J’ai eu la vie que je pouvais. J’ai un spectacle à la place du cœur, alors jouez jusqu’à disparaître de ma mélancolie.

Je ne suis qu’un homme complexe avec un plan simple, une ligne de vie définie que je refuse du bout des doigts, sans te retenir vraiment, lorsque tu claques la porte pour ton propre échappatoire, ailleurs, sans plus personne à blâmer, à connaître, à décevoir.

J’attends d’avoir l’avis des autres pour me dire que seul le mien compte, perdu que je suis entre la postérité périssable et une psychanalyse non remboursée, la vacuité du moment présent et l’impossibilité de l’infini. Je cours, je coule à ma perte, lentement, doucement, en emmenant tous ceux que j’aime dans ma chute, mais assez loin de moi pour qu’ils me manquent.

Je ne vis qu’au travers de femmes, à croire que j’aurai voulu en être une. L’une me voit comme une maladie imaginaire qu’elle a partagée un jour, l’autre comme une pièce manquante qu’elle rangerait dans son livre des petites choses, les dernières comme le père qu’elles n’auront jamais eu, excepté dans le flou parfait de leur enfance. Moi, je préfère me souvenir d’elles toutes, telles des fantômes, plutôt que de les quitter.

Le sursis permanent est un meilleur moteur que le bonheur fugace, toutes les absences, les abandons, les falsifications d’identités dans mes albums de famille décomposés suffisent à donner un sens à ma folie ordinaire, celle du temps qui s’épuise de nous, toujours et encore, quand l’automne est déjà là.

J’ai besoin de me sentir seul pour pleurer devant vous, me sentir aimé dans tes bras trop grands que je ne comprends pas, me faire pardonner ces erreurs qui sont miennes mais que je t’attribue, oublier que ma prison n’a jamais eu de barreaux pour nous séparer. Seul, je me recueille à chaque enterrement, au milieu de ce vacarme – moderne et dépassé – respirant trop vite pour mon histoire qui nous ponctue puis se conclut.

À n’être plus personne, j’en deviens un meilleur personnage que j’articule méticuleusement au gré de mes déceptions récurrentes et des tiennes aussi. Lui, il est un moi en mieux, puis je mets en scène des accidents plus commodes qu’hasardeux pour ne plus avoir à regarder en face ou en arrière.

J’ai occulté vaillamment tant que je doutais, tant que je pouvais le fait qu’il y avait un dehors et un peut-être, trop muré que j’étais dans ma bulle, trop usé par des adieux que l’on me refuse, la médecine et Dieu n’ont pas leur place dans mon théâtre à l’échelle d’une vie.

Les noms des amours, les saisons anonymes, l’Histoire des manuels changent, mais pas moi, non. Ce qui est n’a plus d’importance au regard de ce que je pense sans le croire, ce que je souffre sans ressentir, ce que je cherche sans rien trouver.

Les jours de joie m’échappent inexorablement, les uns après les autres dans l’ordre du calendrier, je les ai gâché d’un mot, un seul, en priant mon nombril de les faire revenir au crépuscule de mon art, mais à leur retour, ils se meurent pour mieux me maintenir en vie, en stase.

Mon existence est un décor identique à mes souvenirs les plus valables où je peux à loisir répéter jusqu’à épuisement l’avant, l’hier, celui qui n’a plus de futur, celui là même que l’on a maintenant, mais qu’on ignore pour le moment, obnubilé par son prédécesseur.

Je me sens vide de vous et déserté par mes démons, les mémoires immortelles ont délaissé mon désir de survivre pour la prochaine inconnue, mon orgueil de petit homme parlant de solitude comme du temps qu’il fait, depuis j’entends une voix douce, calme, affectueuse qui pense à ma place, qui m’intime quoi dire, qui étrenner et quand mourir, enfin.

À lire en écoutant Jon Brion – Little Person

Smiling Faces

mary & max, sebuah film animasi yang benar benar sangat menarik, bagus, dan sarat pesan, saya tahu film ini dari banyak orang orang yang sudah mereview nya, dan ketika saya menontonnya, benar benar sebuah animasi yang GILA! satire bisa dibilang, dark comedy juga, tapi benar benar menyentuh, saya pikir hanya film film animasi pixar saja yang sarat dengan pesan moral dan ke artistikan filmnya, tapi nampaknya mary & max ini benar benar bisa dibilang sebagai kuda hitam, plus pengisi suara yang diisi oleh philip seymour hoffman salah satunya yang membuat saya makin tertarik untuk menonton film ini.

