I went with my fingers crossed but no, hey, got the intentions but great filmmaking this not iz (Yoda said)
Coppola's dream project for over 30 years, inspired by Ann Raynd's The Fountainhead, Rome's & ancient Greece republics, architecture and philosophers, Goethe's Hold the Time, and a lot of Shakespeare, as well as New York's dirty townhall politics an construction shenanigans.
The Baddies:
-too pretentious
-too literary
-too naive too
-too megalo
-too Shakesperian, but like bad Shakespeare, done by juvenile people
-a teenager film done by a very old man, lecturing about the world
-lost plots (the Russian satellite, the megalon subplot)
-philosophy on the screen-does not work (talking in quotes certainly sucks)
-Adam Driver doing Hamlet
-some of the effects -really bad- statues doing stuff, backgrounds and such (there is a budgetary reason)
-Dustin Hoffman character wasted (James Caan was supposed to play this...)
-not impressed by the cinematography which I expected to be brilliant, sorry Mihai Malaimare jr...(his fourth film with il suo Maestro. Francis "discovered" him in Romania in 2006, giving him the chance to do Youth Without Youth, then he took him to Argentina to do Tetro, then kept him for Twixt). Meanwhile MM jr made a career in Hollywood (A Walk Among the Tombstones, The Master, The Harder They Fall, Jojo Rabbit !!!).
-the score (again by Osvaldo Golijov, his 4th film with FF Coppola)
ok, the goodies:
the ending
the message
Jon Voight (Crassus) -The "Robin Hood" scene
the editing & the montage
-the Tryptich (Homage a Abel Gance ?)
-the Metropolis & other German expressionism influences in the Caesar's trip on the Madison Sq G banquet
-the Theda Bara homage (Aubrey Plaza)
-the sex scene with Auntie Wow (Platinum) & Shia
-Nathalie Emmanuel looking hot & fresh (half the film was wondering what's her name and where I saw here before, oh yes, John Woo's The Killer remake)
The great critic and writer Michel Ciment passed away yesterday at the age of 85, leaving cinema bereft of his words.
Michel Ciment was the Chief Editor ofPositif magazine, the producer and host of the programProjection privéeon France Culture until 2016, a critic for over fifty years onLe Masque et la Plumeon France Inter and a lecturer at the University of Paris-VII. Additionally, he authored many reference books on cinema, notably on Stanley Kubrick, Elia Kazan, Joseph Losey, Francesco Rosi and Jane Campion. Michel Ciment had dedicated his life to passing on his knowledge and passion for the seventh art. A free spirit with an insatiable curiosity, he was the embodiment of cinephilia, embracing all types cinemas and never leaving any film aside.
He continued to explore world cinema right up to the end, particularly at the Festival de Cannes, where he never missed an edition, tirelessly going from press screenings to gala screenings, pacing the Bazin, Debussy, Buñuel and Lumière theaters... His opinions, both enlightened and strong, clear-cut and inflexible, meant a great deal and his voice resounded in the corridors of the Palais des Festivals at the end of each screening, amongst his attentive colleagues. Michel set the tone, in France and abroad. His death should remind us all of the importance of his legacy, and the need for ardent and resistant film review.
The Festival de Cannes without Michel Ciment will never be quite the same. We will miss him. And so will cinema.
I read Ciment's book on John Boorman (out in 1986) when I was in Denmark's EFC -1995/96, (Boorman's tribute here), I met him in Berlin during Tavernier's In the Electric Mist and saw him moderate in Cannes the Quentin Tarantino Lecon du cinema and many other lectures.
Ruben Östlund talks here (or direct link below) about his favorite films, etc. With the occasion of French release of Triangle of Sadness (my review here), named en francais 'Sans filtre'.
He also names as one of his favorite films Godard's Sympathy for the Devil (One+One), of which I recently wrote on the Godard tribute here. Intersting to see he apreciates Annette (on my top of 2021 here),as well as Parasite and Roy Andersson, and that made ski films before he went to film school.
This is a great programme that takes directors into a video (DVD) shop in Paris. Konbini Video club.
