Uma das melhores obras dos últimos tempos foi praticamente ignorada pela academia em 2002

Por Rodrigo Gianesi

 Eu, particularmente, não gostava muito de musicais até assistir “Moulin Rouge – Amor em Vermelho”. O filme de Baz Luhrmann mudou completamente meu conceito sobre musicais e me deixou mais aberto para esse tipo de filme, que passei a adorar. O filme conta uma das mais belas histórias de amor já vistas no cinema, foge completamente do que se espera de um filme hollywoodiano, com um roteiro quase revolucionário, longe da intenção de agradar a grande massa. O musical foi completamente injustiçado pela Academia no Oscar de 2002, ganhando apenas o prêmio de melhor direção de arte e de melhor figurino. Perdeu o prêmio de melhor filme para “Uma Mente Brilhante”, filme mais fácil de ser “digerido” pela grande massa por ser mais convencional e conservador, e nem sequer concorreu à melhor trilha sonora, canção original (uma triste injustiça com a maravilhosa “Come What May”) e direção.

"Spetacular, Spetacular"

“Moulin Rouge” conta a história de Christian (Ewan McGregor), um poeta boêmio que acredita, acima de tudo, no amor. O poeta se apaixona por Satine (Nicole Kidman), a mais bela cortesã do Moulin Rouge, um clube noturno e bordel de Paris. Como qualquer boa história amor que se preze, os dois enfrentam obstáculos para poderem ficar juntos. Harold Zidler (Jim Broadbent), dono do Moulin Rouge, recebe o patrocínio de um duque (Richard Roxburgh) para produzir uma peça teatral no clube (“Spetacular, Spetacular“, escrita por Christian e estrelada por Satine). A condição que o duque impõe, porém, é que Satine seja dele, e apenas dele. Caso contrário, a propriedade do bordel passaria para o Duque. Com esses empecilhos, Christian e Satine têm de esconder seu romance, genialmente inserido disfarçadamente na peça em questão.

Mesmo com o grande número de músicas no filme, elas não o tornam cansativo, como acontece com muitos musicais. A grande sacada de Luhrmann foi de utilizar obras mais atuais ao invés de obras antigas ou até de compor novas canções, com exceção de poucas, como a já mencionada “Come What May”.

Química entre Nicole Kidman e Ewan McGregor é perfeita

A sintonia entre McGregor e Nicole Kidman é inexplicável. Em nenhuma cena a relação dos dois parece forçada ou piegas. As cenas do casal são muito naturais, apesar da intensidade dos sentimentos envolvidos nelas. Grande destaque para a maravilhosa (e triste) cena final do filme. A frase de Christian, “Obrigado por me curar da minha ridícula obsessão pelo amor”, dirigida à Satine, deitada no chão, rebaixada e chorando, arrepia até as pessoas mais insensíveis.

Moulin Rouge! – Amor em Vermelho (Moulin Rouge!): 2001, Austrália, EUA. Direção: Baz Luhrmann. Elenco: Ewan McGregor, Nicole Kidman, Jim Broadbent, Richard Roxburgh. Roteiro: Baz Luhrmann e Craig Pearce. Duração: 127 min.

Notas:

Rodrigo Gianesi [10] Ronnie Romanini [10]

Média parcial: [10]

Le planning 2010 blu ray de Fox est déjà bien chargé.

En janvier

Mash

Tora ! Tora ! Tora !

Le peuple migrateur

Mai-juin

Les sentiers de la perdition

Minority report

Décembre

Abyss

Roméo et Juliette & Moulin rouge (versions Luhrmann)

Quadrilogie Alien (remasterisé en 4k)

La mélodie du bonheur (remasterisé en 4k)

avec des craies aquarellables… vous en pensez quoi ?

ca pourrait ptetre etre sympa pour le domaine de l enfance?

I’m in Seattle this week, and last night my family had a Moulin Rouge-themed party. Before the party there was some debate about what exactly Moulin Rouge meant – did it refer to the actual Moulin Rouge in Paris? Or the Baz Luhrman film? Or just French stuff? Or red stuff? After the party, it’s still unclear. Everyone interpreted it differently, so it was a bit of a mish-mash. In a good way!

This was our menu:

• Roasted Red Onions with Balsamic
• Stuffed Red Peppers
• Orange and Beet Salad
• 19th Century Herbed Potatoes
• Red Pepper Pesto Salmon
• Cherry Clafouti
• Red Velvet Cupcakes (more on this in a later entry)
• Red Wine Sangria

Everything went together surprisingly well!

We listened to a combination of musicians who have performed at the Moulin Rouge in Paris and songs from the Moulin Rouge soundtrack.

