fredda_ruth
Entrou em ago. de 2003
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Selos2
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Avaliações11
Classificação de fredda_ruth
I liked the WEST SIDE STORY/Umbrellas of Cherbourg combination
--- the characters exude understated loneliness and passion/longing in their (usually) solitary musings/hallucinations like the doomed lovers in the French film; while the superbly choreographed dances are lively, flamboyant and outrageous, as in the Robert Wise musical classic.
The picture's quality is so sleek, glossy and crisp- just like the sharply polished characters with their cool jobs and lifestyles. Although they tend to be alienating --- so "Melrose Place", they belong to a TV show rather than a movie, they're just too devastatingly gorgeous, hip and lucky--- some characters have the odd, downright pathetic (though emotionally lightweight) predicament that make us somehow care about them (and of course, envy them).
What further heightens my TV soap-opera comparison is the characters being trapped in the little world they created themselves, which, although very exciting, is also very stressful and complicated. Hence, the songs are mostly performed in small, enclosed places and in medium shots and close-ups, unlike in the grand, majestic West Side Story and Umbrellas of Cherbourg musicals.
The highstrung dramatic moments are kept in check by the funny, ironic twists and the characters' amusing weaknesses, and why is it that the men are such cads and a-holes and cute lovable hunks at the same time?
Despite the preoccupation with very personal "issues", the film manages to get some social commentary in. Though the guys in testosterone overdrive just wanna have fun, they acknowledge the warrior-like quality of women and the fact that it is they who control the sexual relationship. Likewise, the characters take "marriage" humorously and lightly- in fact, even mock it with a naughty grin.
Not a particularly illuminating and substantial film, but its bombastic, wacky dances, sexy anatomies galore and sizzling, riotous swinging-sex-partner-swapping action guarantee that you're in for an enjoyable rockin' and bed-rollin...
Best seen "on the other side of the bed" with your partner
--- the characters exude understated loneliness and passion/longing in their (usually) solitary musings/hallucinations like the doomed lovers in the French film; while the superbly choreographed dances are lively, flamboyant and outrageous, as in the Robert Wise musical classic.
The picture's quality is so sleek, glossy and crisp- just like the sharply polished characters with their cool jobs and lifestyles. Although they tend to be alienating --- so "Melrose Place", they belong to a TV show rather than a movie, they're just too devastatingly gorgeous, hip and lucky--- some characters have the odd, downright pathetic (though emotionally lightweight) predicament that make us somehow care about them (and of course, envy them).
What further heightens my TV soap-opera comparison is the characters being trapped in the little world they created themselves, which, although very exciting, is also very stressful and complicated. Hence, the songs are mostly performed in small, enclosed places and in medium shots and close-ups, unlike in the grand, majestic West Side Story and Umbrellas of Cherbourg musicals.
The highstrung dramatic moments are kept in check by the funny, ironic twists and the characters' amusing weaknesses, and why is it that the men are such cads and a-holes and cute lovable hunks at the same time?
Despite the preoccupation with very personal "issues", the film manages to get some social commentary in. Though the guys in testosterone overdrive just wanna have fun, they acknowledge the warrior-like quality of women and the fact that it is they who control the sexual relationship. Likewise, the characters take "marriage" humorously and lightly- in fact, even mock it with a naughty grin.
Not a particularly illuminating and substantial film, but its bombastic, wacky dances, sexy anatomies galore and sizzling, riotous swinging-sex-partner-swapping action guarantee that you're in for an enjoyable rockin' and bed-rollin...
Best seen "on the other side of the bed" with your partner
I liked 800 Balas despite the sentimental pap; I think it proves that Iglesias has the heart and balls to make it big in Hollywood if he wants to. He has this ability to be so entertaining, accessible and deeply felt at the same time.
There were plenty of funny moments, romanticism (which tends to be simplistic and predictable at times) morality, "good and bad" characters,action, bright colors and suspense to give Steven Soderbergh a run for his money. At the same time, we get a healthy dose of ambiguous darkness, rich irony, black humor and ludicrous moments that tread the thin line between hysteria and nostalgia, morbidity and delight.
There are layers of amorphous innocence and celebration of sensuality in that scene where the kid, lying on the bed with the whore, learns a thing or two about female anatomy aided by a physical demonstration of squeezing her boobs. (For an odd, whimsical and yet strangely dark kid-confronted-with-ripe-overwhelming-sexuality scene, check out THE TIN DRUM where the protagonist buries his face on their house help's "bush".)