mary & max bercerita tentang persahabatan 2 tokoh yang berbeda, beda umur maupun jarak bahkan negara, mary seorang gadis cilik tinggal di australia yang dibesarkan oleh kedua orangtuanya yang “aneh”, tidak punya sahabat, selalu menjadi bahan lelucon teman temannya, dan merasa tidak percaya diri karena tanda lahir yang ada di jidatnya. kemudian ada max seorang pria paruh baya sudah menginjak umur 44 tinggal di new york, bermasalah dengan kecanduan coklatnya, obesitasnya, dan sindrom aspergernya, satu satunya sahabat adalah tetangganya yang sudah buta.

mary tanpa sengaja ingin menyurati seseorang yang ada di buku telepon yang dia temukan di kantor pos, karena dia penasaran bagaimana bayi lahir di amerika, sementara ibu mary memberitahu kalau bayi lahir dari dalam gelas bir di australia, maka mary menyobek kertas buku telepon itu dan mulai menyurati seseorang bernama max, tanpa diduga max menerima surat mary dan dia pun mulai tertarik untuk menyurati balik, hingga tak lama kemudian mereka semakin dekat dan saling bercerita hanya dengan lewat surat. tanpa disadari mary dan max tumbuh seiring dengan perjalanan surat menyurat mereka dan dengan pemikiran dan perilaku mereka yang terus berkembang dalam menyikapi hidup mereka masing masing, hingga akhirnya ending film ini mengajarkan bagaimana pentingnya mempunyai seorang teman.

film yang menurut saya sangat brilian dalam menyampaikan pesan, walaupun hampir film ini diisi dengan dialog dialog, tapi tidak membuat saya ngantuk, karena percakapan yang muncul dari 2 tokoh ini banyak yang bisa membuat saya tersenyum bahkan tertawa, bagaimana cara mereka memandang hidup di mata mereka dan menyikapinya dituangkan kedalam dialog polos dan to the point tanpa berbelit belit, so overall mary & max bisa dibilang salah satu film animasi yang berkualitas dari segi ceritanya, jika anda suka, tidak ada salahnya menontonnya, enjoy.

sedikit quote yang “menyindir” dari film ini :

“..humans were endlessly illogical….
..why did they throw out food when there were children starving in India?..
..why did they clear rainforests when they needed oxygen?..
.and why did they create bus timetables when they never ran on time?..”

“..there are only two things infinite..the universe and man’s stupidity..”

Dope movie. Go see it.

Directed and written by Richard Curtis and starring Philip Seymour Hoffman, Pirate Radio opens with Carl (played by Tom Sturridge), a teenage boy, being sent off by his mother to stay with his God Father on Radio Rock, a pirate radio stationed on a ship in the middle of the North Atlantic. Ostensibly, the boy was sent here by his mother as a disciplinary measure for getting caught with drugs in high school. Although that was the opening plot line and one which was skillfully weaved throughout the rest of the movie, it was not really what the movie was about.

The movie was, at the end of the day, about rebellion, rock and roll, and unrighteous living. The 1960’s, at least in my mind, conjures up images of Vietnam protests, bus boycotts, the civil rights movement, The Black Panthers, hippies in Haight Ashbury, academics in Berkeley and the like. This movie gave me a glimpse into what was going on on the other side of the Atlantic. Rock n Roll was a rogue musical form that broke all the existing social boundaries, and the British government passionately hated it (at least publicly). Which was yet another dominant storyline throughout the movie; an official in the British government hellbent on taking down Radio Rock.

The 8 or so Disk Jockeys that occupied the ship rotated broadcast responsibilities, each putting their own unique stamp on the illegal radio transmission by playing their favorite records and narrating the debauchery that transpired in the lives of the DJ’s: sex-scandals, lesbian chefs, life-threatening machismo competitive skirmishes, soul searching, cherries of young boys being popped, father and sons being reunited, etc. The listeners, the loyal lovers of music craving for their daily dosage of Radio Rock on the mainland ooo’ed and aww’ed, screamed and salivated, sang and danced to their favorite music being aired only on Radio Rock. From old couples with their beach radios to young teeny boppers under their covers secretely tuning in, Radio Rock had clearly tapped into the hearts and imaginations of a new era. Ultimately, it was these faithful listeners who rescued Radio Rock. Watch the movie to see what I mean.

