http://www.theedgeoflove.co.uk/
Was it the marriage made in heaven?
Great film..ca sa zic asa.
we live for nothing. we die for free
10 years ago
Saturday, October 18, 2008
Friday, October 17, 2008
Elegy
from NyTimes
Extracurricular Lessons for Student and Teacher
By MANOHLA DARGIS
Published: August 8, 2008
“Elegy” is such a serious, oftentimes grave exploration of desire and the ways of aging and desperate flesh that it’s a miracle the two central characters — a literary star named David Kepesh and his much younger lover, Consuela — have as much sex as they do. Despite some low-key lovemaking and the considerably more overwrought talk, there’s very little pleasure to be found amid this film’s penumbral lighting, careful compositions and muffled, muffling good taste. There isn’t much juice here either, though the film is based on “The Dying Animal,” a brutal, short novel by Philip Roth that oozes like a wound.
The book is fascinating and repellent, more admirable than likable, a fusion of early Roth (sex) and late Roth (death). It’s narrated by Kepesh (Ben Kingsley in the film), who in 1972 metamorphosed into the title character of “The Breast” and five years later became Mr. Roth’s eponymous “Professor of Desire.” The Kepesh in “The Dying Animal” is 70 and engorged with rage. His fury and vigorous language belie the aging flesh he bitterly complains about as he recalls his obsessive affair with Consuela (Penélope Cruz, an obvious if remote object of desire) eight years earlier. She was his student and ripe for the plucking, especially in the film, where she enters clutching Roland Barthes’s “Pleasure of the Text” to her lush bosom.
In the novel Kepesh is pathetic and self-loathing, but perversely enthralling because Mr. Roth’s prose is. Kepesh detests his decaying (dying) body and worships Consuela’s ripe (blooming) one. In the film, directed by Isabel Coixet and written by Nicholas Meyer (he adapted Mr. Roth’s “Human Stain” to the screen), Kepesh is cool and watchful and Mr. Kingsley plays him without a trace of plausible weakness. With his flat stomach and beaky profile (he’s more eagle than goat), Mr. Kingsley looks too proud to indulge in the humiliating revelations that, in the novel, Kepesh ritualistically bathes in. The actor and the filmmakers have made the character their own, but their portrait of a lonely man incapable of surrendering to love is familiar and banal.
Comparisons between novels and screen adaptations are inevitable, particularly when a film announces its literary pedigree as this one reasonably does. The trick is not to confuse the two or assume that the best adaptation is the most faithful or makes for good cinema. “Elegy” has the veneer of fealty. It shares some of the book’s dialogue, most of its plot points and characters: a bold Patricia Clarkson plays Kepesh’s other lover, Peter Sarsgaard his unhappy son and Dennis Hopper his only friend. The film also dilutes the novel’s pessimism, its smog of self-contempt and more aggressively ugly deeds and words — no one could mistake the onscreen Kepesh for a misogynist — but dilution, bowdlerization, counter-readings and heresy are legitimate strategies in the adaptation racket. Dullness isn’t.
The problem with “Elegy” has nothing to do with faithfulness and everything to do with interpretation. The film is an overly polite take on a spiky, claustrophobic, insistently impolite novel, but this wouldn’t be such an issue if Ms. Coixet had the cinematic language that could withstand, equal, obliterate or transcend the book’s blunt force, its beautiful sentences, flashes of genius and spleen. Ms. Coixet has a fine eye and she has created a visual scheme — an attractively dark palette, discreetly hovering camera movements and smooth edits — that makes everything look very nice indeed (especially the radiant if miscast Ms. Cruz). There’s not a hair out of place here or an emotion. It’s as if Ms. Coixet had tried to quiet the howls of a dying animal.
It’s a wonder that filmmakers continue to adapt Mr. Roth’s work to the screen, which is largely inhospitable to tough, prickly and unappetizing ideas and characters, especially in America. It seems instructive that no great director has tackled this great writer, whether out of fear or shrewdness. Certainly it’s understandable that a female filmmaker would have a go at Mr. Roth, though “The Dying Animal,” with its unloving encounters, maddening woman troubles and occasional gynecological descriptions, really cries out for a reckless voluptuary like Catherine Breillat, who wouldn’t go all soft. She could smack all that male contempt around, but also give it its honest due. She would keep the novel’s furious bite.
