiss Medocstud Cream, £49

Reiss Parkerstud Black, £49

Perfect, I’m sure you’ll agree! And, you can get them all online at www.Reiss.co.uk – what are you waiting for?

XX

Lynn Hirshburg of the new york times did 22 (i think) interviews with various actors and actresses for T Magazine. These are my top three picks for those who seem to be the most kind, genuine and interesting:

Marion Cotillard

Matthew Goode

- Nemico Pubblico – 2009 – ♥♥♥♥ e 1\2 -

di

Michael Mann

E’ Michael Mann. E si vede. Il realismo che contraddistingue i suoi film in questa sua ultima opera forse trova il compimento e ci porta a sentire e vedere tutto in prima persona. Con gli occhi di uno dei fuorilegge americani più celebri dai tempi della Gran Depressione: John Dillinger. E mantenere il realismo quando si parla di un personaggio così cotroverso come lo è stato il famoso rapinatore di banche degli anni ‘30 non è da poco. Per gli americani di quel tempo Dillinger non era solo un criminale ma per certi versi era anche un eroe che rubava alle banche che erano considerate colpevoli di aver causato la Grande Depressione negli USA. E Mann rispetta quell’ immagine facendo si che il suo attore Johhny Depp assuma questi doppi connotati di eroe e criminale. Contrapponendolo all’ altrettanto ben delineato personaggio di Melvin Purvis (Christian Bale), il cacciatore di criminali che ben rappresenta la nemesi di Dillinger. Mezzo perfetto per trasformare queste parole in opera filmica è l’ utilizzo del digitale che dona costante autenticità, nonostante le sue imperfezioni. Frequenti sono i tallonamenti della macchina da presa ai volti dei suoi protagonisti e i riverberi di luce che si infrangono sull’ obiettivo sottolineando minuto dopo minuto il tempo reale delle azioni. Peccato ancora una volta per i titolisti italiani che hanno deciso di tradurre il plurale americano Public Enemies nell’ italiano Nemico Pubblico che dà quindi la sua massima importanza a Johnny Depp alias John Dillinger, relegando così in sordina Melvis Purvis che invece è considerato anche lui un “Nemico Pubblico”, seppur dall’ altra faccia della medaglia. Se il primo (Dillinger) rappresentà la libertà di colui che non conosce freni e che non appartiene a nessun sistema o schema, il secondo (Purvis) è la sua risposta che vuole bloccarlo e isolarlo facendo di ogni uccisione da lui effettuata un tentativo di arginare Dillinger relegandolo prima o poi a restar solo e allontanandolo da ogni suo complice, amore o amico. Vi sono estremi parallelismi tra l’ opera di Mann e il cinema gangster degli anni ‘30 americano che vedeva in Clark Gable o Gary Cooper l’ estrema manifestazione del criminale di bell’ aspetto romantico e comunque di buone maniere. Ed è come se Mann usufruendo del mezzo digitale voglia segnare una nuova era del cinema gangster, non offuscando la precedente fatta di pellicola e di Black and White ma al contrario inglobandola, come metaforicamente si evince nella sequenza nella quale Hoover (Billy Crudup) decora i giovani G-men che viene fagocitata dallo schermo cinematografico. E’ un vero melodramma Nemico Pubblico nel quale i suoi due protagonisti sono entrambi alla fine costretti a lasciare qualcosa: Dillinger la sua amata ” blackbird” Billie (Marion Cotillard), alla quale sono dedicate le sue ultime parole, e Purvis si lascerà dietro la sconfitta di aver decisamente saputo troppo poco del suo obiettivo (Dillinger), escluso anche dalla conoscenza delle sue ultime parole-testamento. La società di quegli anni è perfettamente specchiata nell’ ambivalenza dei personaggi dell’ opera “Manniana”. Un’ epoca nella quale i mass-media iniziavano a schierarsi sempre dalla parte dei vincitori, preoccupandosi solamente di mettere più carne sul fuoco, e nella quale i soliti potenti dell’ economia avevano causato la Grande Depressione. E la morte finale di Dillinger come una star segna proprio la vittoria di tale economia. Una morte nella quale al centro dello schermo vi è il cadavere del difensore di quel senso disfattista che rappresenta l’ ambivalenza del bene e del male e ai bordi dello schermo pian piano scompare la sagoma di Melvis Purvis, comunque sconfitto da non essere stato il vero protagonista della sua uccisione.