The movie is full of laugh out loud moments, coming of age delicacies and if you squint your eyes you can glean some deeper longer-lasting messages out of this delightful, inspiring flick. Messages of resistance and the power that music has over the souls of a generation are elusive but certainly present. A movie about changing tides giving testament to the significance of doing, and listening, to what you love.

]]> http://souklaye.wordpress.com/2009/11/26/previsions-de-l%e2%80%99observatoire-semaine-48/ Thu, 26 Nov 2009 13:15:25 +0000 souklaye http://souklaye.wordpress.com/2009/11/26/previsions-de-l%e2%80%99observatoire-semaine-48/

Cette semaine, au programme de  l’observatoire des sociétés mourantes :

Vendredi 27 : 36 15 Me Myself & I : Entre 25 et 65 ans, je ne suis pas grand chose, apparemment !

Dimanche 29 : Teaser en série : Synecdoch, New York

Et la nouvelle rubrique prend encore un peu de retard – elle sera à base de texte, d’animation vidéo et de musique – donc un peu de patience !

Prenez le temps, avant qu’il ne vous prenne

Foutraquement…

SS

Courtesy of Focus Feature

Everyone knows the story, well everyone should know the story.  Some of you might be too young.

Back in the sixties, probably the best rock decades in the history of music, if not one of the best.  Rock was actually banned from airing on the radios.  The doing of uptight bureaucrats who believe that listening to rock & roll will taint and corrupt the mind of its people.  Could you believe that?  People actually think that rock & roll is bad for you.  Kind of like what todays uptight bureaucrat believe of rated ‘R’ movies and violent video games, or what Reverend Shaw Moore thought of dancing in Footloose.

Because it was illegal to broadcast rock & roll, radio station outsmarted the government and decided to broadcast from boats in international waters, where the government had no authority, and this is where this movie picks up.

The movie follows the lives of 8 rogue radio DJs of the most popular pirate radio station of its time, Radio Rock, they all pretty  much lives on this boat off the coast of England.  The movie is all about the love and fun of rock & roll and it shows it with 8 different but eclectic characters, but it is not without any drama.  The government is trying everything it can to try to shut them down.  The government would rather have its people listen to classical music and jazz than have their airwaves polluted with rock & roll.  There is also the drama of ego and discoverence.  All this adds up to one funny movie.

It is a british movie, so you have to be ready for that.  Surprisingly, the comedy isn’t as dry as you would expect, but it isn’t as laugh out loud funny as it was touted.  The story and writing is pretty good, but it is pretty garbled at times.  The one thing that does live up to the movie and it shouldn’t be any surprise is the music.  The music is absolutely fabulous.

This is an absolutely great assemble cast.  Philip Seymour Hoffman first of all is probably the best actor today, bar none.  Add that with a who’s who of british actors and this makes for one great cast and they don’t disappoint.  You even have the entire The IT Crowd cast in this movie.

The movie is funny and witty with some drama to advance the story.  It has an absolute great soundtrack and cast.  But the story and editing sometimes feel garbled, plus I liked the original title, The Boat That Rocked, better than US title, Pirate Radio.

Pirate Radio gets a 3.5 out of 5.

Little spoiler.  The end credit has the cover art of a bunch of albums.  The one that stood out for me.  Taylor Swift – Fearless.

Martes 24 de noviembre del 2009.- La pelí más galardonada y reconocida del año. Basada en la obra teatral ganadora del Premio Pullitzer y del Premio Tony; La Duda es un fascinante drama lleno de suspenso, con cautivantes actuaciones de Meryl Streep, Philip Seymour Hoffman, Amy Adams y Viola Davis que te mantendrán pegado a la pantalla. La hermana Aloysius Beauvier (Streep), la estricta y temida directora de la escuela de la Iglesia de San Nicolás, desaprueba por completo las ideas modernas del Padre Flynn (Hoffman), un sacerdote de la parroquia.

Encontrando algo de qué sospechar en cada esquina, la hermana Aloysius está convencida de que el Padre Flynn es culpable del máximo pecado, debido al interés especial que demuestra por un niño atromentado. Pero sin ninguna evidencia, lo único que ella tiene por cierto es…La Duda.

Y para que no te quedes con La Duda…acá te tenemos 3 DVDs y así puedas descubrir el final de toda esta inseguridad. Sólo mándanos un mail con todos tus datos (nombre, teléfono y mail) a pinkmagazine@mail.com

Truly Wonderful!  Someone has created a mash-up fan-trailer for the next Batman movie.  It features Phillip Seymour Hoffman and Johnny Depp as The Penguin and The Joker, respectively.  Both actors have been tethered to rumors that they are attached to the newest project despite the fact that Nolan himself hasn’t even publically announced his involvement.  Regardless, this trailer is SO good (I still believe there is an art to trailer-makin’) and it makes me PRAY that Nolan goes ahead with a Depp/Hoffman pairing.  It will take these two together to try and accomplish what Ledger and Eckhart pulled off.  So, without further ado, my Bat-dream movie!