You can also check other episodes, Cronenberg, Argento or Brad Pitt )
And a cool conversation between director Alexander Nanau, Joe Berlinger (director of Metallica: Some Kind of Monster) and Lars Ulrich (drummer of Metallica) here:
....Eddie, who made 1st history with Eruption and then Jamie's Crying, Atomic Punk, Ain't Talking bout Love, Running with the Devil, I'm the One (all on VH's 1st album in 1978)...and then Beat It, Jump, Panama, Hot for Teacher, Dreams, Why Can't This Be Love ?, When It's Love, Right Here Right Now came later...
...well, Edward Lodewjick Van Halen is gone...looong fight with the throat cancer, cancer finally won. A real GIANT of Rock'n roll, one of the top musicians of all time, absolutely my FAVED Guitar HERO a true GENIUS and one of the most virtuoso guitarists, hugely influential to say the least, but I never got to see him. Saw the rest of the band, minus Alex, with Chickenfoot in Paris at Olympia. But I still hoped I will see Eddie doing his bit of Eruption or Little Dreamer or Man on Mission on stage...Cathedral...
Hit hard the hurt chord...Goodbye Eddie ! A whole era is gone...RIP...at only 65...
Can we Cannes ? No Cannes Not, but yes Cannes !
Am fost nominlizat de Voodoo Films, cei care fac si festivalul Les Films de Cannes a Bucharest sa vobesc la radio despre experienta mea canneza,-15 ani no less :)
Asa ca am vorbit cu Mihaela Dedeoglu la emisunea ei ZEBRA pe RFI, intregul podcat aici, despre filmele romanesti in special.
sau link direct:
https://www.rfi.ro/emisiunile-rfi-ro-121359-zebra-de-acasa-criticul-de-film-alin-ludu-dumbrava
Step aside Quentin ! beware Guardians of the Galax-yyy ! Here
comes BABY DRIVER, the mother-F of all soundtracks, 71 songs no less ! and th
gretest excuse to play all of them in the film, as the biggest plotpoint ! Baby
Driver it's actually an action musical, with incidental music instead of moviescoring from the outside (though the
film has his own composer, Steven Price)
*
The list of the released soundtrack as follows:
Jon Spencer Blues Explosion – ‘Bellbottoms’
Bob & Earl – ‘Harlem Shuffle’
Jonathan Richman & The Modern Lovers – ‘Egyptian Reggae’
Googie Rene – ‘Smokey Joe’s La La’
The Beach Boys – ‘Let’s Go Away For Awhile’
Carla Thomas – ‘B-A-B-Y’
Kashmere Stage Band – ‘Kashmere’
Dave Brubeck – ‘Unsquare Dance’
The Damned – ‘Neat Neat Neat’
The Commodores – ‘Easy (Single Version)’
T. Rex – ‘Debora’
Beck – ‘Debra’
Incredible Bongo Band – ‘Bongolia’
The Detroit Emeralds – ‘Baby Let Me Take You (in My Arms)’
Alexis Korner – ‘Early In The Morning’
David McCallum – ‘The Edge’
Martha and the Vandellas – ‘Nowhere To Run’
The Button Down Brass – ‘Tequila’
Sam & Dave – ‘When Something Is Wrong With My Baby’
Brenda Holloway – ‘Every Little Bit Hurts’
Blur – ‘Intermission’
Focus – ‘Hocus Pocus (Original Single Version)’
Golden Earring – ‘Radar Love (1973 Single Edit)’
Barry White – ‘Never, Never Gone Give Ya Up’
Young MC – ‘Know How’
Queen – ‘Brighton Rock’
Sky Ferreira – ‘Easy’
Simon & Garfunkel – ‘Baby Driver’
Kid Koala – ‘Was He Slow (Credit Roll Version)’
Danger Mouse (featuring Run The Jewels and Big Boi) – ‘Chase
Me'
My biggest surprise and fun was to knock myself off with Hocus Pocus by
Dutch band Focus (from 1971's Moving Waves aka Focus II), one of my favourite
songs (and one of the best of alltime) since back in 1982/3 when i heard it for the 1st time (also one of the Free Europe
Metronom show anthem)-so a song that purely expresses Freedom for me, now for the second
time in a film, after the Robocop remake in 2014.
