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versiunea 1.3. redux (incl. ROCKLAND & alinland)
joi, 30 aprilie 2009
portocala metalica a lui Sepultura
scriam despre Portocala mecanica intr-un top de distopii, si aflu ca printre trupele influentate de Burgess si Kubrick sunt si brazilienii cei zgomotosi si suparati, pasionati de morminte. Si aflu de acest album, A-lex, care e de fapt Clockwork Orange. L-am ascultat, mult zgomot of course, dar si chestii chul si extrem de interesant ca ilustrare, cel putin violenta sonora l-ar fi inspirat pe Alex..piesa Ludwig Van e un sympho rock cu excerpturi din Simfonia IX-a, oda lui...Hans Gruber. Si mi-a adus aminte imediat de Difficut to Cure al lui Rainbow, si soloul extins instrumental al lui Ritchie Blackmore, care tot la Portocale mecanice se refera. dar wikipedia omite acest lucru, la fel ca si pe Moloko,,,
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Ana si Thema
fost la Sala palatului, care ma mir ca mai sta in picioare, duduiau peretii de parca era cutremur, sinistru, iar inauntru peste tot se auzea rau, au cintat in deschidere Celelate Cuvinte (pe care i-am vazut in noiembrie la lansarea STEM), si te loveau basul si toba mare in piept, asa ca, pentru prima oara in viata mea, m-am dus sus...
in fine, intra Anathema si parca erau simply red ca look, new kids on the whatever block, accent de Liverpool, cica au venit in componenata completa dar nu, gagica de la voce, oha, si sunetul mai bun, dar tot nashpa. Lumea in picioare, tineri, o gramada de pustoaice excitate-kinda 20 years old, si toti stiau piesele, versurile, si da, suna a orice dar nu metal, un sound radioheadic, cu 2 piese gen Pink Floyd Gilmour...in fine, ideea ca ana si tema nu au destula personalitate pentru a fi o trupa de prestanta, nu au destula identitate si imi pare rau pentru copiii pentru care e trupa lor de suflet, puteau sa-si aleaga una mai buna...in plus pe scena baietii nu au destula charisma (anyway, thanks Oana)
in fine, intra Anathema si parca erau simply red ca look, new kids on the whatever block, accent de Liverpool, cica au venit in componenata completa dar nu, gagica de la voce, oha, si sunetul mai bun, dar tot nashpa. Lumea in picioare, tineri, o gramada de pustoaice excitate-kinda 20 years old, si toti stiau piesele, versurile, si da, suna a orice dar nu metal, un sound radioheadic, cu 2 piese gen Pink Floyd Gilmour...in fine, ideea ca ana si tema nu au destula personalitate pentru a fi o trupa de prestanta, nu au destula identitate si imi pare rau pentru copiii pentru care e trupa lor de suflet, puteau sa-si aleaga una mai buna...in plus pe scena baietii nu au destula charisma (anyway, thanks Oana)
miercuri, 29 aprilie 2009
Anathema
ce trupa o fi asta ? Dupa nume vreo grohaiala de doom si trash si nekro, but ia stai, check out myspace si un sound eerie, electronic, si te uiti la influente scrie: radiohead, beethoven, godspeed you! black emperor, pink floyd, sigur ros, the mars volta, the beatles, portishead, mogwai, tool, loads more, WTF ?
or fi aceiasi cu trupa engleza din 1990 _ Da si nu ! doar ca si-au schimbat stilul din 2001 total si acum sunt mai mult Thema decit ana ! Albumul nou, Hindsight, n-are nici un riff metalic, wildness zero, cica art-experim-n-etal metal, prog rock..
deci, ma duc sa vad care-i treaba, la Sala Palatului tonite !
or fi aceiasi cu trupa engleza din 1990 _ Da si nu ! doar ca si-au schimbat stilul din 2001 total si acum sunt mai mult Thema decit ana ! Albumul nou, Hindsight, n-are nici un riff metalic, wildness zero, cica art-experim-n-etal metal, prog rock..
deci, ma duc sa vad care-i treaba, la Sala Palatului tonite !
Cannes Classics 2009
The Red Shoes presented in the Debussy Theater
Cannes Classics has invited Martin Scorsese to present Michael Powell and Emeric Pressburger's masterpiece, THE RED SHOES (1948, UK), has been restored by UCLA Film & Television Archive in association with The British Film Institute, The Film Foundation, ITV Global Entertainment Ltd., and Janus Films, with funding provided by the Hollywood Foreign Press Association, The Film Foundation, and the Louis B. Mayer Foundation. The film will be presented in the Debussy Theater with Martin Scorsese and Thelma Schoonmaker-Powell in attendance.
To Hell and back, memories of Henri-Georges Clouzot
In 1964, Henri-Georges Clouzot's tempestuous shoot of L'ENFER, with Romy Schneider and Serge Reggiani, comes to a sudden halt. The film lay dormant, never to be touched again; its images and legends remaining a myth. Serge Bromberg, known for his ceaseless efforts at preservation with Lobster Films, and Ruxandra Medrea found the canisters which contained screen tests and scenes from the film. By successfully “recomposing” the lost work he creates a new film, bringing the old one back to life.