P.S.  Also, if you checked out the previous post on Nick’s Commercials and realized that all of the Youtube links were unembeddable, I apologize, I found out too late.  You can still use the links above them or just click the links to their Youtube pages.

P.P.S. Bears With Sparklers

Here is an excellent fan made trailer by Hawkeye Protagonist. Would you want the next Batman film to be like this?

CAPED CRUSADER aka SHADOW OF THE BAT Teaser Trailer for the Dark Knight sequel.

-Gotham is being overrun by a billionaire crime boss known as the penguin.
-A potential threat, known as Edward Nygma, battles with his own mind and the answer to “Why?”
-The key theme of Batman Begins was “Fear”, in The Dark Knight it was “Anarchy”. In Caped Crusader it’s “GREED”.

Starring:
Christian Bale as Batman/Bruce Wayne
Phillip Seymour Hoffman as Penguin/Oswald Cobblepot
Johnny Depp as Riddler/Edward Nigma

The poster is an old fan made one as well.

It’s almost Thanksgiving!!!  It’ll be good to head back to Philly and take a break…although something tells me I won’t.  In the meantime, check out these bands for the soundtrack to your holiday season.

Eluvium – I was totally in the headspace last week for monotonous slow building epic orchestral ambient music and Eluvium aka Matthew Cooper is the KING at this shit.  Check it out.

Philip Seymour Hoffman – Don’t let the name fool you.  It’s actually a band that has nothing to do with the actor of the same name.  Lo-fi experimental pop similar, but inferior to Dan Deacon.

Brit & The Calvary – St. Vincent meets Andrew Bird  (that’s funny since they just toured together) with Grace Potter female rocker twist.  Her studio tracks don’t do justice to her live show, which I got to see a few days ago.

Junior Boys – Electro rock with hint of hip-hop and corny, but cool 80’s vibe to it (aka heavy on the synths).  Look forward to seeing them do a DJ set on Saturday with RJD2 and Lotus at Terminal 5.

Tristan Clopet – I wasn’t really sold on Tristan until I saw this video a few months ago, but for this and that, never added him until now.  Jason Mraz meets Jeff Buckley with a dash of funk (although this video is solo acoustic with a waltzy vibe to it).  Also, check out his cover of Bon Iver.  Note:  I would be lying to myself if I omitted that he’s a client, but I’m adding him for artistic reasons.

讀電影的時候，同學交流的作品之中，最令我感受深刻的，是一套關於一個人發夢夢見一個人發夢夢見一個人發夢……的故事，到那時我才意識到，創作原來是沒有一回事，可以不依從任何類型、慣例、模式等等繁文縟節，而我，也許，一世人都創作不出這種作品。

對我來說，Charlie Kaufman是珍貴的，而且越來越貴。假如簡約一些，他當然可以仿Woody Allen玩玩創作人自我投射，再要主角對住鏡頭說三道四，說出創作人孤單、悲傷與黯然；假如風格一些，他當然可以用David Lynch的美學符號攝住觀眾，一步一步帶你走進異域迷團，越說越迷；假如輕巧一些，他當然可以像Federico Fellini般飛簷走壁，輕盈冷看意大利人與事，與君同舞。

但是，Charlie Kaufman始終堅持，繼續惡搞文本，一浪接一浪的寫出這個創作人沉溺的故事，譜出人的生活與死亡，再說存在於世的主客制度。或者是為自戀而自戀，或者是為扮野而拼命扮野，但是，面對豐富深厚的文本，Charlie Kaufman卻義無返顧，無心去蕪存菁，沒理起承轉合，而選擇慢慢的逐一道來，讓觀眾與作者同步走、同步想。

我承認，我也是迷惘的觀眾之一，但符號、意念可曾是絕對，要靠想像去連接思緒，要靠記憶去銜接脈絡時空，也是累人。如此往來，這部作品就不只呈上創作人的孤寂與惶恐，不再只是讓「觀眾」花時間去看一個虛構人物的一個虛構故事，而這作品本身就是一個生命，與編導互動，與觀眾交流，你自然可以舉一反三，你自然可以起身離場，但哲學家花萬言千字寫的存在疑團你不看，卻能在這兩個多小時的作品中與你消磨，實在，也是珍貴，也是難得。

伸延：
．《無痛失戀》
．《何必偏偏玩謝我》
．《神探》
．Hoffman 繼續精采 ：《Capote》

There are certain films that seem so wide in scope and epic in proportions that they kind of make other films seem a bit pale in comparison.  I don’t want to necessarily say that they are “the best movies there are,” but they certainly make you contemplate your life, as well as other movies and how you view those.  Magnolia was easily one of those films.

