NOTÍCIAS

-Novidades de Kill Bill 2



Já há mais novidades sobre Kill Bill : Volume 2. Começemos pelas más.

Aparentemente o segundo volume não vai estrear em Fevereiro como estava anunciado. Abril passa agora a ser a data preferencial, mas ainda não há certezas.

Quanto às boas notícias é que já está disponível no site japonês do filme um teaser trailer e um Spot para TV . Já agora fiquem a saber que parece que o subtítulo da película é The Love Story.

Site Oficial

-As últimas estreias à 6ª Feira

Estamos quase a chegar a 2004, e pode-se dizer que hoje é um dia histórico no cinema português. Após décadas de estreias à 6ª Feira, já a partir da próxima semana todas elas passam a ser à 5ª Feira.

Na última 6ª Feira de estreias de 2003, são apenas três os filmes que chegam as salas.

Começamos por "É Agora ou Nunca", um título que bem podia contar as história desta película- sucessivamente adiada no nosso país. Neste filme, uma jovem casada (Jennifer Aniston) vê a sua vida mundana e monótona piorar, ainda mais, quando começa a ter uma relação ilícita com Holden Worther (Jake Gyllenhaal), um colega de trabalho que 'não joga com o baralho todo'.
Independente, esta fita foi realizada por Miguel Arteta e conta ainda no elenco com John C. Reilly (Chicago) e Tim Blake Nelson (O Brother Were Art Thou).

Também em estreia esta semana temos Mona Lisa Smile . Com um fabuloso elenco feminino, Mona Lisa Smile segue a professora Watson (Julia Roberts), um recém chegada a Wellesley em 1953, numa época pós-Segunda Guerra Mundial, onde as mulheres foram mais uma vez relegadas para segundo plano. Depois de trabalharem em fábricas para produzir muito do armamento que os seus filhos, maridos e pais usavam para combater o inimigo, essas mulheres foram literalmente empurradas para casa, onde a sua obrigação agora seria a de recriar um novo lar, acolhedor ao espírito do matrimónio perfeito e idealista do soldado que regressa a casa após intenso combate. Enquanto de manhã as raparigas de Wellesley acediam ao que qualquer rapaz de Yale também aprendia (literatura, artes, etc.), durante a tarde recebiam lições de bem cozinhar, boas maneiras, ou como tratar crises matrimoniais. Nestes aspectos, a década de 50 foi mais uma batalha na longa emancipação das mulheres. Katherine Watson aparece assim como catalisadora de um movimento progressista. Um dos aspectos que eleva sobremaneira a qualidade deste filme é o elenco de actrizes secundárias, as alunas de miss Watson: Kirsten Dunst ("As Virgens Suicidas", "Homem-Aranha") é a editora do jornal escolar, conservadora, que vai casar e ser a grande lutadora pelos tradicionalismos que Watson tenta romper, mas que à medida que o seu matrimónio de conveniência se vai diluíndo, acaba por soçobrar; Julia Stiles (State and Main), neste filme em grande, é a melhor amiga da personagem de Dunst e também a melhor aluna. Mas contrário da sua amiga sente o fascínio pela arte que a professora lhes pretende induzir; Maggie Gyllenhall ("A Secretária") corporiza a devassa, a aluna que quando quer alguma coisa não liga a preconceitos morais. E por isso é de certa forma marginalizada por dormir com quem lhe apetece. A acompanhar este "repasto" interpretativo temos ainda a professora de boas maneiras, a oscarizada Marcia Gay Harden (Pollock).

Finalmente, estreia esta semana mais um filme nacional. "O Fascínio" é o novo filme de José Fonseca e Costa, um realizador responsável por películas como "A Balada da Praia dos Cães".
Adaptado do romance homónimo do escritor Tabajara Ruas, o filme conta a história de Lino Paes Rodrigues (Vitor Norte), um empresário à beira da falência, que recebe como herança uma Herdade no Alentejo que pode significar a sua redenção financeira. O que aparenta configurar-se como a sua salvação acaba por revelar-se a sua mais completa perdição. Fascinado pela história de violências cometidas pelos seus mais remotos antepassados, Lino deixa-se envolver num turbilhão de sensações e situações até então desconhecidas, comandadas pelo mórbido prazer dos assassinos: o poder da vida e da morte. Um filme que promete e que certamente merecerá uma olhadela.

(Fonte: c7nema.net)

Cumprimentos cinéfilos,
Tiago Teixeira.

BOX-OFFICE AMERICANO

[Lugar; Título do filme; Total de dólares desde a estreia]

1. Lord of the Rings: The Return of the King, The (2003) 125.1m
2. Mona Lisa Smile (2003) 12.0m
3. Something's Gotta Give (2003) 33.5m
4. Last Samurai, The (2003) 59.0m
5. Stuck On You (2003) 17.1m
6. Elf (2003) 154.0m
7. Bad Santa (2003) 42.0m
8. Haunted Mansion, The (2003) 59.1m
9. Love Don't Cost a Thing (2003) 11.4m
10. Honey (2003) 23.5m

Fonte: IMDB

Lord of the Rings: The Return of the King, The :

Classificações:

Rottentomatoes: 97%; 9.2/10
IMDB: 9.1/10

Breves comentários:

+:

- "Every inch the finale this saga deserves, cementing its place as one of the seminal cinematic achievements of our time."
-- Rob Vaux, FLIPSIDE MOVIE EMPORIUM

- "This film is everything a fan could want and possibly more. For three-plus hours, it entertains, enthralls and awes."
-- Bruce Westbrook, HOUSTON CHRONICLE

- "Here, in scenes of quiet emotion, devastating violence, sweeping chaos and tranquil hope,is a profound conclusion to an unforgettable trilogy–the best American trilogy ever made."
-- Steven Snyder, ZERTINET MOVIES

-:

-"An uneven movie with yawns aplenty."
-- David Sterritt, CHRISTIAN SCIENCE MONITOR

- "I was more impressed by the first chapters, The Fellowship of the Ring and The Two Towers, on DVD than I was in theaters .... Back in a multiplex for No. 3, I felt blitz-bombed again."
-- David Elliott, SAN DIEGO UNION-TRIBUNE

- "Is a seriously flawed piece of work that is missing that certain element called "believability." It's visual eye candy without the chocolate center."
-- Michelle Alexandria, ECLIPSE MAGAZINE

Trailer do filme
Site Oficial

Cumprimentos cinéfilos,
Tiago Teixeira.

NOTÍCIAS

-Aí estão os nomeados para os Globos de Ouro


Estatueta dos Golden Globes Awards

Foram hoje apresentados os nomeados da 61ª Edição dos Globos de Ouro, os prémios da imprensa estrangeira nos EUA.


Imagem do filme Cold Montain, o grande nomeado para os Globos de Ouro

Cold Mountain é o filme mais nomeado (8 nomeações) enquanto Lost in Translation e Mystic River aparecem com 5 nomeações cada um. De resto há poucas novidades, realçando-se as nomeações de Finding Nemo, Love Actually e Bend it Like Beckham na categoria de Melhor Filme – Musical ou Comédia

Melhor Filme - Drama

Cold Mountain
The Lord of the Rings: The Return of the King'
Master and Commander: The Far Side of the World'
Mystic River
Seabiscuit

Melhor Actriz - Drama

Cate Blanchett - Veronica Guerin
Scarlett Johansson - Girl With a Pearl Earring
Nicole Kidman - Cold Mountain
Charlize Theron - Monster
Uma Thurman - Kill Bill - Vol. 1
Evan Rachel Wood - Thirteen

Melhor Actor - Drama

Russell Crowe - Master and Commander: The Far Side of the World
Tom Cruise - The Last Samurai
Ben Kingsley - House of Sand and Fog
Jude Law - Cold Mountain
Sean Penn - Mystic River

Melhor Filme – Musical ou Comédia

Bend It Like Beckham
Big Fish
Finding Nemo
Lost in Translation
Love Actually

Melhor Actriz - Musical ou Comédia

Jamie Lee Curtis - Freaky Friday
Scarlett Johansson - Lost in Translation
Diane Keaton - Something's Gotta Give
Diane Lane - Under the Tuscan Sun
Helen Mirren - Calendar Girls

Melhor Actor - Musical ou Comédia

Jack Black - School of Rock
Johnny Depp - Pirates of the Caribbean: The Curse of the Black Pearl
Bill Murray - Lost in Translation
Jack Nicholson - Something's Gotta Give
Billy Bob Thornton - Bad Santa

Melhor Filme Estrangeiro

Les Invasions Barbares Invasions - Canadá
Good Bye, Lenin - Alemanha
Monsieur Ibrahim - França
Osama - Afeganistão
The Return - Rússia

Melhor Actriz Secundária

Maria Bello - The Cooler
Patricia Clarkson - Pieces of April
Hope Davis - American Splendor
Holly Hunter - Thirteen
Renée Zellweger - Cold Mountain

Melhor Actor Secundário

Alec Baldwin - The Cooler
Albert Finney - Big Fish
William H. Macy - Seabiscuit
Peter Sarsgaard - Shattered Glass
Tim Robbins - Mystic River
Ken Watanabe - The Last Samurai