For the evening’s activity we had decided to create tableaux vivants – living re-creations of famous paintings from turn of the century artists who worked in Paris, including Renoir, Lautrec, and Van Gogh. Since we are all very competitive, we turned it into a contest. Here are two of the three winners:

Dancer Adjusting Her Tights by Toulouse Lautrec

Dancer Adjusting Her Tights by Leah

The Seated Clowness by Kris

The Seated Clowness by Toulouse Lautrec

Otra noche nos aventamos a ir al Lido de Paris  que también es famoso por sus bailes y bailarinas, y aunque el show ni el lugar son tan grandes como el Moulin Rouge, el Lido tiene unas casetas privadas desde las cuales puedes ver el show, pero son más caras que sentarte con los demás. Además parte de los viajes es conocer a las personas del país en el que estás de vacaciones. En el salón general puedes sentir la atmosfera parisiense como si estuvieras en una película, la música y los bailes hacen que te sientas en medio de un musical. Padrísimo. La banda tenía una cantante muy buena con una voz extraordinaria que aunque cantaba en francés le ponía muchísimo sentimiento a su canto. Pensábamos que el lugar estaría lleno de turistas pero y también había franceses aunque no nos quedó claro si eran de la capital o de algún otra provincia.

http://www.lido.fr/us/cabaret-paris.html

Pasear por París en las noches también tiene los suyo,  La torre Eiffel iluminada, Ves a las parejas pasear junto al río de la mano, besarse y abrazarse, en esta ciudad el romance esta en el aire y se nota más de noche que de día. Fuimos a ver varios shows en las noches y nos sorprendió que la vida nocturna en Paris entre semana también es muy movida. Fuimos al Moulin Rouge a ver las bailarinas y los meseros guapísimos, el baile de CanCan bien montado, todas las bailarinas parejitas, que se ve ensayan muchísimo, todas por supuesto con unos cuerpazos envidiables. Las canciones en francés también suenan más románticas y sensuales. Con todo esto tanto mi amiga como yo quedamos invitadas a buscar novio y regresar con él a esta magnífica ciudad. Las vacaciones no dieron fruto en cuanto a galanes pero el viaje si que nos motivó a regresar con alguno.

http://www.moulinrouge.fr/home-flash-gb.html

If there was ever something that I wish I had had an opportunity to learn when I was a child it is ballet. The graceful moves of the dancers, the lean muscles and the exquisite costumes of the ballet have entranced me since I was very young. It is only now as an adult that I am fortunate enough to be able to purchase tickets to these extravagant arts events. This past weekend I had the opportunity to see the Royal Winnipeg Ballet perform Moulin Rouge at the Centre in Vancouver. My friend and I had what I would describe as some of the best seats of the house. We were balcony, front row, centre. No one in front of us, we had an unobstructed view of the entire stage and were able to look down and watch the fluid movement of some of the most beautiful ballet costumes I have seen. This was an event we decided to do for a birthday celebration rather than go out for an evening of potential debauchery or a material gift that wouldn’t have the same value as an outing to the ballet. My favourite aspect of dance is that the dancers must be committed to their intention as their bodies are telling an emotional story of love and loss. If we went through our day to day lives committed to our intentions what could we accomplish? Watching these dancers proves that amazing things can be accomplished.

hello nice reederz its dennis the vizsla dog hay wel it seems that having sumwun else rite a theem song for the sunday awards and meem show is not wurking owt so wel and so i hav ritten wun myself and hired sum peepul to sing it chek it owt!!!

ha ha ok sooper wel this week we hav sevral awards to pass owt starting with the wite elefant award frum my gud frend the purple hatter!!!

as per the purple hatter the only rool for this award is to giv it owt prowdly and so i will!!! i wood like to giv this award to my frends mack hoo mayks a mess, the jugglers of roses, the dingoes wot ar wild, luda, and brownie hoo barks!!!

and now lets git reddy to heer the first vers of my theem song sung by kristchin and sateen frum the moolon roodj!!!

ummmm ha ha i think kristchin and sateen ar a littel konfyoozd abowt wich song they are suppozd to be singing wile we git that straytend owt lets moov on to the nekst award wich is the best blog award frum my frend maggie the mostly vizsla!!!

according to the roolz on this wun i shud pass this award on to fifteen other blogs holy cow that is more then i hav toes i think!!!! i wil hav to git owt my abakus for this wun!!! ok heer goze:

1. dory hoo has her own bakyard!!!
2. martha and bailey the yoonyun organizing bassets!!!
3. joe stains and tanner the very wel dressd dogs!!!
4. and tula monsta hoo is not reely a monsta but is in fakt a dog!!!
5. and tooty nolan hoo may be only tandjentchally tooty
6. lets not forgit my gud frend shadow the poet!!!
7. and of korse the big dancing honey dog!!!
8. and lorenza the keeper of the diary!!!
9. and the sibe tribes!!!  thats khyra and the op pack and the thundering herd and mochi and capn maverick feetchering lisa the mean!!!
10. ok so now this is reely number thirteen akkording to my kalkyoolayshuns and this wun goze to the howse wot has two cats!!!
11. and this is reely number forteen for my frend doraz hoo is feeling mutch better now!!!
12. and finaly this is reely number fifteen wich goze to nellie and calvert hoo dont maskerayd with the guy in shayds oh no!!!

whew that wuz kwite a list now i hope that has given kristchin and sateen time to find the rite songbuk ok tayk it away kristchin and sateen!!!

jeez those too hav got a wun trak mind!!! lets let them go bak and reed my leeriks wun more time and meenwile we wil moov on to the nekst award wot is not reely an award its a triveea kwestchun wot i anserd at my frend maggie maes abowt a dog breed:

this is a kuvasz wot is a dog frum hungary just like me!!! wel i am frum california but my ansestors ar frum hungary!!! thanks for the hungarian showt owt maggie mae!!! and now bak to my singers hoo hav ashoord me that they ar reddy to sing the song wot i rote insted of that crazy stuf they hav ben singing!!!

aiiieeee wot is the matter with yoo two??!?!? ok i am giving yoo wun last chanse to git this rite or yoo ar so fired!!! ok the last award for the day is frum my frend stella hoo invited all us dogs to rite in and tel her abowt the stuf wot we destroyd i gess she didnt git that menny entreez so i sort of won by defawlt but ennyway i shud poynt owt that eksept in a verry fyoo kayses their is no akchooal viddyo evidense that i reely destroyd all that stuf and i kontinyoo to mayntayn it wuz the ninja hedjhogs!!! but i wil aksept this award on there behaff!!! ok now lets go bak to owr gest singers frum the moolan roodj and see if they hav gottin the song rite at last or — uh oh we hav an unawthorizd persun on the set!!!

aiiieeeeee its my old enemy darth tater!!!! oh no wayt it is just darth vader whew i wuz wurreed their for a sekond

ummmm ok so thats the end of a verry verry disterbing sunday awards and meem show!!! if ennywun needs me i wil be under the bed!!! ok bye

"Spectacular, Spectacular!": de meest briljante scène uit 'Moulin Rouge!' door De Jonge Stem

Gewaagde kostuums, veel rood licht, seksueel getinte woordspelletjes, hitnummers van Madonna en The Police in een nieuw jasje, aanranding… Het gaat er opmerkelijk heftig aan toe in Moulin Rouge!, de nieuwe musical van de altijd bruisende jongeren van de Velsense vereniging De Jonge Stem. Op vrijdag 13 en zaterdag 14 november 2009 trokken zij volle zalen voor een wervelende mix van zang, dans, prachtige aankleding en heerlijke muziek. Baz Luhrmanns ijzersterke film uit 2001 is nooit ver weg, maar de jonge enthousiastelingen laten zien dat zij ook Parijs rond 1900 uitstekend onder de schaarsgeklede knie hebben.

There was a boy… Onmiddellijk verstomt het geroezemoes in de zaal als de jonge Yannou Tamis (als bohémien Toulouse-Lautrec) vanaf een ladder in een eenzame spot het magische Nat King Cole-nummer Nature Boy zingt. Hij wordt opgevolgd door Rick van Zijtveld als hoofdpersoon Christian, een armoedige schrijver die meegesleurd wordt in het wilde leven van de Parijse wijk Montmartre aan het begin van de vorige eeuw. Alles draait om de boheemse idealen “freedom, beauty, truth and love“, maar al snel komt de kijker erachter hoe die idealen precies vorm kregen… in de beruchte, befaamde en o zo verleidelijke Moulin Rouge.

Vanaf dat moment komt Christian, en daarmee het publiek, terecht in een muzikale en spectaculaire wervelwind waarvan het zonde is dat een pauze het komt onderbreken. In een strak vormgegeven en nergens gechangeerd decor stuiteren de Jonge Stemmers heen en weer met een aanstekelijk enthousiasme. Hoewel het drama zich steeds verder opstapelt – een oudere vrouw fluisterde: “Ach, ze gaat toch niet dood, hè? Wat ongezellig…” – wordt de musical nergens zwaar op de hand. Integendeel: met name de spelers met de grootste rollen hebben zo veel zichtbaar plezier in het spelen dat de toeschouwer maar al te graag met hen meereist door de wereld van de Rode Molen.