The movie is long and wandering, and yet intimate and precise.  It deals with every day, real life issues, but tackles them as one might approach an epic journey, as well as adding on aspects of unreal, magic, and abstract vignettes.  It is a film of contradictions, both in plot and production.

The film begins by discussing three classic urban myth coincidences, all shot beautifully and interestingly.  Unfortunately, I don’t think the movie itself quite tied back to those original ideas.  I was expecting some sort of major payoff, where everything converged nicely.  Like real life, there were minor coincidences and unexpected relationships, but never the magical dues ex machina i was expecting.  I understand why thematically  that wouldn’t have been necessary, but I still felt a little misled.

I don’t know if I loved all of the less realistic aspects of the film.  In one memorable scene, all of the characters, in their own private worlds, sing along to an Aimee Mann song.  The song was pretty and relevant, but… why?  I don’t know if the movie really gained anything from that sing-along session.  We get it: all of these characters lives and stories are interweaved, and they are all going through oddly similar things.  We don’t need to hear them singing a song like this in order to recognize that.  On the other hand, I thought the frogs were actually kind of interesting.  And the only reason it really worked was because of the way the characters responded to it.  People didn’t start freaking out or thinking that the world was going to end.  It was just something that was happening and they dealt with it accordingly.  They noticed it and took it in, but didn’t over-react or completely lose it.

Is it weird that one of the most interesting factors of this movie (to me) was its pretty strict adherence to Aristotle’s Unities?  Everything takes place in the valley in one day.  The unity of action has always been a bit fuzzy to me, but I think it could easily be argued that Magnolia adhered to this as well.  For a movie of its scope, Magnolia is also intimate and small in its own way.

Not really sure what else to say about it.  I’m still thinking about the connections and relationships, which is impressive no doubt.  The performances were all stellar, with special mention going to the old and the young.  PTA does a great job of managing this ensemble cast.  The recognizable stars did an awesome job of playing against their types, which is always fun to watch.  The movie doesn’t so much end as go on and on, like life.  It often feels like story lines are being neglected, but there is just so much going on at the same time (like real life), it is impossible to give the appropriate amount of focus to any one thing or person.

So, if you couldn’t tell, I really did love this movie.  It is FAR from perfect, but if anything I appreciate it for it’s ambition and unavoidable imperfections.  Probably the seminal PTA film, although I may still like There Will Be Blood more.  I’ll have to keep thinking about that one, though.

- por Bernardo Brum

A era hippie acabou e agora todos estão trabalhando. Mas você sabe, às vezes tem um homem que pode mudar tudo isso.  Sem comunistas, agora no máximo podemos acreditar no discurso deste republicano ou daquele democrata. Mas às vezes existe um homem para provar como nós todos estávamos enganados. Tudo agora é baseado no dinheiro para a caridade, para as artes plásticas ou para fortalecer a máfia da pornografia em videotape, que não sabem mais o que é cinema. Só que as vezes tem um homem que não liga, chega e destrambelha tudo.  E esse homem que eu não conheço não é ninguém importante, mas você sabe que às vezes tem um homem que… Hum, perdi o fio da meada.

Eis Jeffrey Lebowski, O Cara, exímio jogador de boliche que junto de seus incapazes amigos – o cardíaco Donny e o psicótico ex-combatente do Vietnã Walter – é tirado do seu mundo de baseados, white russians e calorosos debates nos clubes onde bolas rolam e pinos caem para fazer as vezes de Sam Spade. Ou de Philip Marlowe. Para aqueles sombrios anos pós-depressão,  o homem era Bogart, gel no cabelo, terno impecável, cigarrinho no canto da boca e frases ferinas. Nesses anos de incrível ressaca moral, nós temos que deixar isso pra lá e buscar compensação por nossos carpetes mijados e nossas fitas do Creedence.