“Elegy” is rated R (Under 17 requires accompanying parent or adult guardian). Female nudity.
ELEGY
Opens on Friday in Manhattan.
Directed by Isabel Coixet; written by Nicholas Meyer, based on the novel “The Dying Animal” by Philip Roth; director of photography, Jean-Claude Larrieu; edited by Amy Duddleston; production designer, Claude Paré; produced by Tom Rosenberg, Gary Lucchesi and Andre Lamal; released by Samuel Goldwyn Films. Running time: 1 hour 48 minutes.
WITH: Penélope Cruz (Consuela), Ben Kingsley (David Kepesh), Dennis Hopper (George O’Hearn), Patricia Clarkson (Carolyn), Peter Sarsgaard (Dr. Kenny Kepesh) and Deborah Harry (Amy O’Hearn).
Extracurricular Lessons for Student and Teacher
By MANOHLA DARGIS
Published: August 8, 2008
“Elegy” is such a serious, oftentimes grave exploration of desire and the ways of aging and desperate flesh that it’s a miracle the two central characters — a literary star named David Kepesh and his much younger lover, Consuela — have as much sex as they do. Despite some low-key lovemaking and the considerably more overwrought talk, there’s very little pleasure to be found amid this film’s penumbral lighting, careful compositions and muffled, muffling good taste. There isn’t much juice here either, though the film is based on “The Dying Animal,” a brutal, short novel by Philip Roth that oozes like a wound.
The book is fascinating and repellent, more admirable than likable, a fusion of early Roth (sex) and late Roth (death). It’s narrated by Kepesh (Ben Kingsley in the film), who in 1972 metamorphosed into the title character of “The Breast” and five years later became Mr. Roth’s eponymous “Professor of Desire.” The Kepesh in “The Dying Animal” is 70 and engorged with rage. His fury and vigorous language belie the aging flesh he bitterly complains about as he recalls his obsessive affair with Consuela (Penélope Cruz, an obvious if remote object of desire) eight years earlier. She was his student and ripe for the plucking, especially in the film, where she enters clutching Roland Barthes’s “Pleasure of the Text” to her lush bosom.
In the novel Kepesh is pathetic and self-loathing, but perversely enthralling because Mr. Roth’s prose is. Kepesh detests his decaying (dying) body and worships Consuela’s ripe (blooming) one. In the film, directed by Isabel Coixet and written by Nicholas Meyer (he adapted Mr. Roth’s “Human Stain” to the screen), Kepesh is cool and watchful and Mr. Kingsley plays him without a trace of plausible weakness. With his flat stomach and beaky profile (he’s more eagle than goat), Mr. Kingsley looks too proud to indulge in the humiliating revelations that, in the novel, Kepesh ritualistically bathes in. The actor and the filmmakers have made the character their own, but their portrait of a lonely man incapable of surrendering to love is familiar and banal.
Comparisons between novels and screen adaptations are inevitable, particularly when a film announces its literary pedigree as this one reasonably does. The trick is not to confuse the two or assume that the best adaptation is the most faithful or makes for good cinema. “Elegy” has the veneer of fealty. It shares some of the book’s dialogue, most of its plot points and characters: a bold Patricia Clarkson plays Kepesh’s other lover, Peter Sarsgaard his unhappy son and Dennis Hopper his only friend. The film also dilutes the novel’s pessimism, its smog of self-contempt and more aggressively ugly deeds and words — no one could mistake the onscreen Kepesh for a misogynist — but dilution, bowdlerization, counter-readings and heresy are legitimate strategies in the adaptation racket. Dullness isn’t.
The problem with “Elegy” has nothing to do with faithfulness and everything to do with interpretation. The film is an overly polite take on a spiky, claustrophobic, insistently impolite novel, but this wouldn’t be such an issue if Ms. Coixet had the cinematic language that could withstand, equal, obliterate or transcend the book’s blunt force, its beautiful sentences, flashes of genius and spleen. Ms. Coixet has a fine eye and she has created a visual scheme — an attractively dark palette, discreetly hovering camera movements and smooth edits — that makes everything look very nice indeed (especially the radiant if miscast Ms. Cruz). There’s not a hair out of place here or an emotion. It’s as if Ms. Coixet had tried to quiet the howls of a dying animal.