-The story of the song is told here by Focus' Tjih Van Leer on the verge of the Nike World Cup commercial which put the song on a new map in 2010. And you can see the band in its greatness. Saw it live with Jan Akkerman
four times, eversince back in 1995. Yep. When i got to interview him in Brasov in 2013, I told him that I always thought this song will make a great film
sequence, and yes, I saw it now. A shoot-out Heat (M.Mann) style, edited on the
music and a bullet ballet, emphatic and overdramatic. Kudos, Edgar Wright !
Here a mega-interview with Edgar Wright about his influences & the songs in the film !!!
and here some more and specifically he talks about this one:
"I found out about Focus from this music show that ran in England for ages called The Old Grey Whistle Test – they did a performance of that song on there that blew my mind. I'm not a big prog rock fan, but I do love fast prog – the sheer musicianship you need to play that kind of stuff that fast is impressive. I think this was a Top 10 hit in the U.S. … which is pretty unusual for an instrumental track that features yodeling. The studio wanted to cut it. I had to use my own money to pay for two extra days of shooting so we could get it – and it's my favorite bit in the film. I always thought it'd be great if you made a car chase movie, and then have one of the most explosive scenes in the movie be a foot chase. People have asked how I picked the tracks for Baby Driver, and this is a good example. If you had a dance track or a rock track that had a similar tempo all the way through, it's actually not that helpful. Whereas the reason that something like "Hocus Pocus" ends up becoming a key track in the film is because you can hear that, Ok, this is part of a running scene – it's like your best cardio track ever. But it also has these stop-start intervals in it, so you can let a scene dictate itself according to the track: Ok, here are the fast guitars, he's running. Wait, there's yodeling breakdown here, so this is where he's hiding behind a tree, catching his breath. Wait a second, we're gearing up for another guitar part – so here's where he starts running again, and in the next breakdown, he's hiding in a mall. Hold on, there's an accordion breakdown – so now he's breaking into a car. You're able to take a 1970 song like that and write a complete action sequence in 2017." (Edgar Wright)
*
Go see Baby Driver on the big screen with the sound cranked
at max ! It's a clasic !!!
Dupa ce am facut in revista Cinemap-iarna 2016- o "ancheta" despre anul filmului romanesc, am fost si pe la Aarc (situl Totul despre filmul romanesc), la cinema Studio, sediul UCIN, la invitatia Cristinei Corciovescu, pentru a vorbi despre filmul romanesc si anul sau 2016, an ISTORIC!!!
PAREREA MEA- CEL MAI BUN din ultimii 26 de ani, dupa 1989, daca nu si dinainte !
intreg interviul pe situl lor, aici !
si direct linkul youtube:
Aparut pe 20 noiembrie 2015, albumul nr. 16 al lui Leslie West, plin de guests (Brian May, Peter Frampton si Jack Bruce-from the other side !) and covers, album-eveniment. Leslie West a implinit 70 de ani pe 22 noiembrie ! 11 piese ! Unul din albumele cele mai cool ale anului si unul din cei mai cool chitaristi old scool ALIVE (si intr-un singur picior :( !
din recenzie:
“Left by the Roadside” gives us some gutsy vocals and nicely done acoustic resonator slide guitar as an intro before breaking into the big electric sound. West demonstrates the massive guitar sound he made famous in his Mountain Days on the solos here.
“Give Me One Reason” gets a gritty makeover with West growling out the lyrics and playing a guitar lead and solos with real bite. He turns the Tracy Chapman from a somewhat sedate classic into a big rock song.
“Here by the Party” is a typical 70’s rock anthem that West goes over the top in his exuberant way.
“You Are My Sunshine” gets shifted to a minor key and the tempo gets slowed way down to turn it into a blues song. Interesting take with Peter Frampton sharing the guitar work as West takes the slide side.
“Empty Promises/Nothin’Sacred” is something west calls his tribute to AC/DC. I think little else is needed here to describe that!
“A Stern Warning” is a solo acoustic piece and refers to Howard Stern. Stern apparently called West one day to ask the meaning of the Mountain Song “To My Friend,” a song that West paid tribute to Felix Papallardi after he was given a 12 string guitar by Felix. West pays tribute to his friend Howard here.
Curtis Mayfield’s “People Get Ready” gets made over with lots of laid-over guitar riffs and completely Westiified.