That scene where the kid tries to enter the abandoned film set to reach his granddad and somehow evades the notice of EVERYONE AROUND HIM, steeped in chaos, fright, awe and exhilaration as they all were - -- that is just tautly controlled and beautifully executed. The colors are so vivid and ethereal and it's great seeing around two hundred of these film extras acting their hearts out for their 3 seconds of fame, to be grazed by the camera's tracking shot.
Like the mythical, legendary granddad aiming for authenticity and grandeur, Iglesias strives for plenty of big moments.
But I guess that in the end, all the "hero" ever really wanted was to be loved; and if we can't admire this movie for its glorification of machismo-addled brotherhood and glaring, obvious contrasts and metaphors, we may just love its shameless and profound respect for history, psychological and blood ties, dreams, life, and humanity.
There were plenty of funny moments, romanticism (which tends to be simplistic and predictable at times) morality, "good and bad" characters,action, bright colors and suspense to give Steven Soderbergh a run for his money. At the same time, we get a healthy dose of ambiguous darkness, rich irony, black humor and ludicrous moments that tread the thin line between hysteria and nostalgia, morbidity and delight.
There are layers of amorphous innocence and celebration of sensuality in that scene where the kid, lying on the bed with the whore, learns a thing or two about female anatomy aided by a physical demonstration of squeezing her boobs. (For an odd, whimsical and yet strangely dark kid-confronted-with-ripe-overwhelming-sexuality scene, check out THE TIN DRUM where the protagonist buries his face on their house help's "bush".)
That scene where the kid tries to enter the abandoned film set to reach his granddad and somehow evades the notice of EVERYONE AROUND HIM, steeped in chaos, fright, awe and exhilaration as they all were - -- that is just tautly controlled and beautifully executed. The colors are so vivid and ethereal and it's great seeing around two hundred of these film extras acting their hearts out for their 3 seconds of fame, to be grazed by the camera's tracking shot.
Like the mythical, legendary granddad aiming for authenticity and grandeur, Iglesias strives for plenty of big moments.
But I guess that in the end, all the "hero" ever really wanted was to be loved; and if we can't admire this movie for its glorification of machismo-addled brotherhood and glaring, obvious contrasts and metaphors, we may just love its shameless and profound respect for history, psychological and blood ties, dreams, life, and humanity.
Quills
Geoffrey Rush is in peak form in this harrowing 2001 Philip Kaufman film about the Marquis de Sade, a man whose life is as frighteningly defiant as his writings.
Confined in the infamous Charenton asylum, he continues to grunt out his lewd writing on blankets and sheets that Kate Winslet, a laundrywoman, smuggles out to a mythic Zorro-like figure in the gate. His literary pursuits detail graphic sex, incest, debauchery, blasphemy and other aberrations, among other things.
The film illuminates the Marquis' act of writing rather than his life, which is actually one long sadistic bacchanalian adventure. The insane are highly stylized, full of verve, venom and innocence, but Mr. Kaufman's over-reaching enthusiasm deprives his work of the gorgeous sensuality that throbbed in 'The Unbearable Lightness of Being'. The voluptuous Ms. Winslet has that wild streak that redeems her from her ill-starred Titanic extravaganza, and Michael Caine as the evil villain and Marquis-torturer is the perfect husband for that mad nurse in 'One Flew Over the Cuckoos' Nest'.
Beautiful shots, admirable blocking, seamless editing and hapless Jude Law's star turn in the end balance the barefaced caricatures and dramatic provocation. This film is one compelling viewing.
Geoffrey Rush is in peak form in this harrowing 2001 Philip Kaufman film about the Marquis de Sade, a man whose life is as frighteningly defiant as his writings.
Confined in the infamous Charenton asylum, he continues to grunt out his lewd writing on blankets and sheets that Kate Winslet, a laundrywoman, smuggles out to a mythic Zorro-like figure in the gate. His literary pursuits detail graphic sex, incest, debauchery, blasphemy and other aberrations, among other things.
The film illuminates the Marquis' act of writing rather than his life, which is actually one long sadistic bacchanalian adventure. The insane are highly stylized, full of verve, venom and innocence, but Mr. Kaufman's over-reaching enthusiasm deprives his work of the gorgeous sensuality that throbbed in 'The Unbearable Lightness of Being'. The voluptuous Ms. Winslet has that wild streak that redeems her from her ill-starred Titanic extravaganza, and Michael Caine as the evil villain and Marquis-torturer is the perfect husband for that mad nurse in 'One Flew Over the Cuckoos' Nest'.
Beautiful shots, admirable blocking, seamless editing and hapless Jude Law's star turn in the end balance the barefaced caricatures and dramatic provocation. This film is one compelling viewing.