It’s a wonder that filmmakers continue to adapt Mr. Roth’s work to the screen, which is largely inhospitable to tough, prickly and unappetizing ideas and characters, especially in America. It seems instructive that no great director has tackled this great writer, whether out of fear or shrewdness. Certainly it’s understandable that a female filmmaker would have a go at Mr. Roth, though “The Dying Animal,” with its unloving encounters, maddening woman troubles and occasional gynecological descriptions, really cries out for a reckless voluptuary like Catherine Breillat, who wouldn’t go all soft. She could smack all that male contempt around, but also give it its honest due. She would keep the novel’s furious bite.
“Elegy” is rated R (Under 17 requires accompanying parent or adult guardian). Female nudity.
ELEGY
Opens on Friday in Manhattan.
Directed by Isabel Coixet; written by Nicholas Meyer, based on the novel “The Dying Animal” by Philip Roth; director of photography, Jean-Claude Larrieu; edited by Amy Duddleston; production designer, Claude Paré; produced by Tom Rosenberg, Gary Lucchesi and Andre Lamal; released by Samuel Goldwyn Films. Running time: 1 hour 48 minutes.
WITH: Penélope Cruz (Consuela), Ben Kingsley (David Kepesh), Dennis Hopper (George O’Hearn), Patricia Clarkson (Carolyn), Peter Sarsgaard (Dr. Kenny Kepesh) and Deborah Harry (Amy O’Hearn).
Thursday, October 9, 2008
My blueberry nights
Norah Jones, Juse Law si frumoasa de Natalie Portman intr-o poveste peste care curge placinta cu fructe de padure.
regia: Wong Kar Wai
Tuesday, October 7, 2008
Smart People
Sometimes the smartest people have the most to learn
Ellen Page e grozava in filmul asta. Mi-a placut maxim fratele "adoptat". Si Dennis Quaid. Si SJP.
Oricum un film numai bun de vazut.
Ellen Page e grozava in filmul asta. Mi-a placut maxim fratele "adoptat". Si Dennis Quaid. Si SJP.
Oricum un film numai bun de vazut.
Saturday, October 4, 2008
Les Choristes
Un film asa de frumos, am ascultat soundtrackul de atatea ori si nu apucasem sa vad filmul.
http://www.imdb.com/title/tt0372824/
Les deux monde
Ei bine asa imi plac mie filme frantuzesti! O comedie super, el este restaurator de tablouri, sotia se decide sa il paraseasca..Timpul se opreste si omul nostru se trezeste intr-o alta lume unde este vazut ca un Mesia. Un film foarte haios, locatii de filmare super, undeva in Africa banuiesc.
Si costumele..super! Si muzica, si tot..
Ce soir je dors che toi
Alta comedioara frantuzeasca asa..numai buna de vazut vineri seara. O poveste despre reactia barbatului cand femeia pe care o iubeste il anunta ca vrea sa locuiasca cu el. Frica lui in fatza schimbarii, etc. Barbatii..
Ensemble c'est tout
O Audrey simpatica, tunsa scurt. Un film care mie mi-a placut tare. Mai ales povestea dintre cei doi..si bunica cea simpatica..
Friday, October 3, 2008
The counterfaiters
Si in sfarsit un film bun.