Die wereld bestaat, naast de eerdergenoemde dubbelzinnige elementen, ook uit fijne knallende muziek (uitgevoerd door een veertienkoppig orkest onder de bezielde leiding van Olaf Windey) met soms bijzonder ingewikkelde zangpartijen. De mix van “gewone” musicalmuziek met nieuwe versies van bekende pophits maakt het er al niet gemakkelijker op. Het grote ensemble heeft af en toe moeite zich staande te houden, en meerstemmigheid gaat soms verloren, maar de solisten weten het hele gezelschap vol overgave omhoog te trekken.

Wie zijn die solisten? In de eerste plaats is daar Lisanne Wensink, ijzersterk in de rol van Satine, de courtisane met wie schrijver Christian een liefdesrelatie ontwikkelt, ondanks haar beroep en haar kwakkelende gezondheid. Lisanne heeft een stem als een klok en wisselt zang, dans, drama en komedie moeiteloos af. Haar tegenspeler, de eerdergenoemde Rick van Zijtveld, is al even goed op dreef; hoewel hij soms iets uit de (vaak ingewikkelde) maat zingt, geeft hij vol overtuiging en met sterk acteerwerk vorm aan de gekwelde schrijver. Rick overtuigt vooral in zijn beweeglijkheid, die soms humoristisch is (de scène met de “naughty words” en Your Song tussen Satine en Christian is briljant geacteerd, geset en gezongen), en soms heel krachtig. Dat laatste uit zich vooral in de zinderende Tango de Roxane, waarbij Rick een spannend tangoduel danst met de verleidelijke cancandanseres Nini, gespeeld door een zeer memorabele Marlies Bax.

Daarnaast zijn er ook twee mooie optredens van de gebroeders Jeroen en Martijn de Brouwer als respectievelijk Harold Zidler, de ceremoniemeester van de Moulin Rouge, en de kwaadaardige Duke, de nieuwe investeerder van de nachtclub. Jeroens Zidler is duisterder en aggressiever dan het filmorigineel, maar daardoor vaak intrigerender, voornamelijk in Jeroens sterke uitvoering van The Show Must Go On. Martijns Duke is hilarisch in zijn kinderachtige en groteske gedrag, en vooral het contrast met de onderliggende donkere kanten van deze hertog komt op bepaalde momenten onverwacht hard aan. Een laatste vermelding verdient één specifieke scène die door alle aanwezige acteurs fantastisch gespeeld wordt: de Spectacular, Spectacular-scène, een hyperactieve minishow waar ondergetekende oprecht gelukkig van is geworden.

Moulin Rouge! had, ondanks al het enthousiasme, wel baat gehad bij een iets specifiekere regie van de jonge regisseurs, Danny van Zuylen en Daniël de Leeuw. Meerdere momenten tussen belangrijke scènes waren droog en statisch ingevuld, wat ook veroorzaakt werd door het ontbreken van grote changementen. Het ensemble stond vaak plompverloren en matigjes gechoreografeerd op het toneel (in het geval van shownummer Come What May stonden zij zelfs grandioos in de weg). Nu heeft een jeugdmusicalvereniging altijd te kampen met het feit dat zo veel mogelijk spelers op het podium geweest moeten zijn, maar in Moulin Rouge! was dit soms regelrecht zonde.

Desalniettemin hoeft De Jonge Stem zich absoluut niet te schamen voor hun prestaties in het roodbelichte Parijs. Moulin Rouge! is een stralende en strakke musical met een sterk kloppend hart en een stevige beat. Zwakkere stukjes werden afgewisseld met momenten van pure inspiratie: de entree in de nachtclub! Onbegeleide zang van Lisanne Wensink! Rick van Zijtveld die vanuit de zaal naar het toneel zingt! Een hilarische en bruisende finale! Een prachtig intieme laatste minuut… Het zijn wapenfeitjes waar de spelers zichzelf voor op de borst mogen kloppen. Voulez-vous coucher avec moi ce soir? Het antwoord is een volmondig: oui!

Voor hen die graag een tipje van de sluier opgelicht willen zien, probeert u dan vooral de uitgelekte filmopnamen op Hyves, via deze link!

He met Marmalade down in old Moulin Rouge

Struttin’ her stuff on the street

He sat in her boudoir while she freshened up
Boy drank all that Magnolia wine
On her black satin sheets suedes and dark greens.

Giuchie, Giuchie, ya ya here (here ohooh yea yeah)
Mocha Choca lata ya ya (yea)
Creole lady Marmalade

Voulez vous coucher avec moi ce soir

Voulez vous coucher avec moi

But when he turns off to sleep memories creep,
More-more-more

Somebody pick up my jaw from the floor. It’s still there somewhere.

I am just. in. AWE. of this couple — Zarah Cabral and Dan Ruiz — for pulling off a Moulin Rouge-themed engagement shoot. It’s probably the most dramatic — and definitely the most seductive — pictorial I’ve ever seen. Kudos to Rene Gaviola for the amazing work! What can I say, the guy is king of themed/fashion pre-nups!