Melhor Realizador

Sofia Coppola - Lost in Translation
Clint Eastwood - Mystic River
Peter Jackson - The Lord of the Rings: The Return of the King
Anthony Minghella - Cold Mountain
Peter Weir - Master and Commander: The Far Side of the World

Melhor Argumento

Sofia Coppola - Lost in Translation
Richard Curtis - Love Actually
Brian Helgeland - Mystic River
Anthony Minghella - Cold Mountain
Jim Sheridan, Naomi Sheridan & Kirsten Sheridan - In America

Melhor Banda Sonora Original

Alexandre Desplat - Girl with a Pearl Earring
Danny Elfman - Big Fish
Howard Shore - The Lord of the Rings: The Return of the King
Garbriel Yared - Cold Mountain
Hans Zimmer - The Last Samurai

Melhor Música

"The Heart of Every Girl" - Mona Lisa Smile
Musica de: Elton John, Letra de Bernie Taupin
"Into the West" - The Lord of the Rings: The Return of the King
Musica e Letra de: Howard Shore, Fran Walsh, Annie Lennox
"Man of the Hour" - Big Fish
Musica e Letra de: Eddie Vedder
"Time Enough for Tears" - In America
Musica e Letra de: Bono, Gavin Friday and Maurice Seezer
"You Will be My Ain True Love" - Cold Mountain
Musica e Letra de: Sting

Melhor Série - Drama

CSI: Crime Scene Investigation
Nip/Tuck
Six Feet Under
24
The West Wing

Melhor Actriz numa série de TV - Drama

Frances Conroy - Six Feet Under
Jennifer Garner - Alias
Allison Janney - The West Wing
Joely Richardson - Nip/Tuck
Amber Tamblyn - Joan of Arcadia

Melhor Actor numa série de TV - Drama

Michael Chiklis - The Shield
Anthony LaPaglia - Without a Trace
William Petersen - CSI: Crime Scene Investigation
Martin Sheen - 'The West Wing
Kiefer Sutherland - 24

Melhor Série – Musical e Comédia

Arrested Development
Monk
The Office
Sex and the City
Will & Grace

Melhor Actriz numa série de TV – Musical e Comédia

Bonnie Hunt - Life With Bonnie
Reba McIntire - Reba
Debra Messing - Will & Grace
Sarah Jessica Parker - Sex and the City
Bitte Schramm - Monk
Alicia Silverstone - Miss Match

Melhor Actor numa série de TV – Musical e Comédia

Ricky Gervais - The Office
Matt LeBlanc - Friends
Bernie Mac - The Bernie Mac Show
Eric McCormack - Will & Grace
Tony Shalhoub - Monk

Melhor Mini-Série e Telefilme

Angels in America - HBO
My House in Umbria - HBO
Normal - HBO
Soldier's Girl - Showtime
Tennessee Williams' The Roman Spring of Mrs. Stone - Showtime

Melhor Actriz numa Mini-Série e Telefilme

Judy Davis - The Reagans
Jessica Lange - Normal
Helen Mirren - Tennessee Williams' The Roman Spring of Mrs. Stone
Maggie Smith - My House in Umbria
Meryl Streep - Angels in America

Melhor Actor numa Mini-Série e Telefilme

Antonio Banderas - And Starring Pancho Villa as Himself
James Brolin - The Reagans
Troy Garity - Soldier's Girl
Al Pacino - Angels in America
Tom Wilkinson - Normal

Melhor Actriz Secundária numa Série, Mini-Série e Telefilme

Kim Cattrall - Sex and the City
Kristin Davis - Sex and the City
Megan Mullally - Will & Grace
Cynthia Nixon - Sex and the City
Mary-Louise Parker - Angels in America

Melhor Actor Secundário numa Série, Mini-Série e Telefilme

Sean Hayes - Will & Grace
Justin Kirk - Angels in America
Ben Schenkman - Angels in America
Patrick Wilson - Angels in America
Jeffrey Wright - Angels in America

Fonte: Site c7nema.net

Cumprimentos cinéfilos,
Tiago Teixeira.

CURIOSIDADES

Olá a toda a comunidade cinéfila!

Desde os seus primórdios até aos dias de hoje, o cinema encantou multidões e marcou gerações. Volvidos mais de 100 anos, a sétima arte continua a exercer sobre cada um de nós um poder mágico e sedutor. De forma a homenagear as pessoas mais importantes no desenvolvimento lento e gradual desta magnífica arte, os autores do site FILM 100 elaboraram um lista das 100 personalidades mais influentes e revolucionárias na história do cinema. É claro que a escolha é sempre subjectiva e como tal sujeita a todo tipo de críticas, mas será impossível ficar indiferente a nomes como Orson Welles, David W. Griffith, Charlie Chaplin, Walt Disney, Alfred Hitchcock, Sergei Eisenstein, Marlon Brando, Louis B. Mayer, Georges Melies, Katharine Hepburn, Stanley Kubrick, Fritz Lang, Ingmar Bergman, Humphrey Bogart, John Williams, Bernard Herrmann, Bette Davis, The Lumiere Bros., David O Selznick, Vittorio de Sica, Akira Kurosawa, Federico Fellini , Steven Spielberg ou Fred Astaire.

De forma a tornar mais interessante vou começar pelo número 100 e acabar no número 1, dedicando a cada um deles uma pequena biografia (quando possível, claro).

Eis uma pequena introdução (retirada do site filmsite.org):





The authors of the Film 100 Web site (now discontinued) ranked the one hundred most influential people in the history of the movies (names appeared in order of influence). They gathered a list of film's most important visionaries, collecting only the names of those whose work and techniques had been felt by millions of moviegoers. Their list below celebrated individuals who produced effects that directly or indirectly created changes in the way films were made, seen, distributed, and preserved. By that criteria, they traced back the ripples of influence to their originators, and gave credit where credit was due. Then, they limited the list to one hundred names and started a long and difficult elimination process, before assigning the final ranked positions. Consequently, many popular persons were not listed in their compilation. But equally, some unknown faces were extremely familiar by their accomplishments.

The authors of Film 100 considered just about every inventor and scientist connected to the film industry, but under the weight of scrutiny, most were edged out by businessmen who exploited their invention. Notoriety or fame played no part in the selection. Joint contributions were treated as a single entry, and large governing bodies like the Screen Actors Guild were not eligible. Innovations that have been credited to an anonymous person were not considered. Following each entry were some selected or recommended films that illustrated each person's influence and innovations.



N.º 100

John Cassavetes



Perhaps better known to the general public as an actor, John Cassavetes' true artistic legacy derives from his work behind the camera; arguably, he was America's first truly independent filmmaker, an iconoclastic maverick whose movies challenged the assumptions of the cinematic form. Obsessed with bringing to the screen the "small feelings" he believed that American society at large attempted to suppress, Cassavetes' work emphasized his actors above all else, favoring character examination over traditional narrative storytelling to explore the realities of the human condition. A pioneer of self-financing and self-distribution, he led the way for filmmakers to break free of Hollywood control, perfecting an improvisational, cinéma vérité aesthetic all his own.

The son of Greek immigrants, Cassavetes was born December 9, 1929, in New York City. After attending public school on Long Island, he later studied English at both Mohawk College and Colgate University prior to enrolling at the New York Academy of Dramatic Arts. Upon graduating in 1950, he signed on with a Rhode Island stock company while attempting to land roles on Broadway and made his film debut in Gregory Ratoff's Taxi in 1953. A series of television roles followed, with Cassavetes frequently typecast as a troubled youth. By 1955, he was playing similar parts in the movies, appearing in pictures ranging from Night Holds Terror to Crime in the Streets.

Cassavetes' career as a filmmaker began most unexpectedly. In 1957, he was appearing on Night People, a New York-based radio show, to promote his recent performance in the Martin Ritt film Edge of the City. While talking with host Jean Shepherd, Cassavetes abruptly announced that he felt the film was a disappointment and claimed he could make a better movie himself; at the close of the program, he challenged listeners interested in an alternative to Hollywood formulas to send in a dollar or two to fund his aspirations, promising he would make "a movie about people." No one was more surprised than Cassavetes himself when, over the course of the next several days, the radio station received over 2,000 dollars in dollar bills and loose change; true to his word, he began production within the week, despite having no idea exactly what kind of film he wanted to make.

Assembling a group of students from his acting workshop, Cassavetes began work on what was later titled Shadows. The production had no script or professional crew, only rented lights and a 16 mm camera. Without any prior experience behind the camera, Cassavetes and his cast made mistake after mistake, resulting in a soundtrack which rendered the actors' dialogue completely inaudible (consequently creating a three-year delay in release while a new soundtrack was dubbed). A sprawling, wholly improvised piece about a family of black Greenwich Village jazz musicians -- the oldest brother dark-skinned, the younger brother and sister light enough to pass for white -- the film staked out the kind of fringe society to which Cassavetes' work would consistently return, posing difficult questions about love and identity.