Esse é o dilema moral do Cara. Tomado por um milionário homônimo, tendo seu carpete mijado e tendo que sair por aí atrás de uma ex-atriz pornô casada com o tal Grande Lebowski – que, segundo o próprio foi raptada por uma gangue de… niilistas? E, claro, no meio do caminho tendo que aguentar moleques arrogantes, a filha excêntrica do milionário, o síndico afetado, o pederasta mothafucka’, agiotas do mundo pornô, a polícia, um taxista que é fã do Eagles, os ataques de Walter, e lá vamos nós.

Predileção dos Coen, O Grande Lebowski é um grande filme sobre o nada, a desinformação, a estupidez e a fragilidade da vida. Só O Cara que não parece ligar sobre isso, e em momento algum ele reina soberano – o mundo faz gato e sapato de um pobre vagabundo metido em uma conspiração digna de um O Falcão Maltês ou À Beira do Abismo que, no final das contas, surgiu apenas por causa do caos que faz de nossas vidas grandes campanhas em nome de coisa alguma e que só foram empreendidas, afinal, porque nós somos estúpidos demais para fazer qualquer coisa útil. Ou preguiçosos, talvez.

Aí, uma bola de feno sendo empurrada por aí pelo vento logo transforma-se em sonhos psicodélicos envolvendo garotas gostosas vestidas de viking em uma pista de boliche, ou cinzas de um defunto sendo jogadas em nosso rosto. É tudo muito frágil, ridiculamente frágil. E é tudo muito estúpido, hilariamente estúpido. O planeta é tão rico em oxigênio quanto em burrice, e assim segue o balaio das grandes epopéias dos inúteis, por gerações. Por que, às vezes, tem um Cara para nos mostrar tudo isso. Às vezes, tem um cara para acender uns baseados e ouvir uns rockzinhos safados antes de terem a cabeça afundada na privada. Às vezes, tem… um Cara.

5/5

Ficha técnica: O Grande Lebowski (The Big Lebowski) – 1998, EUA. Dir.: Joel e Ethan Coen. Elenco: Jeff Bridges, Julianne Moore, Philip Seymour Hoffman, John Goodman, Steve Buscemi, Tara Reid, John Turturro, Flea

RE: Your mental stability

I hope this is just a hilarious joke and that on April 1st next year when I wake up to get my morning coffee and daily online reads, there your face will be with a big smile giving the world the always reassuring finger guns as if to say “I fooled you all, you big bunch of foolio’s!” and oh how we will laugh and in 2020 we will look back on it and say “remember how you got us good 10 years ago?”

What are the chances of that happening? Can we ever get back to the status quo? Don’t answer these questions for I do not want to know.

You’re a darn good actor sir. You’ve been in a few masterpieces such as Return to Paradise and Murder, She Wrote, and some not so good productions like the Village (although you are not to blame for this as M. Night “I Think I’m The Man” Shyamalan is an overrated ass and doesn’t realise he hasn’t produced a quality film since Unbreakable).

Are you pissed that you didn’t win an Oscar for Walk the Line, is that what prompted this sudden lifestyle change? Because you should know that I was rooting for you. I mean Philip S. Hoffman, good bloke, but come on he was in Patch Adams! I am a true believer in holding films against award winners. That way we could be guaranteed that David Caruso and Elizabeth Berkley would never win an Oscar – I know they already have a very slim chance, but a chance nonetheless!

Now I’ve heard you “rap” and I’m not going to be one of those “haters” that make ill-informed decisions before being presented with the entire story nor am I going to pass judgment on the lives of others. Having said that you’re slightly shit. I know I said I wasn’t going to say that but I lied. You’re so shit that I would rather listen to that white guy in 5ive freestyle before I have to endure another listen of what you’re bringing to the table. Take it back and get a refund. Do not put all your eggs into this rapping basket, because you will need a fallback. If asked to do ‘Gladiator 2: Attack of the Zombies’ I say take it.

I will treat this as an open letter as I believe Joaquin would regularly Google the terms “Shyamalan”, “Overrated” and “Philip Seymour Hoffman is a tampon”. This post should be right up there in the searches.