Zarah and Dan have nothing but praises for their photographer, who spent five whole hours with them at Victoria Court to shoot this wildly believable interpretation of the Nicole Kidman-Ewan McGregor hit (one of my and my fiance’s faves, too!). Of course it doesn’t hurt that the dresses were (borrowed) from Gerswin Qua and the make-up was done by Kris Bacani. The headpieces were courtesy of the Lucban Hat Factory, a real find for those who need hats and fascinators. Everything just worked out perfectly.

Now if you want this kind of pre-nup photos, stay tuned because the man behind the lens here is announcing a GREAT, IMPOSSIBLE-TO-RESIST DEAL here on moonsnjunes pretty soon. For now, its okay to drool. 8 )

So, I am very behind on my blogging timeline here.

Because this next string of images is from almost two weeks ago – at the Butte Montmartre.

Montmartre, itself, is a great neighborhood that I recommend you visit if you are ever in Paris – full of old world charm, small shops, and classic cafe’s (aside from the Starbucks of course).  There’s the Red Light district (Moulin Rouge, Le Chat Noir…), the fabric district (I wish I knew how to sew, I would be in heaven), and even the cafe featured in “Amelie” (just looking on IMDB, I guess that is the neighborhood the whole story was based…like I said, great neighborhood).

So the “Butte Montmartre” is kind of the icing on the cake.

Montmartre is north, and is the highest point in Paris (to find out ‘how high’ and all the other technical details, go here).  So when you reach the top, or the “butte”, you can see all of Paris.  Kind of like the Eiffel Tower, except free.

At the top, there is the Basilica Sacre Coeur, a Roman-Catholic church.

and then on down there are a multiple number of stairs to lead your way towards the city…

The most famous being a staircase called, The stairs of Rue Foyatier.

I did not climb these stairs, there have been enough stairs for me to climb since I’ve been here, and I’ve already lost a good pant size as it is…but it looks like a good trek – yes, a good trek indeed.  In fact, if you are unwilling to take the stairs they do have a solution – a gondola-like ride right next to these famous steps (I did not photograph that wonderful eye-sore).

Outro herói
outro crime insensato
Atrás da cortina
Na pantomima
Continuamente
Alguém sabe dizer
Para que vivemos?

O que quer que aconteça
Deixamos tudo ao acaso
Outro coração partido
Outro romance fracassado
Continuamente
Alguém sabe dizer
Para que vivemos?

O show tem que continuar

Lá fora, a aurora está
Iluminando o palco
que encerra nosso
Destino final
O show tem que continuar

Dentro, meu coração está partido
Minha maquiagem pode estar borrada
Mas o meu sorriso
É o mesmo

O show tem que continuar

Vou chegar ao topo
Alcançarei o sucesso
Preciso encontrar
Forças para continuar

Adiante com o
Adiante com o
Adiante com o show
Adiante com o show
Com o show!!!

O show
Tem que
Continuar

Queen

Un día como hoy, hace 10 años, el 17 de noviembre de 1999 el “corazón gris ” de Carlos Eduardo “Cayayo” Troconis dejó de funcionar. Ese día “Cayayo” se fue, llevándose consigo un legado, a un genio y a la esperanza de ver el rock en Venezuela progresar de una vez por todas.

La guitarra de una de las bandas de rock más icónicas de Venezuela, Sentimiento Muerto, estuvo mucho tiempo en sus manos, pero fueron sus proyectos alternativos los que emanaban realmente la genialidad musical y lírica del único y verdadero “rockstar” que ha parido esta tierra.

PAN y Dermis Tatú influenciaron en su tiempo, y aún siguen haciéndolo, a cientos de rockeros venezolanos. Con ese sonido característico de los 90, ese mensaje que dejaban todas las canciones, revelaban que “Cayayo” Troconis cargaba con un peso en sus hombros: sacar al movimiento rock venezolano de las oscuras entrañas de la sociedad.

“Moriré en paz deseando ver las cosas cambiar de lugar”. Lamentable y prematuramente “Cayayo” se fue, y 10 años después seguimos habitando en esta sociedad en la que el rock sigue sobreviviendo en las mismas y oscuras entrañas, y no hemos visto las cosas cambiar de lugar.

Posiblemente si “Cayayo” y Dermis siguieran con vida, otros aires soplarían dentro del rock venezolano.

Seguirá naufragando y riéndose a cien millas de aquí.

Esta semana en varios locales de nuestra ciudad capital, varias agrupaciones le rendirán tributo a “Cayayo”.