Unable to find an American distributor, the completed Shadows appeared in 1960, and was widely hailed as a groundbreaking accomplishment. After receiving the Critics Award at that year's Venice Film Festival, it finally was released in the U.S. with the backing of a British distributor. The film's success brought Cassavetes to the attention of Paramount, who hired him to direct the 1961 drama Too Late Blues with Bobby Darin. The movie was a financial and critical disaster, and he was quickly dropped from his contract. Landing at United Artists, he directed A Child Is Waiting for producer Stanley Kramer. After the two men had a falling out, Cassavetes was removed from the project, which Kramer then drastically re-cut, prompting a bitter Cassavetes to wash his hands of the finished product.

Stung by his experiences as a Hollywood filmmaker, he vowed to thereafter finance and control his own work, turning away from directing for several years to earn the money necessary to fund his endeavors. A string of acting jobs in films ranging from Don Siegel's The Killers to Roman Polanski's Rosemary's Baby to Robert Aldrich's The Dirty Dozen (for which he received an Academy Award nomination for Best Supporting Actor) wrapped up Cassavetes for all of the mid-'60s, but in 1968 he returned to filmmaking with Faces, the first of his pictures to star his wife, the brilliant actress Gena Rowlands. Another edgy drama shot in Cassavetes' trademark cinéma vérité style, Faces was a tremendous financial and critical success, garnering a pair of Oscar nominations as well as winning five awards at the Venice Film Festival; its success again brought Hollywood calling, but this time the director entertained only those offers affording him absolute creative control and final cut.

After coming to terms with Columbia, Cassavetes began work on 1970's Husbands, which co-starred Peter Falk and Ben Gazzara. After helming 1971's Minnie and Moskowitz for Universal, he turned to self-financing, creating his masterpiece A Woman Under the Influence, which earned Rowlands an Academy Award nomination in the Best Actress category. With a story he developed with longtime fan Martin Scorsese, Cassavetes next turned to 1976's film noir The Killing of a Chinese Bookie; though also reissued two years later in a truncated version, the picture failed to find an audience, and was barely even circulated. When the same fate befell 1978's Opening Night, Cassavetes was forced to return to Columbia in 1980 to make Gloria.

Four years passed before the director's next film, Love Streams. His subsequent effort was 1985's aptly titled Big Trouble, a comedy already in production when Cassavetes took over for writer/director Andrew Bergman, who had abruptly quit the project. The finished film was subsequently recut by its producers, and Cassavetes publicly declared it a disaster. Upon completing the picture, he became ill; regardless, he continued working, turning to the theatrical stage when he could no longer find funding for his films. A Woman of Mystery, a three-act play which was his final fully realized work, premiered in Los Angeles in 1987. On February 3, 1989, John Cassavetes died. Son Nick continued in his father's footsteps, working as an actor as well as the director of the films Unhook the Stars (1996) and She's So Lovely (1997), the latter an adaptation of one of his father's unfilmed screenplays.

Jason Ankeny, All Movie Guide

N.º 99:

John Hubley



The most influential animator of the postwar era, John Hubley was born May 21, 1914, in Marinette, WI. After graduating from the Los Angeles Art Center, he first made his mark while at Walt Disney Studios, working on films like 1940's Fantasia (for which he served as art director) and 1942's Bambi. However, Hubley quickly grew disenchanted with the hallmarks of the Disney style -- the naturalism, the anthropomorphic character design, the detailed artwork, and the gag comedy -- and in 1941 he left the studio to explore a more contemporary approach in line with the work of abstract illustrators like Saul Steinberg.

After signing on as chief director with the upstart First Motion Picture Unit, which soon changed its name to United Productions of America (UPA), Hubley instituted a series of sweeping changes that encouraged his animation team to push the boundaries of the form, establishing a house aesthetic which favored modern art techniques, unusual angles and textures, and distinctive color combinations. In comparison to the graceful movement of the Disney studios and the vivid 3-D backgrounds of the Fleischer brothers' productions, the UPA style was something entirely new: Color gave way to light and shadow, backdrops were reduced to floating shapes, and abstract lines assumed the place of detailed drawings.

Not only did the world of animation feel the effects of Hubley's vision, even live-action films took notice; the famed graphic designer Saul Bass admittedly absorbed the UPA influence into his stunning title sequences. In addition, Hubley's methods were efficient; cartoons like 1951's Gerald McBoing Boing and the following year's Rooty Toot Toot perfected an economic style which, far removed from the painstaking animation previously in vogue, saved both time and money. Among his other achievements was the creation of the hopelessly near-sighted Mr. Magoo, a popular character inspired by Hubley's own uncle. At the peak of UPA's influence, however, Hubley was forced to resign his position as a result of McCarthyism. Teaming with his wife, Faith, he founded Storyboard Productions in 1955. In 1959, the couple won an Oscar for their animated short film Moonbirds; another Oscar was garnered by The Hole three years later. 1961's Of Stars and Men was the Hubleys' feature-length debut, followed in 1965 by Year of the Horse. After overseeing such other notable shorts as 1967's The Windy Day and 1974's Academy Award-nominated Voyage to Next, John Hubley died on February 21, 1977. He was 62 years old.

Jason Ankeny, All Movie Guide

N.º 98:

Busby Berkeley



American director/choreographer Busby Berkeley made his stage debut at five, acting in the company of his performing family. During World War I, Berkeley served as a field artillery lieutenant, where he learned the intricacies of drilling and disciplining large groups of people. During the 1920s, Berkeley was a dance director for nearly two dozen Broadway musicals, including such hits as A Connecticut Yankee. As a choreographer, Berkeley was less concerned with the terpsichorean skill of his chorus girls as he was with their ability to form themselves into attractive geometric patterns. His musical numbers were among the largest and best-regimented on Broadway. The only way they'd get any larger was if Berkeley moved to films, which he did the moment films learned to talk. His earliest movie gigs were on Sam Goldwyn's Eddie Cantor musicals, where he began developing such techniques as "individualizing" each chorus girl with a loving close-up, and moving his dancers all over the stage (and often beyond) in as many kaleidoscopic patterns as possible. Berkeley's legendary "top shot" technique (the kaleidoscope again, this time shot from overhead) first appeared seminally in the Cantor films, and also the 1932 Universal programmer Night World. Berkeley's popularity with an entertainment-hungry Depression audience was secured in 1933, when he choreographed three musicals back-to-back for Warner Bros.: 42nd Street, Footlight Parade and The Gold Diggers of 1933. Berkeley's innovative and often times splendidly vulgar dance numbers have been analyzed at length by cinema scholars who insist upon reading "meaning" and "subtext" in each dancer's movement. Berkeley always pooh-poohed any deep significance to his work, arguing that his main professional goals were to constantly top himself and to never repeat his past accomplishments. As the outsized musicals in which Berkeley specialized became passé, he turned to straight directing, begging Warners to give him a chance at drama; the result was 1939's They Made Me a Criminal, one of John Garfield's best films. Berkeley moved to MGM in 1940, where his Field Marshal tactics sparked a great deal of resentment with the studio's pampered personnel. He was fired in the middle of Girl Crazy (1941), reportedly at the insistence of Judy Garland. His next stop was at 20th Century-Fox for 1943's The Gang's All Here. Berkeley entered the Valhalla of Kitsch with Carmen Miranda's outrageous "Lady in the Tutti-Frutti Hat" number. The film made money, but Berkeley and the Fox brass didn't see eye to eye over budget matters. Berkeley returned to MGM in the late 1940s, where among many other accomplishments he conceived the gloriously garish Technicolor finales for the studio's Esther Williams films. Berkeley's final film as choreographer was MGM's Billy Rose's Jumbo (1962). In private life, Berkeley was as flamboyant as his work. He went through six wives, an alienation-of-affections suit involving a prominent movie queen, and a fatal car accident which resulted in his being tried (and acquitted) for second degree murder. In the late 1960s, the "camp" craze brought the Berkeley musicals back into the forefront. He hit the college and lecture circuit, and even directed a 1930s-style cold tablet commercial, complete with a top shot of a "dancing clock". In his 75th year, Busby Berkeley returned to Broadway to direct a success revival of No, No Nanette, starring his old Warner Bros. colleague and 42nd Street star Ruby Keeler.

Hal Erickson, All Movie Guide

N.º 97:

Karl Struss



The son of a wire manufacturer, American cinematographer Karl Struss studied photography at Columbia University. His fellow film cameraman Hal Mohr has labelled Struss one of the greatest still photographers who ever lived; in this capacity, Struss maintained his own well-patronized Los Angeles portrait studio from 1914 through 1919. He was first hired for moving pictures in 1919 by Cecil B. DeMille. Climbing to the top in relatively short order, Struss worked most often in collaboration with Charles Rosher; he and Rosher shared the first-ever Best Photography Academy Award for their eye-popping work on F.W. Murnau's Sunrise (1927). Many of Struss' own innovations were often mistakenly credited by film historians to directors; for example, it was Struss and not director Rouben Mamoulian who hit upon using infrared filters for the transformation scenes in 1931's Dr. Jekyll and Mr. Hyde. During his many years at Paramount, Struss helped train some of the best cameramen of the '50s; one of his assistants was George Clemens, who later went on to photograph the Twilight Zone TV series. Struss remained active in films until 1959, often as cameraman for science-fiction director Kurt Neumann; Struss' next to last project was the 1959 version of The Fly, wherein he came up with the now-famous "fly's eye view" shot of Susan Morrow. After wrapping up his movie career, Karl Struss spent an additional ten years filming television commercials, then retired in 1970.

