Friday, December 28, 2007
"I'm not you're f****** mommy" or Am I? Dissecting the Mother-Child Dynamic in "Dark Water" and "The Ring" Series.
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Thursday, September 06, 2007
Revisiting the Past: Societal No-Nos to Cinematic Yes- Lessons Learned from "Legends of the Fall" and "Indochine"
I recently watched "Legends of the Fall" the other day and I found myself dropping a tear as Brad Pitt dramatically screams "no" as he watches young, idealist Henry Thomas plummeted with bullets from a primitive machine gun. The scene itself is minimally moving to me, but it is always the music that triggers those water ducts. "Legends of the Fall" is a well-crafted and picturesque melodrama distributed in 1994. With good looking men and replacement point love triangles, this film garnered 3 Oscar nominations (1 win for Best Cinematography). Not bad for a film that grossed double its budget ($66 million grossed domestically on a $30 million budget according to imdb.com). On the foreign industry front, "Indochine" was released in the States in late 1992 and was a moderate foreign success here. Playing with the classic love triangle, "Indochine" was heavily anchored by the beautiful and sweeping cinematography which even had a slight edge over Catherine Deneuve (and those stylish costume changes).
Both films have many similarities. The plot differs, but the concept of the love triangle is evident. The cinematography in both films is stunning and the music is moving throughout the course of the two films (the length of each film runs over the 2 hours and fifteen minutes mark).
What happened to the melodrama? Hollywood seems to heavily dip in genre films and then dump them once the iron gets hot for another genre. Does it not make economical sense (there are no crickets on this one)? Take a good look at the decline of melodramas and the pick-up of musicals and biopic genres and you will see the shift. Or maybe the musical/biopic genre has become the melodrama genre. All have quick swifting mood set cinematography and all, more or less have those arcing story lines that deal with a triangle dynamic. If you are dealing with a musical biopic, (you can theorize the triangle as Cash, Carter, and drugs) the viewer is always going to be bombarded with some anti-euphoric low at some point and then hit euphoria some twenty minutes later.
The melodrama is just not a la mode right now. But then again, Almodovar knows how to put a delightful spin on a genre that is endlessly critiqued in making films such as "Talk to Her" and "All About My Mother." Another reason could be that the standard "epic" melodrama is a costly one. The talent is another question too. We have yet to stumble across another Brad Pitt and not to take a shot at him but he even stated recently that his face is aging now that he is in his forties (what did you think four kids would do to you, man?). Films such as "Indochine" and "Legends of the Fall" were steered by good-looking actors-Julia Ormond and Catherine Deneuve fortressed the female roles while Brad Pitt (you can throw in Aidan Quinn and Henry Thomas if you would like) and Vincent Perez were the respected male seducers. Perhaps some optimism in bringing back the melodrama is found in the 'tweeny' romantic genre found in the sleeper hit, "The Notebook" which launched the sky rocketed the careers of Ryan Gosling and Rachel McAdams (although "Mean Girls" did give her much praise even though she was somewhat overshadowed by Lindsay Lohan). Don't worry, the genre of melodramas is not yet dead, it just needs time to resurface, preferably when audiences begin to get tired deceased (but great) musicians and sing-alongs at cineplexes.
SOCIETAL NO-NOs TO CINEMATIC YES: Examining "Legends of the Fall" and "Indochine"
1. IT'S OKAY TO SLUT YOURSELF- You're a good whore: Ormond's character was engaged to youngest son, Henry Thomas. Then went googly eyed for the rebel middle child. Somewhere in the midst of young one getting killed and oldest child becoming rich in the big city of Helena, Montana...Ormond found time to have sex with two of the three brothers, chop off her long hair, and shoot herself because she either felt 1)guilty because she slutted herself around a family of boys 2) just could not deal with the fact that she never got "the one" that she truly wanted. Nonetheless, when the love triangle comes in play, nobody is at fault. Our society which condemns this sort of promiscuity (we do not stone people like the Puritan days--but then again adulterous women in other cultures, not quite the same story) for the skank 1920s whore that she is (ok most of the film is pre 1920s), we have to sympathize with her in the movie because she is just so darn good-looking and compelled by tragic incidents...Also, who could deny the seductive 'wild bear' spirit of Brad Pitt?
Catherine Deneuve is a little miss whore who is so attractive that even her servant and the 100+ crew of Asian extras eye fuck her over the course of this 2 1/2 hours film. Her sluttiness is more strategic than Ormond's who pretty much stays on the ranch with Anthony Hopkins or up in a Helena mansion. Deneuve engages in a relationship with an older dude (but is a tease because she never gave him any) and because she lacks so much sex in that hot Vietnam weather, that she takes up a chronic nose-bleeding naval officer. Now Vincent Perez's character does not exactly possess the same 'wild bear' spirit as Pitt's character, but he's a bit of a rebel. Yelling, slapping, and challenging authority...Although rebelling is a classic trait in films, his actions especially in the beginning when he commands a fire to be set on a boat are well 1) quite irrational and 2) just firmly establishes him as a little loony. But remember, Perez is not as loony as 'wild bear' Pitt scalping Germans in the dark.