( Dillinger il criminale dal cuore debole)

( E Melvis Purvis sua fredda nemesi)

The cast of "Nine"; image courtesy of newsinfilm.com

I saw Precious today and want to talk about it length, but need to process what I saw. I’d also like to get to Push, Sapphire’s book on which the movie was based at some point before the end of the year. For now, I’ll say this. I didn’t love it but I did like it, thought Gabourey Sidibe and Mo’Nique were great, was heartened that my matinee screening had a good and diverse turnout, and think you should see it. But you may want to see it with someone and encourage your local theater to have a safe space where people can go if the movie becomes too intense or touches on frought emotions or horrible memories.

For the time being, I thought I’d mention the preview of a coming attraction. Nine, Rob Marshall’s screen adaptation of Arthur Kopit, Mario Fratti, and Maury Yeston’s musical (itself an adaptation of Federico Fellini’s 8 1/2), comes out next week. You can view the trailer here.

So, I know very little about this musical. I only recently discovered the origins of its source material, which I haven’t seen (though, based on my less-than-enthusiastic viewings of La Dolce Vita and I Vitelloni don’t hold high hopes for it, unless Fellini allowed for self-deprication in his autobiographical film the way that Bob Fosse did in All That Jazz, a movie of a similar mold that I love). Beyond that, I knew Raul Julia starred in its Broadway debut back in 1982, the original production won many Tonys, and once heard someone sing “Unusual Way” at a family friend’s wedding, which is a really cryptic song choice for such a ceremony.

As for the film adaptation, I know the players. Rob Marshall directed Chicago and is at the helm here. Daniel Day Lewis plays Guido Contini, a tortured director. The women who populate his life are considerable — Marion Cotillard plays his wife, Penélope Cruz his mistress, Nicole Kidman his muse, Stacey Ferguson (aka Duchess Fergie Ferg) a whore he once knew, and Kate Hudson a fashion writer whose character has a song that was written for the movie. Oh, and Judi Dench is Contini’s costume designer and confidant.

So, I totally suspect a two-hour version of Julio Iglesias’s “To All The Girls I’ve Loved Before” with generous dashes of love for the authorial presence of male film directors. Also, I think this trailer gives you virtually no insight into what this story is about.

That said, I totally want to see this movie because:

1) I’m always interested in film musicals, whether they are good, bad, screen adaptations of stage musicals, or screen adaptations of stage musicals of feature films. Yes, this means I saw Hairspray and didn’t hate it as much as many of my movie geek friends did. But those matters should be saved for another post. 

2) Unlike many people who hated Chicago (several of whom I suspect feel Marty or Roman got robbed out of a Best Picture Oscar for Gangs of New York or The Pianist), I actually enjoyed it. I felt the adaptation stayed true to the source material, deftly staged sequences that are actually going on in the protagonist’s mind, and felt like Catherine Zeta Jones, Queen Latifah, and John C. Reilly were great. I even enjoyed Renée Zellweger and Richard Gere, actors whom I otherwise would rather not watch in a movie. My only real complaint (which Jon Stewart shares), was that Bebe Neuwirth, who won a Tony for her portrayal of Velma Kelly was replaced by Zeta Jones. Otherwise, bring it.

3) Daniel Day Lewis can sing? The same guy who apparently prepared for There Will Be Blood by recording his character’s voice using early 20th century phonographic technology? I am there.

d) I’m fascinated by the presence of female pop stars in contemporary film musicals. As the golden age of film musicals has long since passed, it seems like the ones that do make it to the screen need a familiar face and voice, and they are almost always women with celebrated recording careers. Just as I wondered what Madonna brought to Evita, Queen Latifah brought to Chicago, and Beyoncé and Jennifer Hudson brought to Dreamgirls, so too am I curious what Fergie is going to bring to Nine. While detractors might snigger that it’s fitting for the woman who sang “My Humps” and “London Bridge” to play a whore, I’ll counter that she’s the only singer we hear in the trailer. Yes, that’s her singing “Be Italian.”