Hal Erickson, All Movie Guide

N.º 96:

Martin Scorsese



The most renowned filmmaker of his era, Martin Scorsese virtually defined the state of modern American cinema during the 1970s and '80s. A consummate storyteller and visual stylist who lived and breathed movies, he won fame translating his passion and energy into a brand of filmmaking that crackled with kinetic excitement. Working well outside of the mainstream, Scorsese nevertheless emerged in the 1970s as a towering figure throughout the industry, achieving the kind of fame and universal recognition typically reserved for more commercially successful talents. A tireless supporter of film preservation, Scorsese has worked to bridge the gap between cinema's history and future like no other director. Channeling the lessons of his inspirations -- primarily classic Hollywood, the French New Wave, and the New York underground movement of the early '60s -- into an extraordinarily personal and singular vision, he has remained perennially positioned at the vanguard of the medium, always pushing the envelope of the film experience with an intensity and courage unmatched by any of his contemporaries.

Scorsese was born on November 17, 1942, in Flushing, NY. The second child of Charles and Catherine Scorsese -- both of whom frequently made cameo appearances in their son's films -- he suffered from severe asthma, and as a result was blocked from participating in sports and other common childhood activities. Consequently, Scorsese sought refuge in area movie houses, quickly becoming obsessed with the cinema, in particular the work of Michael Powell. Raised in a devoutly Catholic environment, he initially studied to become a priest. Ultimately, however, Scorsese opted out of the clergy to enroll in film school at New York University, helming his first student effort, What's a Nice Girl Like You Doing in a Place Like This?, a nine-minute short subject, in 1963.

Scorsese mounted his second student picture, the 15-minute It's Not Just You, Murray!, in 1964, the year of his graduation. His next effort was 1967's brief The Big Shave; finally, in 1969 he completed his feature-length debut, Who's That Knocking at My Door?, a drama starring actor Harvey Keitel, who went on to appear in many of the director's most successful films. The feature also marked the beginning of Scorsese's long collaboration with editor Thelma Schoonmaker, a pivotal component in the evolution of his distinct visual sensibility.

After a tenure teaching film at N.Y.U. (where among his students were aspiring directors Oliver Stone and Jonathan Kaplan), Scorsese released Street Scenes, a documentary account of the May 1970 student demonstrations opposing the American military invasion of Cambodia. He soon left New York for Hollywood, working as an editor on films ranging from Woodstock to Medicine Ball Caravan to Elvis on Tour and earning himself the nickname "the Butcher." For Roger Corman's American International Pictures, Scorsese also directed his first film to receive any kind of widespread distribution, 1972's low-budget Boxcar Bertha, starring Barbara Hershey and David Carradine. With the same technical crew, he soon returned to New York to begin working on his first acknowledged masterpiece, the 1973 drama Mean Streets. A deeply autobiographical tale exploring the interpersonal and spiritual conflicts facing the same group of characters first glimpsed in Who's That Knocking at My Door?, Mean Streets established many of the thematic stylistic hallmarks of the Scorsese oeuvre: his use of outsider antiheroes, unusual camera and editing techniques, dueling obsessions with religion and gangster life, and the evocative use of popular music. It was this film that launched him to the forefront of a new generation of American cinematic talent. The film also established Scorsese's relationship with actor Robert DeNiro, who quickly emerged as the central onscreen figure throughout the majority of his work.

For his follow-up, Scorsese traveled to Arizona to begin shooting 1974's Alice Doesn't Live Here Anymore, a response to criticism that he couldn't direct a "women's film." The end result brought star Ellen Burstyn a Best Actress Oscar at the year's Academy Awards ceremony, as well as a Best Supporting Actress nomination for co-star Diane Ladd. Next up was 1974's Italianamerican, a film Scorsese often claimed as his personal favorite among his own work. A documentary look at the experience of Italian immigrants as well as life in New York's Little Italy, it starred the director's parents, and even included Catherine Scorsese's secret tomato sauce recipe.

Upon his return to New York, Scorsese began work on the legendary Taxi Driver in the summer of 1974. Based on a screenplay by Paul Schrader, the film explored the nature of violence in modern American society, and starred DeNiro as Travis Bickle, a cabbie thoroughly alienated from humanity who begins harboring delusions of assassinating a Presidential candidate and saving a young prostitute (Jodie Foster) from the grip of the streets. Lavishly acclaimed upon its initial release, Taxi Driver won the Palme d'Or at the 1976 Cannes Film Festival. Five years later, it became the subject of intense scrutiny when it was revealed that the movie was the inspiration behind the attempted assassination of Ronald Reagan by John Hinckley, who had become obsessed with the film as well as Foster herself.

Scorsese's next feature was New York, New York, a lavish 1977 musical starring DeNiro and Liza Minnelli. The first of his major films to receive less-than-glowing critical acclaim, it was widely considered a failure by the Hollywood establishment. Despite doubts about his artistry, Scorsese forged on, and continued work on his documentary of the farewell performance of The Band, shot on Thanksgiving Day of 1976. Complete with guest appearances from luminaries ranging from Muddy Waters to Bob Dylan to Van Morrison, the concert film The Last Waltz bowed in 1978, and won raves on the festival circuit as well as from pop-music fans. American Boy: A Profile of Steven Prince, a look at the raconteur who appeared as the gun salesman in Taxi Driver, followed later that same year.

In April 1979, after years of preparation, Scorsese began work on Raging Bull, a film based on the autobiography of boxer Jake LaMotta. Filmed in black-and-white, the feature was his most ambitious work to date, and is widely regarded as the greatest movie of the 1980s. DeNiro won the Best Actor Oscar for his portrayal of LaMotta, while newcomer Cathy Moriarty won a Best Actress nomination for her work as LaMotta's second wife. (Additionally, Thelma Schoonmaker won an Academy Award for editing). Scorsese and DeNiro again reunited for the follow-up, 1983's The King of Comedy, a bitter satire exploring the nature of celebrity and fame.

Since the age of ten, Scorsese had dreamed of mounting a filmed account of the life of Jesus; finally, in 1983 it appeared that his adaptation of Nikos Kazantzakis' novel The Last Temptation of Christ was about to come to fruition. Ultimately, just four weeks before shooting was scheduled to begin, funding for the project fell through. Scorsese was forced to enter a kind of work-for-hire survival period, accepting an offer to direct the 1985 downtown New York comedy After Hours. In the spring of 1986, he began filming The Color of Money, the long-awaited sequel to Robert Rossen's 1961 classic The Hustler. Star Paul Newman, reprising his role as pool shark "Fast" Eddie Felson, won his first Academy Award for his work, while co-star Mary Elizabeth Mastrantonio scored a Best Supporting Actress nomination.

The Color of Money was Scorsese's first true box-office hit; thanks to its success, he was finally able to film The Last Temptation of Christ. Starring Willem Dafoe in the title role, the feature appeared in 1988 to considerable controversy over what many considered to be a blasphemous portrayal of the life and crucifixion of Christ. Ironically, the protests helped win the film a greater foothold at the box office, while making its director a household name. After contributing (along with Francis Ford Coppola and Woody Allen) to the 1989 triptych New York Stories, Scorsese teamed with DeNiro for the first time since The King of Comedy and began working on his next masterpiece, 1990's Goodfellas. Based on author Nicholas Pileggi's true-crime account Wiseguy, the film dissected the New York criminal underworld in absorbing detail, helping actor Joe Pesci earn an Oscar for his supporting role as a crazed mob hitman.

As part of the deal with Universal Pictures which allowed him to make Last Temptation, Scorsese had also agreed to direct a more "commercial" film. The result was 1991's Cape Fear, an update of the classic Hollywood thriller. The follow-up, 1993's The Age of Innocence, was a dramatic change of pace; based on the novel by Edith Wharton, the film looked at the New York social mores of the 1870s, and starred Daniel Day-Lewis and Michelle Pfeiffer. In 1995, Scorsese resurfaced with two new films. The first, Casino, documented the rise and decline of mob rule in the Las Vegas of the 1970s, while A Century of Cinema -- A Personal Journey With Martin Scorsese Through American Cinema examined the evolution of the Hollywood filmmaking process. In 1997, he completed Kundun, a meditation on the formative years of the exiled Dalai Lama. That same year he received the American Film Institute's Lifetime Achievement honor. In 1998, he participated in the American Film Institute's AFI's 100 Years...100 Movies, once again doing his part to help bridge the films of the past with those of the future.

Scorsese returned to the director's chair in 1999 with Bringing Out the Dead. A medical drama starring Nicolas Cage as an emotionally exhausted paramedic, it marked the director's return to New York's contemporary gritty milieu.