Martes 17 de Noviembre: “Escapar… al otro lado”.
Tal día, se cumplen 10 años que lo conmemoran como una leyenda del rock nacional.
Rock en Ñ realizará un programa recordando la música de Cayayo, por La Mega 107.3 FM,  y a través de www.lamegaestacion.com  10:00 pm

Miércoles 18 de Noviembre: Un miércoles verdaderamente insólito
Rock en Ñ transmite un especial de covers para Cayayo Troconis, por La Mega 107.3 FM, y a través de www.lamegaestacion.com. 10:00 pm

Jueves 19 de Noviembre: “Gente viene, y gente se va”.
Fordelucs realizará un tributo a Dermis Tatú
Lugar: Moulin Rouge (Av. Francisco Solano, diagonal al Lincoln Suites)
Hora: 10:00 pm

Viernes 20 de Noviembre: “Un fuerte abrazo de motivos”.
Viniloversus interpretará los temas que Cayayo compuso en Sentimiento Muerto.
Lugar: El Teatro Bar (Torre D&D, Calle Orinoco, Las Mercedes).
Hora: 11:00 pm

Sábado 21 de Noviembre: “Fue su propia decisión”.
Conferencias + Presentación Audiovisual
Lugar: Centro Cultural Chacao
Hora: 4:00 pm

Sábado 21 de Noviembre: “Está con sus santos”.
Chucknorris rendirá homenaje a P.A.N.
Lugar: Discovery Bar (El Rosal).
Hora: 10:00 pm.

Domingo 22 de Noviembre: “Alma perpetua”.
Marcelo Toutin e INVITADOS ESPECIALES, recuerdan canciones compuestas por Carlos Eduardo Troconis.
Lugar: Centro Cultural Chacao
Hora: 4:00 pm

J.

Información sobre los eventos en: Oídos Sucios

]]> http://yuia.wordpress.com/2009/11/17/poesie-damore/ Tue, 17 Nov 2009 08:07:36 +0000 yuia http://yuia.wordpress.com/2009/11/17/poesie-damore/

… Tutte dedicate al grande amore della mia vita! Tutte per te o mio dolce Kjow… Ti amo.

PARIS AT NIGHT

Tre fiammiferi accesi uno per uno nella notte. Il primo per vederti tutto il viso
Il secondo per vederti gli occhi
L’ultimo per vedere la tua bocca
E tutto il buio per ricordarmi queste cose
Mentre ti stringo fra le braccia.

Jacques Prevert

E’ notte, solo il cuore comanda le mie membra
che in te trovano il brivido dell’esistere.
Dipinto della tua pelle è il mio desiderio,

baciami sino ad incatenarmi alle tue labbra,
lascia che i respiri sian sensuali parole,
doni innocenti senza il soffocamento dell’ipocrisia.
Donati a me con tutta la tua fragilità,
nessuno desidera sopraffare l’altro,

io voglio nutrirmi della tua dolcezza
come carezza per la mia anima e per il mio corpo
senza mai giocare con i sentimenti
sino a perdermi in un dilagare di gemme senza confini.
Sciogli le tue emozioni
col calore fragrante del tuo corpo,

io saprò amarti insieme alla notte
che riappare fedele ad ogni tramonto…

Baldo Bruno

L’amore ristora come il calore del Sole dopo la pioggia.

William Shakespeare

La cosa più grande che tu possa imparare è amare e lasciarti amare.

Film: Moulin Rouge

Sarei perduto s’io vivessi un solo momento senza di te.

Ugo Foscolo

Pendientes Moulin Rouge II_10,50€+gastos de envío
De metal y cristal.

Eccoci arrivati alla seconda puntata del sondaggio sui migliori film dell’ultimo decennio.

Questa settimana si può votare per l’annata 2001-2002.

Una premessa metodologica: Il Signore degli Anelli è stato considerato unitariamente, così come Kill Bill, e sarà inserito in classifica una volta sola, nell’anno in cui si è concluso, con l’uscita de Il ritorno del Re.

Sul mio “personalissimo cartellino” si impongono lo splendido melò di Almodovar, l’incubo notturno e hollywoodiano di Lynch che ha lanciato Naomi Watts ed il monumentale apologo di Bellocchio sull’Italia d’inizio millennio, L’ora di religione.

Seguono vicinissimi un Coen d’annata con Billy Bob Thornton, James Gandolfini e l’indimenticabile Scarlett Johansson ed il musical coloratissimo di Luhrmann con Ewan McGregor ed una Kidman, mai così splendente.

Ed ancora la famiglia disfunzionale e geniale di Wes Anderson, il primo ed insuperato film della coppia Inarritu/Arriaga ed il viaggio di formazione Y tu mama tambien di Cuaron, entrambi con Gael García Bernal.

