marți, 3 februarie 2009

recuperari: The Horsemen (1971)

tagline: A Horse Worth Killing For. A Dream Worth Dying For.



Calaretii e unul din faimoasele filme ale lui John Frankenheimer de care am auzit de cind eram mic, pentru ca rulase la noi in cinema ! greu de gasit, pina la urma un divx care se vedea vedea bine, facut dupa DVDul iesit in SUA, si era in format (2.35.1). Filmat in super panavision chiar in Afganistan (cu sprijinul Afgahan Films) si Spania, prezinta jiocul traditional al calaretilor, buzkashi, pe care-l joaca si Stallone in Rambo III.
cu: Omar Sharif (care calareste in mare parte el), Leigh Taylor-Young (supersexy, pe vreme aceea nevasta lui Ryan O'Neil, apoi cea a lui Guy McFarlane), Jack Palance (intr-un rar rol pozitiv), David de Keyser, Peter Jeffrey, Vernon Dubtcheff
(pe care-l stiu din 1001 de filme, actor bilingv).


Povestea este de conflict de generatii, intre veteranul Tursen (Jack Palance, cu machiaj la greu) si fiul sau arogant si cirtitor Uraz (Omar Sharif), care traieste in umbra gloriei tatalui.



scenariul: Dalton Trumbo, dupa romanul lui Jospeh Kessel (Noaptea generalilor, Armata umbrelor), muzica Georges Delerue, imaginea Claude Renoir, operator Ernest Day ! DOP initial James Wong Howe si asistentul sau John A. Alonzo (catre mai tirziu va filma Black Sunday e in charge pina vine Claude Renoir . 2nd unit photography: André Domage, Wladimir Ivanov.

afisul original, artsy !!!

cronica lui Ebert din 1971 ii dadea 2 stele jumate din 4, si explica jocul;
John Frankenheimer's "The Horsemen" is about the most dangerous game in the world, which, in case you don't have your Guinness Book of World Records handy, is buzkashi. It is played in Afghanistan, and the object is to pick up a headless goat at full gallop (you are galloping, not the headless goat) and carry it all the way around an enormous field and back to the charmed circle.
While you are doing this, the other players are trying to snatch the headless goat away from you, and they are whipping you and your horse with short, mean whips. It takes a real man to play buzkashi, a point that (in case it doesn't occur to you) the dialog makes maybe a dozen times. (....)
All of this is Frankenheimer's preparation for a long and spectacularly photographed buzkashi, which is violent, bloody and desperate. There hasn't been a sustained action sequence on this scale since the chariot race in "Ben Hur," which you may be reminded of. But Frankenheimer's movie isn't really about the buzkashi itself, but about the character of the men who play it.(....) si iata ce ii reproseaza:
"The Horsemen," as you may be gathering, is a film out of its time. We live in an age of movie antiheroes, when the word "losers" in a title sells more tickets than the word "sex," and it is a little hard for us to sympathize with a man who would deliberately seek out the heat of a thousand suns, etc., when we pine for Lincoln Park whenever the temperature hits 85. The character is basically unlikely (even though buzkashi may indeed still be played by men like gods in Afghanistan), and neither John Frankenheimer's spare, heroic direction nor Claude Renoir's spectacular photography can quite bring this horseman to life.

poate ca la vremea lui asa era, out of its time, asa a si rams, obscur dar faimos, si vremea acelor antieroi de care povestea Ebert a trecut rapid, odata cu Jaws si generatia Star Wars ! Si ceea ce nu stia poate el si am aflat cu stupoare din Cinetudes, unde e un studiu fascinant si exhaustiv despre Frankenheimer in franceza (la care m-am informat si cind am scris de Trenul), este ca filmul a fost remontat si ca initial trebuia sa aibe 3 ore (se simte o taietura brusca inainte de cavalcada finala), dar Columbia a renunat la distributia de tip Roadshow si a preferat sa taie ceea ce i s-a parut inert si lipsit de actiune, adica exact partea cea mai buna a filmului, cu relatia paternal-filiala dintre Sharif si Palance si soarta pajului sau Mukhi si a recuperarii calului !

secventa buzkashi, 25 de zile de filmare si 11 minute de virtuozitate pe ecran !

Timpul a fost generos cu The Horsemen, si mai ales in lumina istoriei Agfanistanului din ultimii 30 de ani, buzkashi nu mai pare un sport atit de violent si mortal !
7 din 10, 3 1/2 din 5.

DGA Awards

Director's guild awards l-a declarat pe Danny Boyle cel mai bun regizor, deci lucrurile sunt cam clare, e anul lui Slumdog Mil(k)ionnaire! la documentar a luat Ari Forlman cu Bashir ! In schimb la premiile de film britanic a cistigat Hunger al lui Steve Mc Queen (pe care nu l-am vazut inca dar se pare ca va trebui si SM n-a luat nimic in afara de scenografie!) Bine ca o sa aibe Danny Boyle Oscarul si Ridley Scott nu !