Jason Ankeny, All Movie Guide

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BOX-OFFICE AMERICANO

[Lugar; Título do filme; Total de dólares desde a estreia]

1. Something's Gotta Give (2003) 16.0m
2. Last Samurai, The (2003) 46.8m
3. Stuck On You (2003) 9.4m
4. Love Don't Cost a Thing (2003) 6.3m
5. Haunted Mansion, The (2003) 53.7m
6. Elf (2003) 147.0m
7. Bad Santa (2003) 35.7m
8. Honey (2003) 19.7m
9. Cat in the Hat, The (2003) 90.7m
10. Gothika (2003) 53.9m

Fonte: IMDB

Something's Gotta Give :

Classificações:

Rottentomatoes: 70%; 6.7/10
IMDB: 7.1/10

Breves comentários:

+:

- "Sharp, witty, and deep-down funny, Something's Gotta Give is one of the best adult romantic comedies of the year -- or the last few years, for that matter." -- Paul Clinton, CNN

- "[Keaton and Nicholson] bring so much experience, knowledge and humor to their characters that the film works in ways the screenplay might not have even hoped for."
-- Roger Ebert, CHICAGO SUN-TIMES

- "It's funny, heartfelt, and has something to give - entertainment. "
-- Cherryl Dawson and Leigh Ann Palone, THEMOVIECHICKS.COM

-:

- "A man who discovers the beauty of a woman his own age? Only Hollywood — birthplace of the Trophy Wife — could try to pass this notion off as something clever and original."
-- Jeffrey Bruner, DES MOINES REGISTER

- "A standard-issue bog of glossy idiocy and audience disrespect."
-- Michael Atkinson, VILLAGE VOICE

- "The problems lie not in the movie's ideas or casting, but in the sitcom-like screenplay employed by writer/director Nancy Meyers, and in the inability of the filmmakers to cut the movie down to a reasonable length."
-- James Berardinelli, REELVIEWS

Trailer do filme
Site Oficial

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NOTÍCIAS

- Estreias de cinema passam a ser à quinta-feira?



Há bastantes anos que o dia de estreias em Portugal é à sexta-feira. Agora, e devido a variadissimas razões, os distribuídores nacionais vão anunciar que o dia de estreias em Portugal passa a ser a quinta-feira. A medida, que brevemente será posta em prática, certamente vai de encontro às pretensões de muitos espectadores que vão substituindo cada vez mais a noite de sexta-feira pela de quinta para se divertirem.

Fonte: Site c7nema.net

NOTÍCIAS

- Críticos de Nova Iorque coroam "O Senhor dos Anéis"





O Círculo de Críticos de Nova Iorque, composto por jornalistas dos grandes jornais e revistas , conhecido por escolher filmes de cariz mais independente e menos "comercial", mais "intelectuais" e ao arrepio das escolhas mais tradicionais dos Oscares, escolheu The Lord of the Rings - The Return of the King/"O Senhor dos Anéis - O Regresso do Rei", o tomo final de uma saga que custou mais de 300 milhões de dólares e que estreia esta quarta-feira em todo o mundo, como o seu melhor filme de 2003.

Esta escolha é tanto mais surpreendente quanto a história de fantasia e o espectáculo de efeitos especiais não podia ser mais diferente em relação às restantes escolhas que o grupo fez. Um dos seus membros disse que o filme "era lindíssimo, puro cinema, tem uma dimensão épica no drama, nas cenas de batalhas, bastante envolvimento emocional, personagens verdadeiramente complexas e desenvolvidas, e alívio cómico quando é necessário". Outro membro acrescentou: "Todos os filmes que costumamos distinguir costumam ser projectos ambiciosos que correm riscos. Fazer algo a esta escala -todos os três filmes ao mesmo tempo, a New Line a apostar a sua própria existência no sucesso do projecto e ter-se tornado muito melhor do que as pessoas imaginavam- é muito semelhante ao que fizeram alguns dos nossos anteriores vencedores."

Ainda assim, esta escolha deixou muitos analistas desconcertados e alguns até chocados. O filme de Peter Jackson é agora considerado um dos principais concorrentes ao Oscar de melhor filme. Outros finalistas considerados pelo Círculo de Críticos de Nova Iorque foram Mystic River, American Splendor e Lost in Translation.

----------------------------------------------------------------------------

Os restantes prémios atribuídos foram:

* Realização: Sofia Coppola (Lost In Translation)

* Actor: Bill Murray (Lost In Translation)

* Actriz: Hope Davis (American Splendor e The Secret Lives of Dentists)

* Actor Secundário: Eugene Levy (A Mighty Wind)

* Actriz Secundária: Shohreh Ashdaghloo (House of Sand and Fog)

* Melhor Primeiro Filme: American Splendor

* Argumento: The Secret Lives of Dentists

* Melhor Filme Estrangeiro: Cidade de Deus (Brasil)

* Documentário: Capturing the Friedmans

* Melhor Filme de Animação: The Triplets of Belleville

* Fotografia: Harris Savides (Elephant e Gerry)


Um pouco de história do NYFCC ...

John Huston once called their award "the greatest honor that anyone in my profession can receive," and John Ford even admitted, "it means more to me than any other honor." For sixty-five years the New York Film Critics Circle have consistently recognized, championed and defended films that may otherwise have been slighted by audiences and the entertainment industry. Founded in part as a response to the Academy Awards' sometimes dubious selections for the annual best in cinema, the NYFCC has from the start prided itself on striving to recognize a higher standard of film.

Compared with the Oscars, the group's Best Picture track record speaks for itself: "Citizen Kane" over "How Green Was My Valley;" "A Clockwork Orange" over "The French Connection; " "Day for Night" over "The Sting;" "Goodfellas" over "Dances with Wolves." Its announcement of winners weeks in advance of the Oscar nominations even points to the group's natural role as a prize harbinger: since 1935, the Academy Awards has given Best Picture to 43% of the NYFCC's picks.

Twenty years before the Academy Awards started doling out Oscars for best foreign film, the NYFCC was recognizing and heralding movies from other countries, including "Grand Illusion," "Rome, Open City," and "Diabolique." The NYFCC was the first organization in the States to celebrate "The 400 Blows" and fought censorship when the Catholic Church banned the 1948 omnibus "Ways of Love" for its inclusion of Rosselini's sacrilegious episode "The Miracle." The NYFCC even spawned another kudos-driven organization: in 1966, a few restless members like Joe Morgenstern left the group and started the National Society of Film Critics.

Traditionally people are either invited into the group, or they apply for membership. 130 critics have been members since the group began, among them alumni like Pauline Kael, Judith Crist, Renata Adler, and Frank Rich, who reviewed movies for Time in the 1970s; screenwriter Jay Cocks ("The Age of Innocence") was even once a member. And some have shown remarkable longevity: The New York Times' Bosley Crowther stayed for 30 years, and seminal critic Andrew Sarris is beginning his fourth continuous decade in the group.

Membership, which over the years has fluctuated from 11 to 31 people, was once strictly limited to critics published in daily New York newspapers. But the city's newspaper strike in 1962 crippled the industry and forced the group to extend its reach to include magazines, where many of their newly-unemployed members had landed jobs. By the end of the 1960s, critics writing for national magazines like Newsweek, Playboy, The Saturday Review, and TV Guide were members. And when, in 1987, Time critic Richard Schickel moved to Los Angeles, membership broadened itself geographically, to the point where the group now enjoys three expatriates on the West Coast.

From the lively debates of the early years to today's silent ballot, the NYFCC have always made stimulating choices every year. Strongly opinionated, passionately fervent about movies, and rarely in agreement on anything, The NYFCC has time and again remained at the crest of critical opinion in this country, leaving in its wake a rich and vibrant history.

Membros do NYFCC :

Thelma Adams
US WEEKLY

John Anderson
NEWSDAY

David Ansen
NEWSWEEK

Michael Atkinson
VILLAGE VOICE

Jami Bernard
NEW YORK DAILY NEWS

Dwight Brown
SAVOY MAGAZINE

Bob Campbell

Richard Corliss
TIME

Mike D'Angelo
TIME OUT NEW YORK

David Denby
THE NEW YORKER

Marshall Fine
THE JOURNAL NEWS

Jonathan Foreman
NEW YORK POST

Owen Gleiberman
ENTERTAINMENT WEEKLY

J. Hoberman
VILLAGE VOICE

Andrew Johnston
US WEEKLY

Dave Kehr
FILM COMMENT

Stewart Klawans
THE NATION

Nathan Lee
THE NEW YORK SUN

Megan Lehman
NEW YORK POST

Dennis Lim
VILLAGE VOICE

Joe Morgenstern
WALL ST. JOURNAL

Peter Rainer
NEW YORK MAGAZINE

Rex Reed
THE NEW YORK OBSERVER

Leah Rozen
PEOPLE MAGAZINE

Andrew Sarris
THE NEW YORK OBSERVER

Richard Schickel
TIME

Lisa Schwarzbaum
ENTERTAINMENT WEEKLY

Matt Zoller Seitz
NEW YORK PRESS/THE STAR-LEDGER

Gene Seymour
NEWSDAY

David Sterritt
CHRISTIAN SCIENCE MONITOR

Jan Stuart
NEWSDAY

Peter Travers
ROLLING STONE

Armond White
NEW YORK PRESS

Stephen Whitty
NEWHOUSE NEWSPAPERS/THE STAR-LEDGER

Em 2002, Far From Heaven/"Longe do Paraíso" foi considerado o melhor filme e em 2001 foi escolhido Mulholland Drive, de David Lynch.