World Cinema Foundation 2009
Inaugurated in Cannes 2007 to help developing countries preserve their film heritage, the World Cinema Foundation, presided by Martin Scorsese, presents three films supported by advisor-filmmakers:
A BRIGHTER SUMMER DAY by Edward Yang (1991, 237’ Taiwan), unseen version.
AL-MOMIA by Shadi Abdel Salam (1969, 103’ Egypt)
REDES by Emilio Gomez Muriel and Fred Zinnemann (1936, 61’ Mexico)
The World Cinema Foundation has also helped the Bergman Foundation, which will be presenting IMAGES FROM THE PLAYGROUND (29' Sweden). Restored by Stig Björkman, this unseen footage from Ingmar Bergman's “home movies” was shot by him during the making of his films.
Joseph Losey Centenary
One hundred years after the birth of Joseph Losey, ten years since the loss of his primary collaborator, Dirk Bogarde and one year on from that of the playwright and screenwriter Harold Pinter, ACCIDENT (1967, 105' UK), screened in their honor, was restored by the BFI National Archive and Studio Canal and will be presented in the Buñuel Theater. There will also be a new print of DON GIOVANNI (1979, 176' Italy) screened as part of our "Cinema de la plage" thematic program.
Documentaries on filmmaking
LES DEUX DE LA VAGUE (90' France), a film by Antoine de Baecque and Emmanuel Laurent. In celebration of the fifty years since the birth of the New Wave, this documentary recalls the presentation in Cannes 1959 of The 400 Blows (Les Quatre cent coups) and the birth of Breathless (A bout de souffle), evoking the birth of two exemplary New Wave filmmakers: François Truffaut and Jean-Luc Godard.
PIETRO GERMI, IL BRAVO, IL BELLO, IL CATTIVO (60’ Italy) by Claudio Bondí.
The career and personality of a filmmaker too often forgotten: Pietro Germi - seven of his films in Competition at the Festival de Cannes - received the Palme d'Or in 1966 for SIGNORE E SIGNORI (119' Italy). Struck for the theatrical release following the Festival, a new print will be screened.
A selection of restored and new prints
L’AVVENTURA by Michelangelo Antonioni (1960, 143’ Italy), which inspired the 2009 Festival poster. New Print.
AN UNS GLAUBT GOTT NICHT MEHR by Axel Corti (1982, 104’ Austria). Print restored by Le Pacte.
GIU LA TESTA (Once Upon A Time...the Revolution) by Sergio Leone (1971, 153’ Italy). Print restored by the Cineteca di Bologna and the laboratory Immagine Ritrovata.
LOIN DU VIETNAM (Far from Vietnam) by Joris Ivens, William Klein, Claude Lelouch, Agnés Varda, Jean-Luc Godard, Chris Marker, Alain Resnais (1967, 115’ France). Print restored by the Archives françaises du film du CNC.
PIERROT LE FOU by Jean-Luc Godard (1965, 107’ France). Digital restoration and projection by Studio Canal.
PRINCE YEONSAN by Shin Sang-ok (1961, 133’ Corée). Print restored by the Korean Film Archive and HFR laboratory.
SENSO (Livia) by Luchino Visconti (1954, 123’ Italy). Print restored by Studiocanal and Centro Sperimentale di Cinematografia, Cineteca Nazionale at Cineteca di Bologna / L'Immagine Ritrovata with funding provided by GUCCI and The Film Foundation
LES VACANCES DE M. HULOT (Monsieur's Hulot's Holiday) by Jacques Tati (1953, 88’ France). Print restored by the Fondation Thomson, the Fondation Groupama Gan, Les Films de Mon Oncle and the Cinémathèque française.
VICTIM by Basil Dearden (1961, 101’ UK). New print.
WAKE IN FRIGHT by Ted Kotcheff (1971, 109’ Australia). Print restored by the National Film & Television Archive.
LES YEUX SANS VISAGE (Eyes Without A Face) by Georges Franju (1960, 91’ France). Print restored by Gaumont.
aici pe situl festivalului
da, GIU LA TESTA !!! mama si tata Leone (fac pariu ca vine sa se excite Tarantino)...
Si o copie noua la Wake in Fright pe care l-am vazut de pe un vhs copiat pe dvd, atroce, unul dinc ele 3 filme australine importante de inceput, facute de un canadian si doi englezi (Tony Richardson si Nicholas Roeg, respectiv, Ned Kelly si Walkabout)
Da, stiu Red shoes, red shoes…...pentru Jack Cardiff si sa-l vad si io pe Scorsese...
la ballerina si chiama bella rosa...
Eayay-ya!
Cannes Classics has invited Martin Scorsese to present Michael Powell and Emeric Pressburger's masterpiece, THE RED SHOES (1948, UK), has been restored by UCLA Film & Television Archive in association with The British Film Institute, The Film Foundation, ITV Global Entertainment Ltd., and Janus Films, with funding provided by the Hollywood Foreign Press Association, The Film Foundation, and the Louis B. Mayer Foundation. The film will be presented in the Debussy Theater with Martin Scorsese and Thelma Schoonmaker-Powell in attendance.