Queen’s Brian May appears on “Goin’ Down” along with Bonnie Bramlett, Max Middleton, David Hood, and Bobby Whitlock. West starts with the guitar lead and May finishes it here on this cut. West intentionally states he had Middleton reprise his intro from the song that he did on The Jeff Beck Group album.
“Stand By Me” pays tribute to Ben E. King who passed in April. Arielle Pizza adds here vocals to Wests’; she’s a 16 year old with great chops!
West’s bass player Rev Jones is featured on “Eleanor Rigby,” it is a staple on West’s tour and Leslie made sure he included it here.
“Spoonful” concludes the set, done live in 1988 with Jack Bruce and originally from their album Theme. West edited it down and pays tribute to Bruce (who also recently passed) by including it here
Interviu cu West in Blues Blast Magazine aici
www.mountainrockband.com
Thx, Radu :)
Pe 6 septembrie Roger Waters a implinit 72 de ani si arata excelent ! Tocmai s-a insurat pentru a patra oara ! Pe cind albumul cel promis de tz ani ? De la Amused to Death au trecut 22 de ani, cele 3 piese de pe Flickering Flame nu se pun si Ca Ira - Ca Ira pas !
The Wall-ul sau in cinema pe 29 septembrie (Cinema City all over the country).
Am descoperit un interviu din 2012 GENIAL cu el la Howard Stern (care pina de curind era doar in audio), in care Stern il intreaba o multime de lucruri inconfortabile, in stilul sau caracteristic ! Waters e cumva amic cu Howard, asa ca se lasa pus sub ghilotina asa cum nu a mai facut-o nicaieri !Enjoy !
Am scris pe FB pe 21 aprilie a.c., cind am dat SORCERER si nu eram in Brasov: Peste o ora la Cinemateca_Patria, la Brasov. de neclasat, de nescapat, mai ales in acest remaster supervizat de Friedkin acum, si care este filmul sau preferat din ale sale (si al meu la fel). De ce am insa senzatia ca vor veni doar citiva curiosi :( ?
Ok, au venit 5 persoane :(!
Astazi e o zi speciala, il reiau, pentru ca sa il revad si eu cum trebuie in acesata copie noua, si vine si prietenul Relu de la Bucuresti, special pentru ca sa vada Sorcerer pe ecran !
Si fac aceasta vizionare in onoarea lui William Friedkin, care anul acesta implineste 80 de ani si al carui film maudit si preferat este ! Si cu care am vorbit despre asta la Cannes, in 2006 !!!
Friedkin insusi a supervizat transferul nou acum 2 ani, dupa ce a dat studiourile producatoare (Paramount si Universal) in judecata pentru ca acestia au ingropat filmul de la premiera si pina acum !
Faceti-va un serviciu si veniti sa il vedeti !!!
Este un film extrem de rar si nu a fost vazut in conditiile astea de la premiera din 1977 !
*In plus, inainte de film am sa povestesc intrega odisee a productiei, care este la fel de fascinanta ca Sorcerer insusi !!!!*
Cu acest tilu ciudat si criptic, filmul este un remake la Le Salaire de la peur / Salariul Groazei (1953) de Henri Georges Clouzot, si parerea mea, si nu numai) este ca se ridica deasupra originanului. Sau daca considerati aceast lucru o blasfemie, atunci e un remake atipic, care aduce ceva in plus, un remake creativ, poate cel mai creativ remake din istoria cinematografului ! Friedkin a extins filmul intr-o acceptie proprie, personala, psihedelica, si i-a dat o alta dimensiune, lunara, existentiala, mitica.
