versiunea 1.3. redux (incl. ROCKLAND & alinland)
“We are delighted that he has agreed to attend this gala evening in celebration of his talent and career. His range and personal charisma, the precision of his acting, his cocky wit, the ease with which he carries himself have made him, along with Jean Gabin and Michel Simon, one of the greatest French actors of all time (...)"
De ce am avut senzatia ca ma uit la un musical? Iar cind filmul s-a terminat, pe genericul final care curge pe Love is a Drug (un nou motiv sa ma gindesc la concertul Bryan Ferry de pe 1 mai !) mi-a adus aminte de Moulin Rouge. Si cind am vazut numele lui Marius de Vries pe generic am stiut ca am drepate (De Vriers a facut numerele muzicale din Moulin Rouge al lui Luhrman si aici a colaboarat cu Tyler Bates, compozitorul lui Snyder). Si da, Sucker Punch e muzicalul lui Snyder. In scenariul original fetele chiar cintau in anumite secvente, si asta s-a transformat in concept. Acum, ca filmul e subversiv sau doar prost e greu de zis. Bazat pe cite filme a facut Snyder nu-l pot acuza de multa subtilitate. Dar aceasta e prima lui “poveste personala”, asa ca poate i-a fraierit pe Warner (Bros.) de vreo 200 de milione de dolari. Am o certitudine, pe care am avut-o dinainte, ca va fi un film cult, si unul ca va diviza lumea in doua (croncile deja il decimeaza, bineinteles)
Dar nu va fi un succes de public, pentru ca nu-si are public. In loc de numerele muzicale, de fiecare data e o fantezie-cliseu care citeaza pe rind din The Wall, Kill Bill, Brazil, Hellboy, Lord of the Rings, Dungeons and Dragons si Resident Evil! Jocuri, filme, fanatsy si game world. Daca ai vazut filmuletele de animatie -origine (de Ben Hibon) stii la ce te poti astepta, mai mult decit din trailer. Sunt patru, la fel ca si cele 4 secvente de “dans” ale lui Baby Doll !
Personajul sensei-ului gen Kane din Kung Fu, al lui Scott Glenn (intentionat ales pentru ca seamana cu David Carradine?)
Refugiu? Din ce in ce? Un ospiciu devine club cu culori violete, un bordel, Black Swan sau un film de nazi exploitation italian din anii 70. Fetele sunt kinky si ca in manga-uri sexy, scolarite, linjerie sexy, un soi de pornografie fara a arata nimic… in cel mai pervers film PG 13 pe care l-am vazut. M-am gindit ca ar fi functionat mult mai bine daca era cintat si daca era jucat de vedetele momentului, fie Beyonce, Shakira, Aguilerra sau Britney Spears, fiindca m-am gindit tot timpul la Spice Girls si la falsitatea jocului si glitter si glamour-ul look-ului. Carla Cugino sub tone de rimel e doctorita sexy, mrs. Vera Gorski, de la Good Luck mr. Gorsky ;-)?
Punch of Sound
Totul e o reinventie, sunt luate piese celebre si sunt reinterpretate si remixate de Tyler Bates cu ajutorul actritei principale, Emily Browning aka Baby Doll (Sweet Dreams de Eurythmics, cu care incepe filmul, in copertile unui decor de cortina de teatru sigla WB se deschide in lumea unui videoclip ultra-stilizat, care vizual aduce mult cu Watchmen). Sa nu uitam ca acolo Desolation Row al lui Dylan era reinterpretat de My Chemical Romance. De exemplu Bjork si Skunk Anansie cinta impreuna Army of Me, sau Tot Skunk Anansie cu Search and Destroy al lui Iggy pe o secventa gen Vietnamul lui Snyder din Watchmen, atacat de dr. Manhattan. Mai avem Queen remixat, Pixies (Where is my Mind?) Beatles (Tomorrow Never Knows), Jefferson Airplane (White Rabbit, the obvious choice pentru Alice in tara oricaror minuni) cu Emiliana Torrini.