Chiudono la top ten l’ultima idea di Kubrick, realizzata da Spielberg e funestata da un finale improbabile ed il racconto dolente di Penn, tratto da Durrenmatt: l’ultima maestosa interpretazione di Jack Nicholson, prima che il manierismo avesse la meglio.

 Le nostre scelte:

E ora tocca a voi. VOTATE !!!

Exhibition dates: 10th September 2009 – 3rd January 2010

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A big thankyou to the Frist Center for the Visual Arts for allowing me to publish the fours photographs, ‘La Tour Eiffel’, ‘Danseusue-Cancan, Moulin Rouge, Paris’ and the outstanding Atget photographs ‘The Wine Seller, 15 Rue Boyer’ and ‘Rue du Figuier’. Atget, one of my all time favourite photographers; Paris, a city that stirs the heart – what more can one ask!

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Andre Kertesz
‘Eiffel Tower, Summer Storm’
1927

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Ilse Bing
‘French Can Can Dancers, Moulin Rouge’
1931

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Andre Kertesz
‘Eiffel Tower, Paris’
1929

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“The Frist Center for the Visual Arts will present ‘Twilight Visions: Surrealism, Photography, and Paris’, opening Sept. 10, 2009, in the Upper-Level Galleries. The show, which offers a unique perspective on Surrealism by examining the intersection of documentary photography, manipulated photography and film, will be on exhibition through Jan. 3, 2010, when it will travel to the International Center of Photography in New York followed by the Telfair Museum of Art in Savannah, Ga.

Guest Curator Therese Lichtenstein, Ph.D., New York-based art historian and photography scholar, has organized the exhibition, working with Frist Center Curator Katie Delmez.

The exhibition of more than 150 works, which features a preponderance of photographs but also includes films, books and period ephemera, explores the city of Paris as the literal and metaphoric base of Surrealism in the wake of the World War I. It was believed by the Surrealists that unconscious dreams, chance encounters and actions and automatism freed “pure thought,” from all constraints imposed by conscious thought, reason or morals.

In conjunction with the exhibition, the Frist Center will partner with Nashville’s Belcourt Theatre and Vanderbilt University’s International Lens and the school’s French and film departments to present a Surrealism film series which will include the classic ‘Un Chien Andalou’ (The Andalusian Dog) directed by Luis Buñuel and Salvador Dalí and several other rarely screened period films.

Paris was a hotbed of creative activity at the dawn of the 20th century, attracting artists and writers to its vibrant and wildly fertile art scene. Numerous galleries flourished during this period, fueling the immigration of many of the world’s most talented artists. During the 1920s and 1930s, a number of photographers associated with Surrealism, including Man Ray, Brassaï, André Kertész, Ilse Bing and Germaine Krull, turned their lenses on the city of Paris with its dance halls, cafés and characters. These seemingly ordinary people and places not only had social histories but also became psychologically charged “found objects.” In exploring the city’s commonplace as well as its monuments, these photographers used unusual viewpoints, manipulative lighting techniques and innovative technical processes to expose and examine “the marvelous” in the everyday.

As Dr. Lichtenstein writes, “The images in Twilight Visions form a collection of views of various urban spaces, filled with cultural artifacts. The viewer is invited to slowly contemplate the city – its architecture, its monuments, its public spaces and its denizens – as an ephemeral ruin, at once both of the past and the present.”

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Man Ray
‘La Ville’ (The City)
1931

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Germaine Krull
‘La Tour Eiffel’ (The Eiffel Tower)
ca. 1928. Gelatin silver print, 9 1/8 in. x 6 1/6 in
Collection of the Sack Photographic Trust of the San Francisco Museum of Modern Art
© Estate Germaine Krull, Museum Folkwang, Essen

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Ilse Bing
‘Danseusue-Cancan, Moulin Rouge, Paris’
1931
Gelatin silver print, 14 in. x 11 in
Zabriskie Gallery
© Ilse Bing Estate/Courtesy Edwynn Houk Gallery, New York

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Eugène Atget
‘The Wine Seller, 15 Rue Boyer’
1910–1911
Gelatin-silver print (printed by Berenice Abbott)
Gift of Walter P. Chrysler, Jr., Chrysler Museum of Art, Norfolk, VA.

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Eugene Atget
‘Boulevard de Strasbourg’
1926

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Eugène Atget
‘Rue du Figuier’
1924
Albumen print, 9 in. x 7 in
Gift of Walter P. Chrysler, Jr. by Exchange, Chrysler Museum of Art, Norfolk, VA.

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The Exhibition

Twilight Visions comprises five sections: images of the city at night and in the day, the transformation of well-known public monuments, the influence of Eugène Atget on the Surrealists; Parisian nightlife after hours and surreal figures.