Iata ce am scris despre film intr-un top mai vechi de soferi extremi facut pentru hbo, unde l-am pus (fireste) pe pozitia 1:
In Le Salaire de la Peur/ Salariul groazei (1953, regia Henri-Georges Clouzot) doua echipaje rivale (Yves Montand, Charles Vanel, Folco Lulli, Peter van Eyck) transporta nitroglicerina prin jungla sud-americana, in camioane, in conditii extrem de periculoase. Dupa romanul lui Georges Arnaud, aparut si la noi in colectia Delfin. Never beaten. Ursul de Aur la Berlin, Marele premiu la Cannes si BAFTA pentru cel mai bun film in 1955. In mod incredibil Clouzot (Les diaboliques), a filmat in Franta, intr-un decor natural, care a fost amenajat de la zero. Primul cadru e acelasi cu referentialul musuroi de furnici si scorpioni din The Wild Bunch/Hoarda salbatica (1969) al lui Sam Peckinpah ! Remake de William Friedkin in 1977 sub titlul: William Friedkin este considerat “le maitre absolut de la pursuite infernale”, de la French Connection si To Live and Die in L.A. la Jade si The Hunted. In 1975 Friedkin, insurat pe atunci cu Jeanne Moreau si mare fan al filmului din 1953 de Henri-Georges Clouzot se regaseste cu acesta la masa in Franta. Ii cere drepturile de remake, acesta ii da binecuvintarea, mai tirziu Friedkin afla ca Clouzot nu are nici un drept asupra filmului sau si ca trebuie sa cumpere drepturile sursei originale, romanul lui Georges Arnaud. Cu toate acestea se lanseaza intr-o cruciada nebuna, care a angajat doua studiouri (Paramount si Universal), un titlu obscur si misterios, si o productie costisitoare in Republica Dominicana (plus secvente in inca 4 tari: Israel, Mexic, Franta la Paris si SUA-New Jersey!) cu un buget si deadline depasit.
Un timing de premiera ghinionist, in vara lui 1977, cu doua saptamini dupa un filmulet numit...Star Wars ! Esec rasunator (si de critica care l-a desfiintat), care avea in cele din urma sa-i deraieze cariera. Muzica de TANGERINE DREAM, in primul lor score, adusi de Friedkin din Germania.
In rolul principal Roy Scheider, dar alegerea initiala fusese McQueen. Din pacate cu Steve McQueen ar fi avut alta soarta de box-office si cult following, dar McQueen n-a vrut sa paraseasca America si a vrut un rol si pentru nevasta-sa (Ali MacGraw), iar Friedkin a fost extrem de vehement sa filmeze in locatie. Paul Newman a refuzat si el rolul. Scenariul lui Walon Green (The Wild Bunch), introduce povestea originii personajelor care au esuat in satucul sud-american, si un final mai sadic decit cel original (daca e posibil !). Soferii sunt Roy Scheider, Bruno Cremer, Francisco Rabal si Amidou, un casting atit de eclectic incit ar meritat un premiu.
Friedkin despre Sorcerer: " My favorite of all the films that I have made. It's one of my only films I can watch because it came out almost exactly as I intended.
(Preferatul meu din toate filmele pe care le-am facut. E unul din putinele pe care pot sa le vad, pentru ca a iesit exact asa cum vroiam sa fie).
Grand film maudit si unul din filmele mele preferate.
interviu audio cu Friedkin despre film aici din timpul litigiului (2012)
5 din 5/10 din 10 !
Referinte si repere din Blade Runner, Hardware (mai ales datorita lui Dylan McDermott), si 2001 in filmul spaniol turnat in Bulgaria, Automata, plus un feel de District 9 ! Cu tot feel-ul de B movie (datorita faptului ca e o productie Millennnium, cu toata pasiunea lui Antonio Banderas-care e si producator si a bagat-o si pe sotia sa Melanie Griffith intr-un rolisor si ca vocea robotesei Cleo), si desi inegal si cu locuri comune in SF (Aasimov I am Robot, Protocolul Unu si Doi, pretext clasic pentru orice subiect robotic), Automata e mai mult SF de calitate decit a fost Transcendence, sau alte megabugete SF hollywodiene.
E a thinking man's SF, al doilea film al lui Ibanez dupa Hierro (2009). Imagine desaturata desertica (Alejandro Martínez) si muzica de Zacarias M. de la Riva (THE MACHINIST), si o renditie cel putin ciudata la LA MER de Charles Trenet.
interviu cu regizorul Gabe IBANEZ
si inca un unul aici
3 din 5 /6 din 10 !
despre True Detective, serialul momentului si noul Breaking Bad, mai mult Breaking EVIL, am mai scris aici
the plot thickened, episodul 4, WHO GOES THERE, s-a intors la mai multa muzica, atmosferica si incidentala (am avut feelingul mai ales muzical al unui William Friedkin meets Michael Mann, shades of Crusing si Miami Vice), si as putea zice ca in fine a inceput..