2) IF YOU'RE WILD AT HEART AND DON'T SUCCEED WITH THE HAGS, IT'S OK TO PREY ON THE YOUNG ONES:
Ormond was not old, but Pitt obviously did not want to deal with her after he deflowered her. I guess once he had her, he just lost complete interest. So what does he do after he travels god knows where...he comes back (ok so Ormond got rejected badly. Do you blame her for shacking up with Quinn afterwards?) and starts getting it on with Isabelle. Lets not forget that this is the same little twelve year old was around in the film before...When Pitt comes back from his self-realization tour, he deflowers her (she's 19 or 20) and they have children. Just goes to show, if you find yourself in a position where the older ones are not cutting it, you can always pray that the young ones grow up to be pretty looking.
Perez liked Deneuve. Deneuve became a bitch and just dumped Perez out of thin air. Perez had one of numerous tantrums and what happened. He saved Deneuve's adoptive, Asian niece...Not really. There was a shootout with officers and an escapee and---escapee was shot and killed but poor Asian girl was pinned to the floor with a dead body on top of her. Perez cleans her and Asian girl believes he's her savior. This strangely cute couple eventually have sex (deflowers her of course!) and become fugitives together...oh, and they have a baby on the way too. Not too shabby. What did we learn from this film with regards to this particular display of love...it's acceptable to pull a Woody Allen.
3) OPIUM IS THE COMMON CURE FOR-NO IT JUST MAKES YOU DEPRESSED:
Wow, a film that actually tells us that drugs will just make us--dazed and confused about the people that we have slept with...Pitt acknowledges that he is 'dead' while in the midst of sleeping with 'exotic' women and advises Ormond to marry another. Deneuve is an opium addict who has distorted visuals when she looks at her boyfriend who is---a foot away from her (she eventually breaks up with him a few minutes later). Finally some accurate insight in a film genre that never seems to strike any reality!
Both films have many similarities. The plot differs, but the concept of the love triangle is evident. The cinematography in both films is stunning and the music is moving throughout the course of the two films (the length of each film runs over the 2 hours and fifteen minutes mark).
What happened to the melodrama? Hollywood seems to heavily dip in genre films and then dump them once the iron gets hot for another genre. Does it not make economical sense (there are no crickets on this one)? Take a good look at the decline of melodramas and the pick-up of musicals and biopic genres and you will see the shift. Or maybe the musical/biopic genre has become the melodrama genre. All have quick swifting mood set cinematography and all, more or less have those arcing story lines that deal with a triangle dynamic. If you are dealing with a musical biopic, (you can theorize the triangle as Cash, Carter, and drugs) the viewer is always going to be bombarded with some anti-euphoric low at some point and then hit euphoria some twenty minutes later.
The melodrama is just not a la mode right now. But then again, Almodovar knows how to put a delightful spin on a genre that is endlessly critiqued in making films such as "Talk to Her" and "All About My Mother." Another reason could be that the standard "epic" melodrama is a costly one. The talent is another question too. We have yet to stumble across another Brad Pitt and not to take a shot at him but he even stated recently that his face is aging now that he is in his forties (what did you think four kids would do to you, man?). Films such as "Indochine" and "Legends of the Fall" were steered by good-looking actors-Julia Ormond and Catherine Deneuve fortressed the female roles while Brad Pitt (you can throw in Aidan Quinn and Henry Thomas if you would like) and Vincent Perez were the respected male seducers. Perhaps some optimism in bringing back the melodrama is found in the 'tweeny' romantic genre found in the sleeper hit, "The Notebook" which launched the sky rocketed the careers of Ryan Gosling and Rachel McAdams (although "Mean Girls" did give her much praise even though she was somewhat overshadowed by Lindsay Lohan). Don't worry, the genre of melodramas is not yet dead, it just needs time to resurface, preferably when audiences begin to get tired deceased (but great) musicians and sing-alongs at cineplexes.
SOCIETAL NO-NOs TO CINEMATIC YES: Examining "Legends of the Fall" and "Indochine"
1. IT'S OKAY TO SLUT YOURSELF- You're a good whore: Ormond's character was engaged to youngest son, Henry Thomas. Then went googly eyed for the rebel middle child. Somewhere in the midst of young one getting killed and oldest child becoming rich in the big city of Helena, Montana...Ormond found time to have sex with two of the three brothers, chop off her long hair, and shoot herself because she either felt 1)guilty because she slutted herself around a family of boys 2) just could not deal with the fact that she never got "the one" that she truly wanted. Nonetheless, when the love triangle comes in play, nobody is at fault. Our society which condemns this sort of promiscuity (we do not stone people like the Puritan days--but then again adulterous women in other cultures, not quite the same story) for the skank 1920s whore that she is (ok most of the film is pre 1920s), we have to sympathize with her in the movie because she is just so darn good-looking and compelled by tragic incidents...Also, who could deny the seductive 'wild bear' spirit of Brad Pitt?