Cumprimentos cinéfilos,
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NOTÍCIAS

- American Film Institute (AFI) elege os seus 10 mais do ano 2003



O American Film Institute, que todos os anos entrega o seu prestigiado Prémio de Carreira, também entrou na tradição de destacar os seus melhores filmes do ano.

Os prémios do AMI, que começaram em 2000, são escolhidos por um júri de 13 pessoas, que inclui críticos, estagiários do AFI, professores universitários, actores, argumentistas, realizadores e outros membros da indústria. Os prémios querem distinguir novos valores e realçar a qualidade cinematográfica, tentando "mostrar o que consideramos excelência em cinema em 2003", de acordo com Jean Firstenberg, directora do organismo.

Ainda de acordo com Jean Firstenberg, o organismo não ordena as suas escolhas por ordem de importância, pois o que se pretende celebrar é a "colaboração artística à frente e por detrás das câmaras que tornaram estas histórias possíveis".

Eis os 10 títulos seleccionados pelos membros desta instituição para 2003, por ordem alfabética:

* American Splendor, de Shari Springer Berman e Robert Pulcini

* Finding Nemo/"À Procura de Nemo", de Andrew Stanton e Lee Unkrich

* The Human Stain/"Culpa Humana", de Robert Benton

* Lost in Translation, de Sofia Coppola

* Master and Commander/"Master and Commander - O Lado Longínquo do Mundo", de Peter Weir

* Mystic River, de Clint Eastwood

* Monster, de Patty Jenkins

* In America/"Na América", de Jim Sheridan

* The Lord of the Rings - The Return of the King/"O Senhor dos Anéis - O Regesso do Rei", de Peter Jackson

* The Last Samurai/"O Último Samurai", de Edward Zwick

Curiosamente, filmes como Cold Mountain, de Anthony Minghella, Seabiscuit/"Nascido para Ganhar", de Gary Ross, Big Fish, de Tim Burton, e House of Sand and Fog, de Vadim Perelman, considerados favoritos para os vários prémios da temporada, ficaram de fora.

Os prémios serão anunciados a 22 de Janeiro.

Fonte: Cinema2000

Cumprimentos cinéfilos,
Tiago Teixeira.

NOTÍCIAS

- Robert Altman faz incursão no universo do ballet



The Company tem estreia prevista para Dezembro nos EUA e ainda não há previsão de lançamento para Portugal. O veterano realizador, autor de vários clássicos, ao que parece dá continuidade às suas incursões realistas num universo específico, como as relacionadas ao mundo do cinema (The Player) e da moda (Prét-a-Porter).

Em cooperação com o Joffrey Ballet de Chicago, Altman segue as vidas pessoais e profissionais dos bailarinos da companhia. Neve Campbell (Scream/"Gritos"), que escreveu o argumento, é o principal nome do elenco, interpretando uma talentosa mas conflituosa bailarina em ascensão.

Malcom McDowell é o co-fundador e director artístico da companhia, considerado um dos melhores coreógrafos do país. James Franco faz o namorado de Campbell e um dos poucos personagens que não pertence ao mundo do ballet. O próximo projecto de Robert Altman, The Paint, deve seguir na mesma linha – ao abordar o universo artístico de Nova Iorque – e terá Selma Hayek no papel principal.

- Nicole Kidman actua em épico sobre a Guerra Civil norte-americana


Imagem do filme Cold Mountain, com Jude Law e Nicole Kidman nos principais papéis

Realizado por Anthony Minghella (de The English Patient/“O Paciente Inglês” e The Talented Mr. Ripley/ “O Talentoso Mr. Ripley”), Cold Mountainretoma uma temática semelhante a de "O Paciente Inglês". Trata-se de um épico intimista e romântico, tendo a Guerra Civil norte-americana como pano de fundo, que narra a viagem de regresso a casa do soldado Inman (Jude Law) que busca resgatar Ada (Nicole Kidman), a mulher que ele deixou para trás ao ir para a guerra. O elenco inclui Renée Zellweger.

Cold Mountain teve cenas filmadas na Roménia e a música é de Gabriel Yared. O filme estreia nos EUA no final de Dezembro e tem data de estreia prevista para Portugal a 13 de Fevereiro.

- Novo filme de Woody Allen estreia em Janeiro



Anything Else, filme que abriu a última edição do Festival de Veneza, estreia em Portugal em Janeiro. Uma comédia romântica situada em Nova Iorque, o filme aborda a relação entre um homem de meia-idade (Allen) e uma jovem, protagonizada por Christina Ricci. O elenco conta ainda com Jason Biggs (de American Pie) e Danny De Vito. O realizador retoma o seu universo habitual de personagens neuróticos a circularem por Manhattan. O último trabalho do realizador foi Hollywood Ending, lançado em 2002.

Fonte: Site 7arte.net

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NOTÍCIAS

- Sean Penn e Nicole Kidman juntos em The Interpreter





Sean Penn (Mystic River) vai participar ao lado de Nicole Kidman The Human Stain) em The Interpreter, um filme de Sydney Pollack para a Working Title e Universal.

Nicole Kidman irá assumir o papel de uma intérprete da ONU que após ouvir aquilo que é um plano de assassinato de um líder africano torna-se um alvo a abater.
Será ela e um agente do FBI (Sean Penn) que tentarão travar o crime e defenderem-se das ameaças mortais dos assassinos. Com o argumento de Charles Randolph (The Life of David Gale/"Inocente ou Culpado" (2003)) , o filme começa as filmagens no próximo Outono.

- Jerry Seinfeld prepara filme sobre o mundo das abelhas



Jerry Seinfeld, mais conhecido pela famosa série da NBC com o seu nome, vai escrever, produzir e participar numa comédia para a DreamWorks.

O filme, animado, chama-se Bee Movie e desenrola-se num fantástico mundo das abelhas. Seinfeld mostra-se muito esperançado em que o projecto seja uma sucesso e conta com o apoio inequívoco de Jeffrey Katzenberg e Steven Spielberg.

- Nebraska- O Próximo Projecto de Alexander Payne



Alexander Payne, o realizador de About Schmidt, irá realizar Nebraska, um produção de baixo orçamento (10 milhões de dólares) que será filmada a preto e branco.

No filme, um alcoólico envelhecido obriga o seu filho a levá-lo de Montana até ao Nebraska, para que possa resgatar um bilhete premiado. Relutantemente o filho aceita mas, suspeita que o bilhete premiado seja apenas uma carta-tipo enviada a milhares de pessoas. Bob Nelson escreveu o guião.

- Tobey Maguire a caminho de Electroboy



A produtora de Tobey Maguire - Maguire Entertainment - juntou-se à Endgame Entertainment e à Raw Entertainment para adaptar para o cinema Electroboy, uma obra de Andy Behrman.

Este filme contará as peripécias de um maníaco-depressivo que ganha a vida a forjar obras de arte. As suas escapadas sexuais, problemas com as drogas e terapia baseada em choques eléctricos são outros assuntos abordados da vida deste homem.

Matthew Chapman (Runaway Jury) escreveu o guião e o próprio Tobey Maguire deverá interpretar o principal papel.

(Fonte: Site c7nema.net)

Cumprimentos cinéfilos,
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BOX-OFFICE AMERICANO

[Lugar; Título do filme; Total de dólares desde a estreia]

1 Last Samurai, The (2003) 24.4m
2. Honey (2003) 14.0m
3. Haunted Mansion, The (2003) 46.1m
4. Elf (2003) 139.0m
5. Cat in the Hat, The (2003) 85.5m
6. Bad Santa (2003) 27.2m
7. Gothika (2003) 49.6m
8. Missing, The (2003/I) 22.1m
9. Master and Commander: The Far Side of the World (2003) 72.6m
10. Love Actually (2003) 48.9m

(Fonte: IMDB)

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NOTÍCIAS

- "Adeus Lenine!" triunfa nos Prémios do Cinema Europeu




Estatueta da Academia de Cinema Europeu

"Adeus Lenine!" foi o mais distinguido na edição deste ano do festival que distingue a produção europeia de cada ano. Lars von Trier teve de contentar-se apenas com o prémio pela realização de «Dogville».

A celebração do Cinema Europeu decorreu este sábado, 7 de Dezembro, como já é habitual, em Berlim. Esta é uma iniciativa da Academia Europeia de Cinema destinada a escolher os melhores da produção europeia do ano anterior, atribuindo também um prémio ao melhor filme estrangeiro lançado nos écrans da Europa. O público europeu tem também a oportunidade de dar os seus prémios.


Imagem do filme "Adeus Lenine!", o grande vencedor da cerimónia de entrega anual dos prémios da Academia de Cinema Europeu


Daniel Brühl

O filme "Adeus Lenine!", de Wolfgang Becker, recebeu o prémio de Melhor Filme Europeu 2003 na 16.ª Gala do Cinema Europeu em Berlim, que premiou ainda Daniel Brühl, o seu protagonista, como Melhor Actor, e o respectivo argumento de Bernd Lichtenberg. Good Bye Lenin conta a história de um filho que faz coisas inacreditáveis para restaurar a saúde da mãe quando esta desperta de coma, mantendo-a na ilusão de que o Muro de Berlim continuava em pé e que Lenine tinha ganho a batalha contra o capitalismo. O filme alemão estreou em Setembro nas salas portuguesas, onde ainda se encontra em exibição com bastante sucesso.