trebuie sa observ ironia si satira si sarja in multe din alegerile lui T. Bone Burnett.Tot in mod ironic tricoul cu cele doua fetze care se electrizeaza pe limba (rosu) pe cae il poarta Woody Harrelson in partea finala a episodului, e tricoul cu Pink Floyd The Division Bell, acelasi pe care il am si eu din 1995 :)
Lista completa a pieselor din episod aici
Bo Diddley -Bring it to Jerome, 1955),The Melvins-A History of Bad Men, Primus American Life, de pe Sailing The Seas Of Cheese-1991),
And they look to the Statue of Liberty
For the boy we have American Life
trupa stoner doom metal Sleep, cu Holy Mountain, ca o clona rea de Black Sabbath, Wu Tang Clan si Grinderman (trupa lui Nick Cave, badder seeds :), cu Honey Bee (Let's Fly to Mars), din 1997, pe genericul final !
Iata din nou: un interviu cu T. Bone Burnett, producatorul soundtrackului si compozitor, despre show si alegerea pieselor.
Just be careful: 'There's A Monster At The End Of It'
de fapt sunt numai monstri, si dupa cum stim din Dragonul Rosu macar, cel ce vineaza monnstri se va transforma sigur intr-unul...si aici sunt doi, si un Dragon Galben
TBC>>>
Incredibil ! A murit Philip Seymour Hoffman. 46 de ani. Overdose :(
v. New York Post
si NYTimes aici
Premiul Oscar pentru cel mai bun actor, Capote, 2005. Trei nominalizari pentru cel mai bun actor in rol secundar.
Tocmai se anuntase un nou proiect regizoral al sau, Ezekiel Moss. Hoffman a regizat Jack Goes Boating in 2010. Cel mai recent, a avut premiera la Sundance cu A Most Wanted Man, al lui Anton Corbijn, dupa John le Carré. Ultima data l-am vazut in sensibilul A Late Quartet (2012). Actor fantastic, versatil, jovial, preferat al lui PTA; The Master (premiu de actorie la Venetia, nominalizare Oscar), Magnolia, Punch-Drunk-Love, Boogie Nights, arthouse star: Happiness, Synecdoche, New York, State and Main, si pentru mine Lester Bangs in Almost Famous, The Count in The Boat That Rocked (aka Pirate radio) si Brendt din The Big Lebowski. Bad guy psihotic in Mission: Impossible III. Alte roluri, in The Talented Mr. Ripley, Charlie Wilson's War, Doubt, Moneyball, Hunger Games.
Un interviu cu el in The Guardian, zice, citez: Philip Seymour Hoffman was one of the most miserable men I have ever met, and one of the most humane. I interviewed him in 2011 when he was promoting his directing debut, Jack Goes Boating – a quiet, still and surprisingly optimistic film.
Of course, he was anything but optimistic in the flesh. It was painful for him to sit down and talk when all he wanted to do was get away and smoke in silence. He spoke in the same fractured, tortured sentences as he did in his films. Nobody did crippled communication quite like Hoffman. Hoffman was a lumbering, grumbling bear of a man. "I got to remember to not kill myself, not beat myself up, not get too worked up about it. There will be another film, there will be another relationship, or I'll die and then I'll be dead."
Philip Seymour Hoffman (1967-2014)
“No matter what happened to you in your past, you are not your past, you are the resources and the capabilities you glean from it. And that is the basis for all change.” – Jordan Belfort (The Wolf of Wall Street)
din 10 ianuarie pe ecrane filmul lui Scorsese despre Jordan Belfort (in top ten-ul meu al filmelor din 2013), brokerul care a bagat in el mai multe droguri ca un rockstar, of of Keith Richards !! The Wolf of Wall Street are o durata epica, aproape trei ore, si in cut-ul initial avea peste patru. De data asta montajul e fluid, nu ca in The Departed, unde era macel.