e) In the movie, I’m interested in seeing a whore play a teacher to our genius director protagonist man. In real life, I advocate the decriminalization of prostitution and would like sex workers to get worker rights and benefits.

f) While I worry that these women are going to be portrayed as long-suffering, one-dimensional objects of Condini’s affection, I want to see a movie that boasts so many actresses. I haven’t seen this many women in an ensemble since I saw Cruz in Pedro Almodóvar’s Volver (note: Cruz is also starring in Almodóvar’s Broken Embraces and I can’t wait for it to start playing in Austin). 

As an aside, the gossip enthusiast in me is also curious about Cruz and Kidman starring in a movie together. Ever since Tom Cruise split with Nicole Kidman and dated Cruz, I always wonder what their interactions are like every time they show up on a magazine cover together. It’s a catty curiosity, but a curiosity nonetheless. I wonder how they would be portrayed in a movie about Tom Cruise’s life, but want very much for this movie not to be made.

Vogue cover girls Nicole Kidman, Marion Cotillard, Penélope Cruz, and Kate Hudson; image courtesy of latimesblogs.latimes.com

Nicole Kidman and Penélope Cruz bookending Vanity Fair's 2001 Hollywood Issue cover; image courtesy of abc.net.au

Whether this movie is good or not remains to be seen. That said, I’ll see you at the multiplex.

If you wonder why Marion Cotillard has risen to fame so meteorically, going from a no-name to marquis name in two short years, look no further than the “F.I.L.M. of the Week,” “La Vie en Rose.”  Cotillard envelops herself in the persona of Edith Piaf, France’s greatest popular singer, and the Academy wisely took notice and bestowed the Best Actress statue on her in 2007.  Even if the movie isn’t your cup of tea, the performance will absolutely floor you.  She engrosses herself in Piaf from head to toe; every movement radiates her complete confidence and comfort in the role.

The film chronicles the life of Piaf from her deplorable days on the streets of France up to her last breaths and all the breathtaking highs and tragic lows that occur between.  It presents the events as a broken narrative, mainly presenting the events as memories from an older Piaf.  However, there are three distinct timelines running through “La Vie En Rose.”  The first follows Piaf from her days being fostered by a caring prostitute at a brothel near the end of the Great War to her final performance, the second from the beginnings of her morphine addiction to the collapse of her health, the third from her days feebly eking out the energy to live to her death.  The timelines often overlapped, resulting in some sequential confusion, but Cotillard wows with such finesse that the missteps can be easily overlooked.

A decision I found interesting in the film was the omission of subtitles during Piaf’s songs.  But if you don’t realize it before the thrilling climax, Cotillard’s acting tells you everything you need to know.  Her eyes, her face, her hands, and her body get the feeling across perfectly.  And in the film’s final scene, when she sings “Non, je ne regrette rien” in a decrepit state, you feel every emotion in those two minutes that you have felt throughout the whole movie.  All the happiness, fame, sadness, and tragedy of Piaf’s life pours out poignantly because Cotillard makes them palpable.  I later learned that the title literally means, “No, I Have No Regrets,” and the lyrics express overcoming the grief and sorrow and turning it into strength.  The song is a compelling and prodigiously moving way to cap off a ravishing performance by Cotillard.  This is easily the best female performance of this decade, and it will undeniably remembered for decades to come as a mammoth achievement of acting.

Can December just get here already so I can see “Nine?”

The tease continues.  The Weinsteins recently released three songs from the movie.  The first two are original songs written for the movie.  ”Cinema Italiano” is Kate Hudson’s sizzling number; “Take It All” is the number originally written for Penelope Cruz, Nicole Kidman, and Marion Cotillard, but the decision was eventually made to have Cotillard sing the number alone.  And the final track is the one that we have heard snippets of in the trailer – “Be Italian” by Fergie.

The soundtrack will be released December 22 according to Amazon.com, 4 days after the movie hits theaters in New York and Los Angeles (and possibly Houston!!!).  So add another date to your “Nine” calendar to look forward to.

P.S. – The countdown would have been 8 days to release had it not been moved.