Regizor Stefan Ruzowitzky
Scenarist Stefan Ruzowitzky, Adolf Burger
Actori Karl Markovics, August Diehl, Devid Striesow
Studio Sony Pictures Classic
Gen film Drama
Site Oficial Visit
Durata 98 minute
Box Office 5,483,549 (US total)
Synopsis "The Counterfeiters" ("Die Fälscher" in Germana), este povestea adevarata a celei mai mari operatiuni de contrabanda din istorie, organizata de Nazisti in 1936. Salomon "Sally" Sorowitsch (Karl Markovics) este regele contrafacerilor. Este un betivan care traieste o viata mizerabila printre hartii, si un afemeiat in timpul erei Naziste din Berlin. Brusc norocul sau se schimba cand este arestat de supravieghetorul Friedrich Herzog (Devid Striesow). Este dus imediat in inchisoarea din Mauthausen, unde Salomon dobandeste abilitati exceptionale si curand va fi transferat in unitatea imbunatatita din Sachsenhausen. El il intalneste iar pe Herzog, care este acolo intr-o misiune secreta. Datorita abilitatilor sale de a picta foarte bine, Salomonsi un grup de profesionisti sunt fortati sa picteze falsuri in secret, operatiunea numindu-se Berhard. Echipa il include de asemenea pe suspectul Adolf Burger (August Diehl), care pune la dispozitie luxoasa sa cladire. Dar in timp ce Salomon asteapta sa se slabeasca economia oponentilor Germaniei, Adolf refuza sa isi floseasca abilitatiile in flolosul si profitul Nazistilor si ar vrea sa faca ceva sa opreasca Operatiunea Bernhard venind in ajutorul eforturilor depuse in razboi. Confruntandu-se cu o problema morala, Salomon trebuie sa se decida ce va face, actiunile sale ar putea prelungii razboiul si risca viata unor prizonieri, in final trebuie sa faca alegerea corecta.
(http://moviehouse.phg.ro)
City of Men
In CITY OF MEN, producer Fernando Meirelles (The Constant Gardner) returns to the Brazilian favelas of his Academy Award-nominated film, City of God. Growing up in a culture dictated by violence and run by street gangs, teenagers Acerola (Douglas Silva) and Laranjinha (Darlan Cunha) have become close as brothers. With their eighteenth birthdays fast approaching, Laranjinha sets out to find the father he never met, while Acerola struggles to raise his own young son. But when they suddenly find themselves on opposite sides of a gang war, the lifelong friends are forced to confront a shocking secret from their shared past.
Sa fiu sincera dupa City of God nu mai vreau sa vad inca un film cu povesti din cartiere..dar a fost ok si asta. Nu m-a impresionat ca primul.
Sa fiu sincera dupa City of God nu mai vreau sa vad inca un film cu povesti din cartiere..dar a fost ok si asta. Nu m-a impresionat ca primul.
The sisterhood of the traveling pants
4 fete, o pereche de blugi. Una din ele in Grecia. Santorini. Kalimera..
Urmeaza The sisterhood 2 cand fetele is cu trei ani mai mari..si grecul s-a insurat desigur cu o grecoaica! Hihihi
Foarte bun film de fazut cu fetele. Siropel asa..
Asa o sa arate partea a doua:
About a boy
Will (Hugh Grant)
I am an island. I am bloody Ibiza!
I'll tell you one thing. Men are bastards. After about ten minutes I wanted to cut my *own* penis off with a kitchen knife.
Will: [thinking] Every man is an island. I stand by that. But clearly some men are island CHAINS. Underneath, they are connected...
Marcus: [thinking] I used to think two was not enough. But now things are great; there are loads of people... I don't know what Will was so pissed about. I don't think couples are the future. The way I see it now, we both got back-up now. It's like that thing Jon Bon Jovi said: 'No man is an island.'
Comedioara - ca sa continuam seria de filme care nu ne pun mintea la contributie:))
Thursday, October 2, 2008
Qui M'Aime Me Suive
Un film frantuzesc care mie mi-a placut foarte tare. La fel, eram precisa ca am scris despre film, tot de la Bogdan stiu de el..nu stiu ce e cu mine, cred ca m-am ramolit deplin.E povestea unui tip care ajuns pe la 30 de ani se prinde ca nu e fericit cu jobul lui si se apuca de cantat in beciul prietenei lui cea mai buna. Nevestei uita sa ii spuna. Fun filmul. Ah!
Inca o data m-am prins ..iubesc basistii !
Definitely, Maybe
Seara de comedioare romantice dupa cum se vede. Vine o zi in care vrei sa mai vezi si pompitze ca nu cumva sa strige prietenii pe strada ca te-ai facut intelectuala in cap.
Un filmuletz dragut mai ales pentru ca Maya "aia mica" este extrem de simpatica si joaca bine. O poveste despre iubirile lui Will, despre evolutia lui in plan profesional si ..despre dragostea adevarata (tipic american desigur).