Oricum acest “Alice in Wonderland with machine guns” (asa a sunat pitchul lui Snyder catre studiouri) e peste Alice-ul lui Tim Burton, cu 3D adaugat in postproductie. Cred ca Snyder s-a inspirat si din romanul grafic revizionist Lost Girls al lui Alan Moore si a creat varianta lui de Vrajitorul din Oz situata intr-un ospiciu, in aceiasi perioada ca actiunea din Zbor deasupra unui cuib de cuci. Mai degraba Zbor deasupra unui cuib de curci
Acum, un sfat, daca mergeti, stati pina la final, pentu ca altfel e pointless. Si vedeti in mod individual daca functioneaza sau nu.
OK; pe linga Punch Matrix pare la fel de restrained ca Aurora lui Puiu, si Zack nu poate compensa vizualul cu lipsa de substanta din scenariu, e un videoclip overlong si uninvolving, alcatuit dintr-o serie de alte videoclipuri, al carui joc video va fi mult mai dinamic.
Si soundtrackul considerat EVENT.
Si nu, nu va grabiti la Imax 2 D, experienta e doar obositoare si ingrozitor de zgomotoasa, cred ca si formatarea e prea strinsa, (de la 2.35 anamorfic se pierde pe transfer de 70 mm orizonal- de altfel procedeul e un IMAX DMR blow-up)
Cred ca filmul e exact ceea ce zice in titlu. A punch for suckers, sau a sucker punch?
Cu ricoseu sau punci (din acela de baut cu paiul)?
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si ma descoper si pe mine si pe Ileana Birsan, ginditori, in spatele rochiei Mariei Dinuleascu !
BIll Murray, Robert Duvall, Sissy Spacek & Co. talk GET LOW from GordonandtheWhale.com on Vimeo.
the real kickoff came a month or so later, when Alice Cooper, the heavy-metal musician (also a recent West Coast transplant), donated the required $27,777.77 to reconstruct the final "O" in memory of his friend Groucho Marx, who had died the previous year. Additional letters were funded by Warner Bros. Records, Hefner, Andy Williams, and Gene Autry, among others. The old sign was demolished. This time, instead of telephone poles for support, it was 20 steel footings, sunk 13 feet into the soil. Concrete was poured for the foundations, and the letters of corrugated steel with baked white enamel were attached.
Charlie Sheen
proper noun, verb, Sheened, Sheening
1. the actor whose erratic behavior may have cost him his lucrative job as a sitcom lead
2. the perfectly legal, yet dangerous substance that said actor claims to use recreationally, e.g., "I'm on a drug. It's called Charlie Sheen. It's not available. If you try it once, you will die"
3. the act of behaving in a manner akin to this actor, as in Trey Parker and Matt Stone telling David Letterman that they were "Sheening pretty hard" when they cross-dressed at the Oscars
“I got a text or something. Here’s another thing — these guys are such yellow cockroaches that they didn’t even have the decency to call me. I put 5 bill[ion] in their cheap suit pockets and another half a bil’ in what’s-his-cheese’s pockets and this is the… respect I get? It’s just deplorable and they should be ashamed of themselves!”
"I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's work, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TVs while some local newscaster tells us that today we had 15 homicides and 63 violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, Goddamnit! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
(The roots were very much in American silent film, the comedies of the 1930s and the French New Wave, and had already been in evidence in Lester’s first feature, It’s Trad, Dad, in 1962, and in Russell’s first feature, French Dressing, in 1963—but A Hard Day’s Night placed the style on the world stage.) Lester and Russell’s films were the end of a rich era of filmmaking. In Russell’s case, that era ended with a bang—with a film that’s still ahead of its time 32 years later. Lester’s Royal Flash, on the other hand, wasn’t especially adventurous. It was, in fact, a clear attempt to recreate the success of his The Three Musketeers (1973) and The Four Musketeers (1974). However, it was—and is—a good attempt, his final outburst of the style of filmmaking he was largely responsible for creating.
Lester treats it all with his signature playfulness, placing it firmly in the realm of his world of damnable machines (if a mechanical device in a Lester film can go wrong, it will) and a kind of casual slapstick. Clever visuals abound (catch the shot of Oliver Reed apparently riding past what turns out to be mural being carried past him). It’s all cheerful and fun and as nice a farewell to the era as could be hoped for.
They could do it on their own, but it sounded funny… it didn’t sound authentic. So they needed some Mexicans in there. That doesn’t sound kosher and it doesn’t sound right to say it that way, but in a way it is. You need someone who knows this music, someone to play it properly and get the real effect. That’s why they called us in.”