Lars Von Trier

Lars von Trier, que em 2000, ganhou o prémio principal com "Dancer in the Dark", foi considerado este ano o Melhor Realizador Europeu por "Dogville".


Charlotte Rampling

Charlotte Rampling foi a Melhor Actriz Europeia graças a "Swimming Pool".


Imagem do filme "As Invasões Bárbaras"

O Melhor Filme Não-Europeu foi "As Invasões Bárbaras", de Denys Arcand (Canadá), que estreou esta sexta-feira em Portugal. Os outros nomeados nesta categoria eram 21 Grams (de Alejandro González Iñárritu), Spring, Summer, Fall, Winter... and Spring/"Bom, Yeoreum, Gaeul, Gyeowool, Geurigo Bom" (de Kim Ki-Duk), "À Procura de Nemo" (de Andrew Stanton e Lee Unkrich), "Kill Bill - A Vingança" (de Quentin Tarantino), Lost in Translation (de Sofia Coppola), "Mystic River" (de Clint Eastwood) e Zatoichi (de Takeshi Kitano).

Os restantes prémios atribuídos pela Academia do Cinema Europeu foram os seguintes:

* Melhor Director de Fotografia - Anthony Dod Mantle ("28 Dias Depois" e "Dogville");


Claude Chabrol

* Homenagem a uma figura europeia pelo conjunto da sua carreira - Claude Chabrol (França);


Carlo di Palma

* Contribuição para o cinema mundial por um europeu - Carlo di Palma (Itália);

* Descoberta Europeia 2003/Prémio Fassbinder - Vozvraschenie , de Andrei Zvyagintsev (Rússia);

* Prémio da Crítica 2003/Prémio Fipresci - Buongiorno, Notte, de Marco Bellocchio (Itália);

* Grande Prémio do Documentário Europeu 2003/Prémio Arte - S21, La Machine de Mort Khmere Rouge, de Rithy Panh (França);

* Curta-Metragem Europeia 2003/Prémio UIP: (A) Torzija, de Stefan Arsenijevic (Eslovénia);


Katrin Sass

Os Prémios do Público 2003, votados por espectadores de toda a Europa, foram todos atribuídos a "Adeus Lenine!". Assim, Wolfgang Becker foi eleito o Melhor Realizador Europeu, Katrin Sass e Daniel Brühl, respectivamente mãe e filho nesse filme, receberam as honras de Melhor Actriz e Melhor Actor.

Curiosidades:

-The creation of the European Film Academy was the initiative of a group of filmmakers brought together on the occasion of the first European Film Awards ceremony held in Berlin, Germany, in November 1988. Initially founded under the name of European Cinema Society by its first president Ingmar Bergman and 40

-European filmmakers, its objective is to promote the interests of the European film industry. In 1991 it was renamed the European Film Academy.
In an attempt to bring new life to the event the European Film Academy relaunched the European Film Awards in 1997 and introduced a new statuette which still remains unnamed. The trophy was named Felix after the statuette presented from 1988 to 1996.


Vencedores de anos anteriores:


-2002: Hable con ella
-2001: Fabuleux destin d'Amélie Poulain, Le
-2000: Dancer in the Dark
-1999: Todo sobre mi madre
-1998: Vita è bella, La
-1997: Full Monty, The
-1996: Breaking the Waves
-1995: Land and Freedom
-1994: Lamerica
-1993: Urga
-1992: Ladro di bambini, Il
-1991: Riff-Raff
-1990: Porte aperte
-1989: Topio stin omichli
-1988: Krótki film o zabijaniu


(Fonte: Cinema2000 e site www.europeanfilmacademy.org)

Cumprimentos cinéfilos,
Tiago Teixeira.

NOTÍCIAS

- Retrospectiva José César Monteiro



No dia 12 de Dezembro a Atalanta Filmes/Madragoa Filmes vão dar início a uma retrospectiva integral das longas-metragens do cineasta português João César Monteiro. Durante três semanas, no Cinema King, em Lisboa, voltarão a ser exibidos os filmes: "Veredas", "Silvestre", "À Flor do Mar", "Recordações da Casa Amarela", "O Último Mergulho", "A Comédia de Deus", "Le Bassin de J.W.", "As Bodas de Deus", "Branca de Neve" e "Vai e Vem" . Esta retrospectiva será depois apresentada no resto do país.

Simultaneamente, será lançada em DVD a obra completa do cineasta. São onze DVD com as longas, curtas-metragens, alguns filmes inéditos e um conjunto de entrevistas e material que enquadram a obra de um dos maiores realizadores portugueses.


João César Monteiro nasceu numa família de classe média anticlerical e anti-salazarista em Figueira da Foz, uma estação balneária do centro de Portugal, em 1939.

"Recordações da Casa Amarela" (1989), venceu o Leão de Prata no Festival de Veneza. O filme foi o primeiro com o personagem João de Deus (nome popular do Papa João Paulo II), alter-ego interpretado pelo próprio cineasta, um ser miserável, escatológico e obcecado pelo sexo feminino. O personagem reapareceria mais tarde em Passeio com Johnny Guitar (1995), A Comédia de Deus (1995, 19ª Mostra) e As Bodas de Deus (1998, apresentado na 23ª Mostra).

Em "Branca de Neve" (2000, exibido na 24ª Mostra) , Monteiro dispensou as imagens e, com a tela toda preta, fez o filme apenas com as vozes dos atores. "Vai e Vem" , seu último filme, foi terminado poucas semanas antes de morrer de cancro, em Fevereiro.

O filme apresenta todas as obsessões do diretor: igreja, governo, políticos, executivos de cinema, americanos. Sai João de Deus e aparece João Vuvu, velho pedófilo apegado a rituais sexuais nada convencionais. Na obra, Monteiro filmou a si mesmo em estado terminal. A 27ª Mostra apresenta a Retrospectiva João César Monteiro com cópias restauradas por seu produtor, Paulo Branco.

Filmes da retrospectiva

"A Comédia de Deus" (1995)

João de Deus tem uma vida bastante comum. Sua rotina se divide entre o trabalho na sorveteria "Paraíso do Gelado" e a casa onde, nos momentos de solidão, dedica-se a colecionar pêlos pubianos femininos num álbum chamado por ele de ¿O Livro dos Pensamentos¿.

"À Flor do Mar"

Um ano depois da morte do marido, Laura Rosselini retorna a sua casa à beira-mar com os filhos e os tios. Enquanto a família faz um passeio de barca, Laura permanece sozinha e escuta no rádio a notícia do assassinato de um líder palestino. O crime aconteceu pela manhã em um pequeno hotel não muito distante dali. Na praia deserta, Laura encontra um ferido que nega qualquer relação com o fato, e decide ajudar-lhe. Enquanto isso as notícias continuam circulando em busca do assassino. Outros elementos se juntam à trama; um misterioso veleiro, um assalto por um grupo armado, explosão e fogo.

"As Bodas de Deus" (1999)

Num parque gelado, um mensageiro de Deus dá uma maleta cheia de dinheiro para o vagabundo João de Deus. Ao contar as notas, escuta um corpo se jogando nas águas do lago. É a jovem Joana se afogando. Ele a salva e a leva para um convento. Assim começam as aventuras de João de Deus.

"Branca de Neve" (2000)

Talvez o mais polêmico filme do cineasta. Ouve-se apenas as vozes dos atores interpretando o poema do escritor suíço Robert Walser, uma versão moderna de Branca de Neve: não há imagens do enredo, a tela fica escura.

"A Bacia de John Wayne" (1997)

Dois atores que atuam na peça Inferno, do dramaturgo sueco August Strindberg, como Deus e Lúcifer, acabam competindo na vida real também.

"O Último Mergulho" (1992)

É noite e a avenida junto ao rio está deserta. O adolescente Samuel contempla o Tejo que corre aos seus pés e planeja o suicídio. O senhor Eloi, um velho marinheiro, aproxima-se para tentar saber as suas intenções. Samuel convida-o a acompanhá-lo no seu último mergulho no rio. Eloi o impede de se atirar à água e convida-o a dar uma volta pela cidade.

"Passeio com Johnny Guitar" (1995)

João de Deus volta para casa, não se sabe de onde. Ele tem uma ferida na cabeça. Na cidade que amanhece, dizem que o senhor Monteiro, alter-ego de João de Deus, passeia de tempos em tempos com Nicholas Ray, o diretor do filme.

"Quem Espera por Sapatos de Defunto Morre Descalço" (1971)

O segundo filme de César Monteiro é sobre o cinema: jovens e inexperientes atores e a sua relação com a câmera. Fala sobre as aventuras e desventuras de um grupo de jovens intelectuais de Lisboa e das atribulações de dois amigos que, em desespero, começam a mendigar de porta em porta e acabam ganhando um pacote que tinha dentro um par de sapatos de um morto.

"Recordações da Casa Amarela" (1989)

Primeiro filme em que aparece o personagem João de Deus. Um pobre-diabo de meia-idade vive no quarto de uma pensão barata na zona velha e ribeirinha da cidade. Atormentado pela doença e por várias vicissitudes, o idiota, que se alimenta de Schubert e de uma vaga cinefilia como forma de resistência à miséria, é posto no olho da rua após tentativa sexual frustrada com a filha da dona da pensão.