The first section, Marvelous Encounters, includes photographs of city streets, shop windows, ordinary people and found objects that invite viewers to discover “the marvelous” in common objects and familiar places. Many of the works in this section look both familiar and strange, as subjects were photographed from unexpected angles, using dim lighting, soft focus and abstracted views to create dreamlike images. Among the works in this section are photographs by Brassaï, Man Ray, Ilse Bing, André Kertész, Germaine Krull, Dora Maar and Joseph Breitenbach.

The second section of the exhibition, entitled Photography’s Transformation of the Monument, looks at the monuments of Paris, particularly the Eiffel Tower, to examine the ways they shape connections to past and future. Included in this section are works by André Kertész, Ilse Bing, Germaine Krull and Man Ray. The Eiffel Tower, constructed from 1887–1889, was designed to serve as the entry to the Paris World’s Fair commemorating the centennial anniversary of the French Revolution. The skeletal iron structure also was designed to be a radio transmitter and a beacon for commercial advertisements in the form of illuminated signs. In 1931 Man Ray created a series of photographs that were reproduced in a portfolio by the Paris Electric Company for an advertising booklet called Èlectricité, which was used to promote personal use of electricity. That same year, he photographed the tower at night and used the image as the basis for ‘La Ville’ (The City, 1931 – see photograph above), a multiple-exposure print and one of the images used in Èlectricité. The Eiffel Tower, built as a utilitarian homage to the past, is transformed. The magic of electricity makes the tower visible at night, but in so doing, renders it unstable and non-architectural. Ray’s photograph turns the magnificent Eiffel Tower into indecipherable electrified text. In addition to Man Ray’s work, there are photographs by Ilse Bing, Georges Hugnet, André Kertész, Germaine Krull, Raoul Ubac and various postcards of the city that interrupt traditional heroic views of the monument.

Section three, entitled Looking at Atget, examines the powerful work of Eugène Atget, a photographer who was “discovered” in the 1920s by Man Ray. Following a stint as a sailor, a brief career as an actor and an attempt at becoming a painter, he turned to photography. Working quietly and modestly, Atget documented the loss of “old” Parisian culture after the turn of the 20th century. But in so doing, his “poetry of the everyday” also became a personal expression of nostalgia for the world that was disappearing before his lens. His work was straightforward yet magical. Works include ‘Pont Neuf’ (1902–1903), ‘The Wine Seller’, ‘15 Rue Boyer’ (ca. 1910) and ‘Boulevard de Strasbourg’ (1926) (see photographs above).

Section four, Portraits After Hours, explores the Bohemian avant-garde culture of Paris. In the 1920s and 1930s, the cafés and cabarets of Montparnasse and Montmartre were a part of the transition to modernity taking place in the city. The antibourgeois, often seedy places that were the comfortable haunts of Parisian artists and intellectuals were becoming tourist destinations … fetishized places of fantasy and desire. As these locales metamorphosed into tourist sites where “regular” folk could rub elbows with Parisian characters, increasingly, these locales became stage sets where the “actors” relived the past for the cameras of the tourists. Ilse Bing’s photographs of Cancan dancers at the famed Moulin-Rouge capture the color, flourish, nostalgia and exhilaration of the dance (see photographs above). Photographers represented in section four include: James Abbe, Ilse Bing, Brassaï and Man Ray.

Mutable Mirrors, the fifth section of the exhibition, investigates the subject of shifting identities that was a part of the Surrealists’ desire to alter consciousness and transform concepts of personal, social and group identity. Issues of gender and sexuality and the roles of masquerade and play are examined in the works of Lee Miller, Nusch Eluard, Dora Maar, Claude Cahun, Raoul Ubac, Hans Bellmer, Georges Hugnet, André Kertész, Man Ray and Brassaï who experimented with techniques of doubling, distorting, multiplying and fragmenting their images. Included in this section are André Kertesz’s ‘Distortions’ (1933) a series of photographs of nude women reflected in distorting mirrors that transform them into dreamlike creatures (see photographs below). The series was commissioned by the editor of the Parisian humor magazine, ‘Le Sourire’ (The Smile).”

Text from the Frist Center for the Visual Arts website

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Andre Kertesz
‘Distortion 144, Paris’
1933

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Andre Kertesz
‘Distortion 147, Paris’
1933

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Andre Kertesz
‘Distortion 38, Paris’
1933

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Andre Kertesz
‘Distortion 40, Paris’
1933

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Frist Center for the Visual Arts
919 Broadway, Nashville, Tennessee, 37203

Opening hours:
Monday, Tuesday, Wednesday: 10:00 a.m. – 5:30 p.m.
Thursday and Friday: 10:00 a.m. – 9:00 p.m
Saturday: 10:00 a.m. – 5:30 p.m.
Sunday: 1:00 – 5:30 p.m.

Frist Center for the Visual Arts website