FILME: A FAMÍLIA SAVAGE

Título Original: The Savages
Gênero: Drama
Duração: 113 minutos
Ano de Lançamento: (EUA) 2007
Site Oficial: http://www.foxfilm.com.br/familiasavage/
Estúdio: Fox Searchlight Pictures / Lone Star Film Group / Ad Hominem Enterprises / Cooper’s Town Productions / This Is That Productions
Distribuidora: 20th Century Fox Film Corporation
Direção: Tamara Jenkins
Roteiro: Tamara Jenkins
Produção: Anne Carey, Ted Hope e Erica Westheimer
Elenco
Laura Linney (Wendy Savage)
Philip Seymour Hoffman (Jon Savage)
Philip Bosco (Lenny Savage)
Peter Friedman (Larry)
David Zayas (Eduardo)
Gbenga Akinnagbe (Jimmy)
Cara Seymour (Kasia)
Tonye Patano (Sra. Robinson)
Guy Boyd (Bill Lachman)
Debra Monk (Nancy Lachman)
Rosemary Murphy (Doris Metzger)
Hal Blankenship (Burt)
Joan Jaffe (Lizzie)
Sinopse: Wendy (Laura Linney) e Jon Savage (Philip Seymour Hoffman) sempre buscaram escapar do jeito dominador de seu pai (Philip Bosco), sendo que agora lidam apenas com suas próprias vidas. Wendy trabalha como dramaturga no East Village e passa seus dias buscando doações, namorando o vizinho casado e roubando material de escritório. Já Jon trabalha como professor universitário em Buffalo, tendo escrito alguns livros sobre assuntos obscuros. Um dia eles recebem um telefonema que os informa que seu pai, Lenny, está aos poucos sendo consumido pela demência e que apenas eles podem ajudá-lo. Isto faz com que Jon e Wendy voltem a morar juntos, o que não ocorria desde a infância, com ambos tendo que lidar com as excentricidades do outro.

Comentário: cruel e visceral. Nada mais a declarar…

MÚSICA: FRIENDLY FIRES – SKELETON BOY

Without a doubt, Pirate Radio has the best soundtrack to any movie ever made. What else can you expect from a movie about rock music from the 60’s, the best era for music ever, in my opinion.

Pirate Radio, or The Boat That Rocked as it is known outside the US, is about a ship of rogue djs and crew members in the 1960’s who play rock music on a ship because the United Kingdom’s regular airwaves refuse to play their greatest product, rock & roll. The government of course hates the crew of Radio Rock and try to eliminate their pirate broadcast. The film focuses on the lives of the crew members, especially a teenager named Carl (Tom Sturridge), who’s mother sent him to be with his godfather Quentin (Bill Nighy) aboard the ship

The wide range of wacky characters is one thing I loved of the film. I like a broad range of characters in a comedy like Pirate Radio and I think it worked very well. Philip Seymour Hoffman who plays American DJ, The Count, did a great job as usual. Bill Nighy also did a great job as, Quentin, the head of Radio Rock.

A huge criticism of the film was that it was too long. I didn’t think so, I gladly would have watched another hour of the film.  However, I greatly enjoy 60’s rock and a mess of characters. Two hours is needed for the vast number of characters in this movie, but extra time could have been spent on certain characters to develop them more.

My biggest criticism would be that the film did seem jumbled and messy at times. The film could have been tightened up a bit and more polished. Overall, I did enjoy the movie and thought it was funny.

I give Pirate Radio a 7.5. Now, excuse me while I put some Stones records on.

Il dubbio è un film del 2008 un adattamento cinematografico all’opera teatrale di John Patrick Shanley. Scritto e diretto da Shanley e prodotto da Scott Rudin, il film è interpretato da Meryl Streep, Philip Seymour Hoffman, Amy Adams, e Viola Davis, che sono stati tutti nominati per l’Oscar al 2009.

Leggi altre notizie su: | John Patrick Shanley | Meryl Streep | Philip Seymour Hoffman | Amy Adams

“Pirate Radio”  Rated R, 1 hour 56 minutes.  Distributed by Focus Features, Starring Philip Seymour Hoffman.

Friday & Saturday @ 2pm, 4:30, 7pm & 9:45

Sunday to Thursday @ 2pm, 4:30, 7pm & 9:30

“La duda  [Doubt]” dirigida por John Patrick Shanley

 “John Patrick Shanley lleva a la pantalla su obra de teatro titulada DOUBT (LA DUDA). Se trata de una historia sobre la búsqueda de la verdad, las fuerzas del cambio, y las devastadoras consecuencias de una justicia ciega en una época definida por las férreas convicciones morales.”

Extraído de La Higuera.

Ver además:

http://www.imdb.com/title/tt0918927

http://en.wikipedia.org/wiki/John_Patrick_Shanley

http://www.muchocine.net/criticas/10380/La-duda

Los títulos recomendados están en la Biblioteca del Instituto Internacional. Si te interesa leer ésta recomendación puedes consultar su disponibilidad en el catálogo la biblioteca del IIE. 