"Silvestre" (1981)

A história do filme é tirada de dois romances portugueses tradicionais: A Donzela Que Vai À Guerra, de origem judaica peninsular, e A Mão do Finado, transmitida por tradição oral e que faz parte do ciclo do Barba Azul.

"Vai e Vem" (2002)

Finalizado pouco antes da morte do diretor, Vai e Vem mostra o cotidiano de João Vuvu, um viúvo que vive sozinho e tem como único familiar o filho que está preso por múltiplos crimes. Sua rotina se baseia nas viagens que faz na linha do ônibus 100, em Lisboa.

(Fonte: Site cinema.terra.com.br e 7arte.net)

Cumprimentos cinéfilos,
Tiago Teixeira.

NOTÍCIAS

- Continuação de Dogville já tem nova protagonista


Realizador Ron Howard e sua filha Bryce

Após a desistência de Nicole Kidman em continuar a interpretar Grace, a personagem por si encarnada em Dogville, o realizador Lars von Trier já terá escolhido uma nova protagonista para a segunda parte da sua trilogia americana.

De acordo com informações do Hollywood Reporter, o realizador Lars von Trier escolheu Bryce Dallas Howard, cujo primeiro filme em cinema é The Woods, realizado por M. Night Shyamalan e ainda por estrear nas salas norte-americanas.
Howard é a filha mais velha do realizador Ron Howard ("Apollo 13", "Uma Mente Brilhante" ). De acordo com as últimas informações, a actriz está nas negociações finais para protagonizarManderley, que abordará a escravatura no sul dos EUA, sendo o segundo filme da prevista trilogia do realizador dinamarquês cuja acção decorre nas cidades do interior dos Estados Unidos, mas recriadas na Dinamarca. As filmagens estão previstas para começar em Março de 2004 e espera-se que seja encenado através de uma técnica de filmagem (câmara à mão, em estúdio) idêntica à de Dogville.

Na edição deste ano do Festival de Cannes, von Trier chegou a oferecer a Nicole Kidman o papel, na conferência de imprensa que se seguiu à exibição de Dogville. Embora tenha aceite inicialmente, dois meses mais tarde a actriz foi obrigada a retirar-se por conflitos de agenda ,pelo que a trilogia de Lars Von Trier terá três protagonistas diferentes, todas interpretando a mesma personagem (Grace).

- Mystic River é o melhor filme de 2003 segundo o National Board of Review


Imagem da última grande obra de arte de Clint Eastwood

Como é habitual, a National Board of Review é a primeira associação norte-americana a anunciar a sua lista de melhores filmes do ano.

Mystic River foi considerado o filme do ano pela National Board of Review, organismo independente americano que congrega um conjunto de argumentistas, estudantes e técnicos de cinema, educadores e historiadores a nível nacional. São os primeiros prémios da temporada, que culminará com os Oscars no final de Fevereiro do próximo ano. Em anos anteriores, foram distinguidos "Beleza Americana", "Moulin Rouge" e "As Horas" .

Sean Penn foi considerado o melhor actor, pela sua interpretação no filme de Clint Eastwood e em 21 Grams, de Alejandro González Iñarritu (estreia a 30 de Janeiro de 2004). Algo surpreendentemente, a veterana Diane Keaton, cuja inesquecível interpretação em Annie Hall foi premiada com um Oscar em 1978, foi considerada a melhor actriz, na comédia Something´s Gotta Give, realizado por Nancy Meyers ("O Que as Mulheres Querem") e que a reúne com Jack Nicholson, ainda por estrear nas salas norte-americanas.

Alec Baldwin foi considerado o melhor actor secundário por The Cooler, um filme independente que se destacou no Festival de Sundance. Patricia Clarkson, que vimos em Dogville e surpreendentemente não foi nomeada como actriz secundária por "Longe do Paraíso", foi novamente distinguida este ano nessa categoria pelas suas interpretações em Pieces of April e The Station Agent (estreia a 9 de Janeiro).

Edward Zwick ("Tempo de Glória") ultrapassou Clint Eastwood e ganhou o prémio de melhor realização por "O Último Samurai" (estreia a 9 de Janeiro). "As Invasões Bárbaras", uma continuação de "O Declínio do Império Americano" que estreia esta sexta-feira nas salas portuguesas, foi considerado o melhor filme estrangeiro.

Paul Giamatti (American Splendor) e Charlize Theron (Monster) receberam os prémios Revelação em interpretação. Um prémio especial foi entregue ao elenco de "O Senhor dos Anéis - O Regresso do Rei" . Vadim Perelman recebeu o prémio de melhor estreia em Realização, por House of Sand and Fog (estreia em Portugal a 30 de Janeiro) e Sofia Coppola um prémio especial por ter escrito, realizado e produzido Lost in Translation (que estreia a 23 de Janeiro).

Na categoria de argumentos, o original foi entregue a Jim, Naomi and Kirsten Sheridan por In America (estreia a 2 de Janeiro), um projecto que perseguia o realizador de "Em Nome do Pai" há mais de uma década, enquanto o argumento adaptado foi para o realizador-argumentista Anthony Minghella por Cold Mountain. Minghella viu o seu trabalho distinguido pelo Oscar como argumentista pela última vez em "O Paciente Inglês" e nomeado por "O Talentoso Mr. Ripley" .

"À Procura de Nemo" , que estreia esta sexta-feira nas nossas salas, foi considerado o melhor filme de animação. A mini-série para cabo Angels In America foi também considerada a melhor na área de televisão.

De acordo com o National Board of Review, os 10 filmes seguintes são os melhores de 2003:


1.º- Mystic River
2.º- The Last Samurai
3.º- The Station Agent
4.º- 21 Grams
5.º- House of Sand and Fog
6.º- Lost in Translation (estreia a 23 de Janeiro)
7.º- Cold Mountain
8.º- In America
9.º- Nascido Para Ganhar
10.- Master and Commander - O Lado Longínquo do Mundo



TRIVIA

Biggest Award Winners: Films

The Bridge on the River Kwai 4

A Man for All Seasons 4

Mississippi Burning 4

A Passage to India 4
All the President’s Men 3
Cabaret 3
The Conversation 3
Empire of the Sun 3
Howards End 3
Magnolia* 3
The Nun’s Story 3
Reds 3
Sense and Sensibility 3
The Silence of the Lambs 3
Terms of Endearment* 3
The Turning Point 3

* Did not win Best Picture

Biggest Award Winners: Stars

Jack Nicholson 5
Ingrid Bergman 4
Ralph Richardson 4
Humphrey Bogart 3
James Cagney 3
Bing Crosby 3
Henry Fonda 3
Greta Garbo 3
Greer Garson 3
Gene Hackman 3
Laurence Olivier 3
Ginger Rogers 3

Biggest Award Winners: Directors

David Lean 4
Ingmar Bergman 2
John Huston* 2
Akira Kurosawa 2
John Schlesinger 2
William Wyler 2
Fred Zinnemann 2

(Fonte: Cinema2000 e Site goldderby.com)

Cumprimentos cinéfilos,
Tiago Teixeira.

NOTÍCIAS

- Jackson Says Tolkien's Son Is Barring 'Rings' Museum



Director Peter Jackson said today (Tuesday) that he has been blocked by Christopher Tolkien, son of the late Lord of the Rings author J.R.R. Tolkien, from building a museum in New Zealand that would display the thousands of costumes, props, and sets used in the movie trilogy. Jackson told The Australian newspaper that New Line studios, which produced the film, "don't have the legal authority to allow [the museum] to happen. That's kept by the Tolkien estate, and so the Tolkien estate so far have refused." Christopher Tolkien has made seemingly contradictory comments about the Rings films in the past, issuing a statement two years ago saying that his father's work "is peculiarly unsuitable to transformation into visual dramatic form," but adding: "The suggestions that have been made that I 'disapprove' of the films, even to the extent of thinking ill of those with whom I may differ, are wholly without foundation."

Fonte: IMDB

- Mel Gibson Delays Vatican Screening of Jesus Film




VATICAN CITY (Reuters) - Bishops and cardinals waiting for a special Vatican (news - web sites) screening of a controversial Mel Gibson (news) film about Jesus Christ are going to have to wait a little longer, the Hollywood star has told them.

The select audience were hoping to have a private screening of "The Passion of Christ" on Tuesday evening as part of a convention on spirituality in film.

But Gibson's Icon Production company told organizers in an email on Monday night that the actor-director was still working on the final version and asked them to wait because "the film is only weeks away from being finished."

The movie, which covers the final 12 hours in the life of Jesus Christ, has come under fire from some Jewish groups who claim its story could foment anti-Semitism because it portrays Jewish authorities as largely responsible for Christ's death.

But Catholic and other Christian groups, as well as biblical scholars, have defended the film, saying it sticks closely to accounts of the crucifixion as told in the New Testament.

Organizers of the religious film festival said that Gibson's company had promised a private screening for Vatican officials and religious experts before it is due to open in the United States on February 25 of next year.

Fonte: Reuters

Cumprimentos cinéfilos,
Tiago Teixeira.