Berlin: retrospectiva Bigger than LIFE -70 mm

iata motivul meu principal pentru Berlinala, de a (RE)vedea filme asa cum trebuie si cum nu mai am cind ! iata ce se da:

2001: A Space Odyssey by Stanley Kubrick, with Keir Dullea, Gary Lockwood, William Sylvester. GB/USA 1965-68



Baraka by Ron Fricke. USA 1990-92



Ben-Hur by William Wyler, with Charlton Heston, Jack Hawkins, Stephen Boyd. USA 1958/59



Cheyenne Autumn by John Ford, with Richard Widmark, Carroll Baker, Karl Malden. USA 1963/64



Cleopatra
by Joseph L. Mankiewicz, with Elizabeth Taylor, Richard Burton, Rex Harrison. USA 1961-63



Dnevnyje zvyozdy (The Stars of the Day) by Igor Talankin, with Alla Demidova, Andrei Popov, Konstantin Baranov. USSR 1966/68



Flying Clipper – Traumreise unter weißen Segeln by Hermann Leitner, Rudolf Nußgruber. FRG 1961/62



Goya by Konrad Wolf with Donatas Banionis, Olivera Katarina, Fred Düren. GDR/USSR 1969-71



Hello, Dolly! by Gene Kelly, with Barbra Streisand, Walter Matthau, Louis Armstrong. USA 1968/69



Khartoum by Basil Dearden, with Charlton Heston, Laurence Olivier, Richard Johnson. GB/USA 1965/66



Lawrence of Arabia by David Lean, with Peter O’Toole, Alec Guinness, Anthony Quinn. GB/USA 1961/62



Lord Jim by Richard Brooks, with Peter O’Toole, James Mason, Curd Jürgens. GB/USA 1963-65



Mutiny on the Bounty by Lewis Milestone, with Marlon Brando, Trevor Howard, Richard Harris. USA 1960-62



Optimisticheskaya tragediya (The Optimistic Tragedy) by Samson Samsonov, with Margarita Volodina, Boris Andreyev, Vyacheslav Tikhonov. USSR 1963



Patton by Franklin J. Schaffner, with George C. Scott, Karl Malden, Michael Bates. USA 1968-70



Playtime by Jacques Tati, with Jacques Tati, Barbara Dennek, Jacqueline Lecomte. France/Italy 1964-67



Povest’ plamennykh let (The Story of the Flaming Years) by Julija Solnceva, with Nikolai Vingranovski, Svetlana Zhgun, Boris Andreyev. USSR 1960/61



Ryan’s Daughter by David Lean, with Sarah Miles, Robert Mitchum, Trevor Howard. GB/USA 1969/70



The Sound of Music by Robert Wise, with Julie Andrews, Christopher Plummer, Eleanor Parker. USA 1964/65



Star! by Robert Wise, with Julie Andrews, Richard Crenna, Michael Craig. USA 1967/68



Voina i mir (War and Peace) by Sergei Bondarchuk, with Lyudmila Savelyeva, Sergei Bondarchuk, Vyacheslav Tikhonov. USSR 1962-67



West Side Story by Robert Wise, Jerome Robbins, with Natalie Wood, Richard Beymer, George Chakiris. USA 1960/61

Worldwide interest in the legacy of 70-mm films has intensified noticeably over the last years. To find decent, original-language prints of the films for the 70-mm Retrospective of this year’s Berlinale turned out to be a particular challenge for the Deutsche Kinemathek. Fortunately, a number of studios and archives have invested considerable amounts in their 70-mm treasures in the past few years. For instance, Twentieth Century Fox, MGM Studios and Sony/Columbia are contributing nine recently restored films to the programme.

duminică, 1 februarie 2009

Deadlock (1970)







Scris si regizat de Roland Klick, regizor german pe care l-am descoperit cu acest western psihedelic, dar de care auzisem cu ocazia lui White Star (1983, cu Cokehead Dennis Hopper).
Dealock e un fel de Good, Bad, Ugly in desertul de cenusa, cu elemente de Zabriskie Point (desertul, ajutat de muzica trupei psihedelice Can-reprezentanti de frunte ai Kraut rockului). Tema centrala a lui Kid e o piesa Can numita Whiskey Tango Man , care e pusa pe un disc 45 pe un tonomat stricat, mai e o scena cu un xilofon, sinonimul lui “cinta, Harmonica” din Once Upon a Time in theWest.
Filmat in Israel, in desertul Negev, in timpul razbiului de 6 zile, in 1970, cu un buget minuscul (250.000 de marci zice imdb), are o atmosfera ciudata. Camioneta aduce cu Duelul si Sorcerer.



Seamana cu Dust Devil al lui Stanley filmat in Namibia (cu tot cu atmosfera tarkovskiana) dar si cu Cul-de-sac al lui Polanki. Si cu El Topo al lui Jodorovski, un alt fan al filmului. Ar fi vrut Alex Cox ca Straight to Hell sa fie asa. Incepe cu un tip in costum, ranit, cu o valiza cu bani in desert (am vazut ca cineva face comparatii cu No Country FOM). Sau Alfredo Garcia al lui Peckinpah, dar mai mult e Leone-like. Basically Mario Adorf e Tuco, Anthony Dawson (actorul fetis al lui Terence Young, dar omniprezent si in filme italienesti),

killerul Sunshine pe post de Lee Van Cleef si Marquard Bohm (un Mick jagger lookalike as the Kid). Elemente de Asteptindu-l pe Godot in desert, momente muzicale, far out, si un decor, mina parasita, orasel minier parasit, dezolant, prezenta a doua femei in cast, final nihilist.






Dvd german (thx Relik & cinematik) cu extrauri custom, comentariu in germana, film cult dar cu aproape nici o cronica pe imdb, iar externe 3 in germana !

7 din 10, 3 ½ din 5