Un filmuletz dragut mai ales pentru ca Maya "aia mica" este extrem de simpatica si joaca bine. O poveste despre iubirile lui Will, despre evolutia lui in plan profesional si ..despre dragostea adevarata (tipic american desigur).
Wednesday, October 1, 2008
The Accidental Husband
O comedioara tipic americana cu happy ending si aceleasi povesti de amor cum numai in filme vezi. Si totusi ne place maxim sa credem ca povestile astea pot deveni realitate, asa ca vedem filmul, radem si ne bucuram. Film de fete, de vazut cu inghetata.
http://www.theaccidentalhusbandmovie.com/
Hard candy
Eu eram convinsa ca am deja scris ceva despre filmul asta, dar nu am mai gasit unde. Deci il bifam la vazute. Foarte buna povestea, Ellen Page joaca excelent.
Candy (more is never enough)
Directed by Neil Armfield. With Abbie Cornish, Heath Ledger, Geoffrey Rush.
Mi-a fost destul de greu sa vad filmul asta..Mi-a parut asa de rau cand a murit Heath asa ca nu cred ca a fost o idee buna sa vad filmul..singura zic.
Ea este studenta la arte, el e poet. Ea il iubeste pe el, el o iubeste pe ea.. Amandoi iubesc drogul. Ea ajunge sa se prostitueze, el ajunge sa fure. Povesti pe care le-am auzit in gasti despre prieteni ai unor prieteni. Cred ca de asta m-a intristat si mai tare filmul.
Heath joaca asa de bine incat trezeste compasiune..Foarte bun film insa nu l-as mai vedea inca o data..Imaginea lor in pat, imbratisati, tinandu-si in brate copilul nascut prematur si fara pic de viata..Too much for me.
Cum zice Cabral?! Spuneti NU drogurilor..Daca nu puteti sa spuneti NU tuturor drogurilor, macar de Heroina nu va atingeti..
Monday, September 29, 2008
Boogie
Cred ca ma asteptam la altceva. Nu imi place Marinca. Felul in care vorbeste, felul in care nu joaca ci asa este ea. Mi-a placut Dragos Bucur, dar el imi place oricum. Ceilalti doi insa..minunati. Imi place de Mimi Branescu desi l-am vazut in atatea reclame..
Mi-a placut un pic filmul..pentru ca mi-a adus aminte de gasca mea, de cum s-au schimbat baietii dupa ce s-au insurat. Am ras si am avut si o lacrima asa in coltul ochiului. Si noi am mers in Neptun Olimp acum ani de zile..cu un Hyundai Sonata. Acum ani de zile, noi patru nebuni - eu singura fata dar mai baietoaica decat toti. Si noi cantam dar nu Gica Petrescu.
In fine..filmul putea sa fie mai bun:))
Si imaginea fir ar sa fie de gonflare de rahat care se face in Romanica!
Sunday, September 28, 2008
Politiki kouzina
Original title :Politiki kouzina (2003)
English title: A Touch of Spice
Director:Tassos Boulmetis
Running time: 108 minutes
Language: English, Greek and Turkish with English subtitles
Category: IIB
Cast: Tassos Bandis, Georges Corraface, Tamer Karadagli, Basak Köklükaya, Renia Louizdou, Stelios Mainas, Ieroklis Michaelidis, Markos Osse
Fanis, a young Greek boy from Istanbul, has a grandfather who is a culinary philosopher and mentor who teaches Fanis that both food and life require seasoning with a touch of salt and ... A Touch of Spice. Fanis grows up to become an excellent cook, using his cooking skills to spice up the lives of those around him. Thirty-five years later he leaves Athens and travels back to his birthplace of Istanbul to reunite with his grandfather and his first love; only then does he realise that he has forgotten to put a little bit of spice into his own life.
Awards received
Audience Award, Best Cinematography, Best Director, Best Editing, Best Fiction Film, Best Music, Best Screenplay, Best Set Design, Best Sound and Greek Union of Film and Television Technicians Award, Thessaloniki Film Festival 2003 (Greece)
O sa scriu la mine pe blog cum e cu filmul asta..
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