To Hell and back, memories of Henri-Georges Clouzot
In 1964, Henri-Georges Clouzot's tempestuous shoot of L'ENFER, with Romy Schneider and Serge Reggiani, comes to a sudden halt. The film lay dormant, never to be touched again; its images and legends remaining a myth. Serge Bromberg, known for his ceaseless efforts at preservation with Lobster Films, and Ruxandra Medrea found the canisters which contained screen tests and scenes from the film. By successfully “recomposing” the lost work he creates a new film, bringing the old one back to life.
World Cinema Foundation 2009
Inaugurated in Cannes 2007 to help developing countries preserve their film heritage, the World Cinema Foundation, presided by Martin Scorsese, presents three films supported by advisor-filmmakers:
A BRIGHTER SUMMER DAY by Edward Yang (1991, 237’ Taiwan), unseen version.
AL-MOMIA by Shadi Abdel Salam (1969, 103’ Egypt)
REDES by Emilio Gomez Muriel and Fred Zinnemann (1936, 61’ Mexico)
The World Cinema Foundation has also helped the Bergman Foundation, which will be presenting IMAGES FROM THE PLAYGROUND (29' Sweden). Restored by Stig Björkman, this unseen footage from Ingmar Bergman's “home movies” was shot by him during the making of his films.
Joseph Losey Centenary
One hundred years after the birth of Joseph Losey, ten years since the loss of his primary collaborator, Dirk Bogarde and one year on from that of the playwright and screenwriter Harold Pinter, ACCIDENT (1967, 105' UK), screened in their honor, was restored by the BFI National Archive and Studio Canal and will be presented in the Buñuel Theater. There will also be a new print of DON GIOVANNI (1979, 176' Italy) screened as part of our "Cinema de la plage" thematic program.
Documentaries on filmmaking
LES DEUX DE LA VAGUE (90' France), a film by Antoine de Baecque and Emmanuel Laurent. In celebration of the fifty years since the birth of the New Wave, this documentary recalls the presentation in Cannes 1959 of The 400 Blows (Les Quatre cent coups) and the birth of Breathless (A bout de souffle), evoking the birth of two exemplary New Wave filmmakers: François Truffaut and Jean-Luc Godard.
PIETRO GERMI, IL BRAVO, IL BELLO, IL CATTIVO (60’ Italy) by Claudio Bondí.
The career and personality of a filmmaker too often forgotten: Pietro Germi - seven of his films in Competition at the Festival de Cannes - received the Palme d'Or in 1966 for SIGNORE E SIGNORI (119' Italy). Struck for the theatrical release following the Festival, a new print will be screened.
A selection of restored and new prints
L’AVVENTURA by Michelangelo Antonioni (1960, 143’ Italy), which inspired the 2009 Festival poster. New Print.
AN UNS GLAUBT GOTT NICHT MEHR by Axel Corti (1982, 104’ Austria). Print restored by Le Pacte.
GIU LA TESTA (Once Upon A Time...the Revolution) by Sergio Leone (1971, 153’ Italy). Print restored by the Cineteca di Bologna and the laboratory Immagine Ritrovata.
LOIN DU VIETNAM (Far from Vietnam) by Joris Ivens, William Klein, Claude Lelouch, Agnés Varda, Jean-Luc Godard, Chris Marker, Alain Resnais (1967, 115’ France). Print restored by the Archives françaises du film du CNC.
PIERROT LE FOU by Jean-Luc Godard (1965, 107’ France). Digital restoration and projection by Studio Canal.
PRINCE YEONSAN by Shin Sang-ok (1961, 133’ Corée). Print restored by the Korean Film Archive and HFR laboratory.
SENSO (Livia) by Luchino Visconti (1954, 123’ Italy). Print restored by Studiocanal and Centro Sperimentale di Cinematografia, Cineteca Nazionale at Cineteca di Bologna / L'Immagine Ritrovata with funding provided by GUCCI and The Film Foundation
LES VACANCES DE M. HULOT (Monsieur's Hulot's Holiday) by Jacques Tati (1953, 88’ France). Print restored by the Fondation Thomson, the Fondation Groupama Gan, Les Films de Mon Oncle and the Cinémathèque française.
VICTIM by Basil Dearden (1961, 101’ UK). New print.
WAKE IN FRIGHT by Ted Kotcheff (1971, 109’ Australia). Print restored by the National Film & Television Archive.
LES YEUX SANS VISAGE (Eyes Without A Face) by Georges Franju (1960, 91’ France). Print restored by Gaumont.
aici pe situl festivalului
da, GIU LA TESTA !!! mama si tata Leone (fac pariu ca vine sa se excite Tarantino)...
Si o copie noua la Wake in Fright pe care l-am vazut de pe un vhs copiat pe dvd, atroce, unul dinc ele 3 filme australine importante de inceput, facute de un canadian si doi englezi (Tony Richardson si Nicholas Roeg, respectiv, Ned Kelly si Walkabout)
Da, stiu Red shoes, red shoes…...pentru Jack Cardiff si sa-l vad si io pe Scorsese...
la ballerina si chiama bella rosa...
Eayay-ya!
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