La duda  [Doubt]. [DVD] / dirigida por John Patrick Shanley. — [S.l.] : The Walt Disney Company Iberia, D.L. 2009. — 1 DVD (103 min.) : son., col.

Idiomas: español, inglés ; Subtít. : español, inglés…etc.

Basada en la obra teatral de John Patrick Shanley

Meryl Streep, Philip Seymour Hoffman, Amy Adams

No recomendada para menores de 13 años

D.L. M 11293-2009

ZW .S528 D6818 2008

Um excelente trabalho de roteiro e, principalmente, de atuação, removem “Incrível Obsessão” (Owning Mahowny, de 2003) do lugar comum e o transportam para um lugar melhor, junto com obras decentes, de construções satisfatórias (direção de arte; fotografia; trilha sonora;), mas que, infelizmente, são esquecidas pelo público. Eu havia assistido ao filme dirigido por Richard Kwietniowski no ano do seu lançamento e somente há pouco eu lembrei da maravilhosa composição de personagem feita por Philip Seymour Hoffman (“Boogie Nights”, de 1997;”Antes que o Diabo Saiba que você está Morto”, de 2007;). Com um ótimo cargo em um banco (o mais jovem gerente da agência!), colecionando elogios de seus superiores, uma namorada linda e apaixonada, Dan Mahowny tem apenas um problema: os jogos – ou um problema financeiro, como ele diz em negação. E não fosse o trabalho do ator, com seus olhares (repare que em alguns momentos apenas um plano detalhe nos olhos do personagem é o bastante para esculpir uma atmosfera de tensão) e gestos expressivos (note seu semblante, sempre curvo, com a cabeça baixa, como se sua mente estivesse em constante preocupação e foco na próxima jogada), Mahowny provavelmente cairia na unidimensionalidade cheia de cacoetes do “jogador alucinado” pelas mãos de outro ator.

Outro grande atrativo, como citado acima, é o roteiro escrito por Maurice Chauvet, com base no livro de Gary Stephen Ross, quegraciosamente apresenta e desenvolve Dan Mahowny sem grandes alardes, nem nunca perdendo tempo em buscar as raízes da sua “doença” – ele é um viciado, e pronto. É o bastante para qualquer um se identificar, mesmo que superficialmente, com sua obsessão. Fora isso, um dos pontos principais do roteiro – a cereja no topo do bolo, a meu ver – seja a atenção dada aos coadjuvantes, mais precisamente ao personagem de John Hurt (“O Homem Elefante”, de 1980; “Os Crimes de Oxford”, de 2008;), Victor Foss, o gerente do cassino. Através dele é possível enxergar o protagonista pela óptica do sistema que o próprio consome tão metódica, compulsiva e arduamente (seu emprego impossibilita o sustento do vício, o que o leva a roubar), e perceber como para o Foss, Mahowny não passa de um investimento, uma máquina de caça-níqueis a ser adulterada, persuadida a sempre voltar com mais dinheiro; algo que se mostra, não só uma decisão acertada por parte do roteirista, como imprescindível para a elaboração de um pequeno, mas significativo quadro sobre o vício. E uma cena que sintetiza perfeitamente essa idéia é quando presenciamos a reação de Foss diante da possibilidade de atrair Mahowny para o seu cassino, após o mesmo ganhar milhões em outro lugar: “Mate-o! Coloque-o para dormir! Quebre suas pernas, o arraste de lá, qualquer coisa, mas não o deixe perder tudo”.

Isolando os ótimos aspectos já analisados, o restante do longa é desvalorizado devido a atuação de Minnie Driver (“Gênio Indomável”, de 1997) e Ian Tracey (“Elektra”, de 2005), respectivamente Belinda, a namorada abobada e ingênua de Mahowny, e Ben Lock, o detetive esforçado e “degustador” voraz de donuts de mel, que se restringem aos maneirismos convencionais que seus personagens proporcionam e criam personalidades rasteiras e simplórias – diferente do trabalho realizado por Philip Seymour Hoffman. No entanto, um outro grande mérito do filme é a trilha sonora composta por Richard Grassby-Lewis, que pontua a trama com leves pinceladas de jazz e acrescenta um ar deliciosamente apropriado de anos 80, já que a trama se passa no início dessa década. No final das contas, “Incrível Obsessão” é um filme que não merece ser esquecido, pois seus méritos são consistentes e invalidam suas falhas, contornando-o, assim, em uma obra interessante e muito bem realizada.