Marele Ratsby ! Sex, drugs and bullshit !!! Comedia anului şi cel mai obscen delirant film de dată recentă ! ! Întoarcere la formă pentru Scorsese cu un biopic Outrageous !! Apropiat stilistic de Casino si de Goodfellas, cu mentiunea ca acum sarja este mai satirica, si e indreptata asupra capitalismului american peste limita oricarei rapacitati si nebunii. Iar voice-overul e mai suprarealist, ca si scena, Wall Street, fata de care filmul lui Oliver Stone din 1987 pare la fel de cuminte ca It-s a Wonderful Life... De vreo 5 ori mai multe F words ca in Scarface !!! Antologic, o scenă cu consum de droguri bate Fear and Loathing in Las Vegas !!!
Scenariu beton, balistic, dupa cartea lui Belfort, scris de Terence Winter (Sopranos, Atlantic City), roluri secundare copioase, un soi de cameo Matthew McConaughey care bate chiar rolul sau din Dallas Buyers Club,
Jonah Hill -intr-un rol care mi-a amintit de ce facea Sean Penn in Carlito-s Way si Rob Reiner, in rolul tatalui lui Belfort, Jon Berenthal (din Walking Dead), Kyle Chandler ca agent federal, frumusetea australiana Margot Robbie-descoperirea filmului, Jean Dujardin , bancher elvetian si Joanna Lumley, o matuse binevoitoare :). Di Caprio e peste tot, il portretizeaza pe Belfort la superlativ, e de fapt proiectul sau pe care a vrut sa il faca din 2007 incoace, si el l-a convins finalmente sa il regizeze in a cincea lor colaborare. Dar iar o să îl şunteze AMPAS pe DiCaprio :(
-un inside view de la THR cu DiCaprio, Jonah Hill, Scorsese si Terence Winter:
Soundtrack energic, supervizat ca de obicei de prietenul lui Scorsese, Robbie Robertson (ex The Band), cu mult blues, Bo Diddley, John Lee Hooker-Boom Boom, Elmore James, Chester Burnett (Spoonful, piesa lui Willie Dixon facuta celebra de Cream si Eric Clapton), dar si Paul Simon (Mrs. Robinson, dar cintata de Lemonheads), Billy Joel, Devo, Cannonball Adderley (cu doua piese de Joe Zawinul) si...Cypress Hill. No Rolling Stones tho :)
Robertson semneaza The Money Chant, alaturi de Matthew McConaughey, care asigura chant-ul tribal deja faimos. Piese aditionale de Theodore Shapiro. Din pacate multe din acetea nu par pe soundtrackul oficial, care contine doar 16 piese din cele 54 din film.
Iata-l pe adevaratul personaj, fostul lup al bursei newyorkeze, azi speaker motivstional !!!, povestind candid si fara nici un fel de guilt, povestea cu yachtul (filmul a folosit licente dramatice la greu). Interlocutorul e greu de suportat, dar Belfort e a sight 2 see and believe...
4 din 5, 8 jumatate din 10 !!!
NALDM: mai e o problema legata de modul cum judecam filmul, si daca autorii lui s-au erijat in a spune poveste fara a fi moralizatori, si a-l face simpatic de Belfort, sunt sigur ca publicul (cel care nu va fi scandalizat), va aprecia invers decit trebuie ceea ce vede pe ecran. Cuvintul cheie despre WoWS este obscen, si daca apreciem aceste extravagante unui rockstar sau moviestar, un gangster sau un escroc, indiferent cit de carismatic, e nu poate fi un model de viata. Din pacate, ESTE, si asta e ceea ce i se reproseaza filmului lui Scorsese de catre atacatorii sai. Dar daca, dupa ce il vezi ai indoieli si un gol in stomac, insemana ca ai inteles cumva mesajul.
In asteptarea concertului de diseara, Jan Akkerman, ne-a dat un interviu pentru revista Sunete pe care il vom posta Soon.
Ne-a povestit despre piesa sa, Mandela's March, compusa acum citiva ani, dar postata acum, la moartea lui Nelson Mandela, pe soundcloud.
Asta seara Brasovul va sculta Hocus Pocus !!! Iata cum a cintat-o anul trecut la Hard Rock Cafe -my clip -yeah, i know about sound
cronica mea la GRAVITY de Alfonso Cuarón pe Film Sense aici Extras :):
*
Despre simdromul Kessler in spatiu aici
*
si un interviu cu Cuarón din Wired aici
*
Muzica de Steve Price, unul din cele mai bune soundtrack-uri de anul acesta:
James Cameron spune: "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".