Catherine Deneuve is a little miss whore who is so attractive that even her servant and the 100+ crew of Asian extras eye fuck her over the course of this 2 1/2 hours film. Her sluttiness is more strategic than Ormond's who pretty much stays on the ranch with Anthony Hopkins or up in a Helena mansion. Deneuve engages in a relationship with an older dude (but is a tease because she never gave him any) and because she lacks so much sex in that hot Vietnam weather, that she takes up a chronic nose-bleeding naval officer. Now Vincent Perez's character does not exactly possess the same 'wild bear' spirit as Pitt's character, but he's a bit of a rebel. Yelling, slapping, and challenging authority...Although rebelling is a classic trait in films, his actions especially in the beginning when he commands a fire to be set on a boat are well 1) quite irrational and 2) just firmly establishes him as a little loony. But remember, Perez is not as loony as 'wild bear' Pitt scalping Germans in the dark.
2) IF YOU'RE WILD AT HEART AND DON'T SUCCEED WITH THE HAGS, IT'S OK TO PREY ON THE YOUNG ONES:
Ormond was not old, but Pitt obviously did not want to deal with her after he deflowered her. I guess once he had her, he just lost complete interest. So what does he do after he travels god knows where...he comes back (ok so Ormond got rejected badly. Do you blame her for shacking up with Quinn afterwards?) and starts getting it on with Isabelle. Lets not forget that this is the same little twelve year old was around in the film before...When Pitt comes back from his self-realization tour, he deflowers her (she's 19 or 20) and they have children. Just goes to show, if you find yourself in a position where the older ones are not cutting it, you can always pray that the young ones grow up to be pretty looking.
Perez liked Deneuve. Deneuve became a bitch and just dumped Perez out of thin air. Perez had one of numerous tantrums and what happened. He saved Deneuve's adoptive, Asian niece...Not really. There was a shootout with officers and an escapee and---escapee was shot and killed but poor Asian girl was pinned to the floor with a dead body on top of her. Perez cleans her and Asian girl believes he's her savior. This strangely cute couple eventually have sex (deflowers her of course!) and become fugitives together...oh, and they have a baby on the way too. Not too shabby. What did we learn from this film with regards to this particular display of love...it's acceptable to pull a Woody Allen.
3) OPIUM IS THE COMMON CURE FOR-NO IT JUST MAKES YOU DEPRESSED:
Wow, a film that actually tells us that drugs will just make us--dazed and confused about the people that we have slept with...Pitt acknowledges that he is 'dead' while in the midst of sleeping with 'exotic' women and advises Ormond to marry another. Deneuve is an opium addict who has distorted visuals when she looks at her boyfriend who is---a foot away from her (she eventually breaks up with him a few minutes later). Finally some accurate insight in a film genre that never seems to strike any reality!
Sunday, September 02, 2007
Paths of Glory: Claiming International and Hollywood Stardom
The following article is an examination of actresses who are (or have already) under the radar of Hollywood.
This may be an obvious insight, but Hollywood loves international talent. Now, not to sound like a xenophobe-but Hollywood loves perfected accents from international talent and for those that do not, well they can go back and do films in their native language. Is it really that difficult? I mean, most great film interpretations from Americans demonstrate excellence in inhibiting foreign-American accents (tapping Meryl Streep in "Sophie's Choice" for example). We can't exactly say that Hollywood actors have done a great job in executing with precision our own accents (who could forget the horrendous southern accent of Leonardo DiCaprio in an otherwise great performance in "The Aviator").
So why is Hollywood so critical of international talent? Well...maybe because we have higher standards. Maybe because execs are trying to protect their priceless female roles for American actresses (because I mean we just have so many A-listers). This is all to reflect an extreme xenophobic side of Hollywood. But we all know this isn't true, but can we just get one fact straight..."These women got to speak good English."
We cannot possibly go over the whole list of international talent and their paths to possible acclaim and fame in Hollywood, but here are four that have demonstrated a "razzle-dazzle" splash:
1) Marion Cotillard: This actress is earning rave reviews as the tragic and prolific singer Edith Piaf in "La Mome" (French title or "La vie en rose" for American distribution. Cotillard first introduced herself to American audiences in Tim Burton's "Big Fish," where she gave definition to a soft, sentimental supporting role. In the art-house circuit, she co-starred as a seductive femme fatale in "A Very Long Engagement." Her ability to hold her own beside Aussie-forty Russell Crowe now gives her enough recognition to dive herself into the deep waters of Hollywood. Her impressive resume, touching both art-house film and big productions will surely grant her Hollywood success,-that is if she accepts the offer. Her recent negotiations with the Weinstein Company with regards to participating in the ensemble flic "Nine" will allow her to strut herself as a sultry singer and actress boxed in the body of a overly concerned wife...Possibly another Oscar nomination, that is if the Academy does not overlook her this year for "La vie en rose."
2) Eva Green: Not to stay on the "vague francaise" of international talent, but these two women seem to know how to grace the film stock. Eva Green is still a very young actress, but it seems that she is keeping her portfolio strictly Anglophone these days. After having co-starred in the steamy romper, "The Dreamers," Green has built a solid resume and has garnered much needed attention for her stunningly dazzling great looks. Although excelling as the sexy companion of Daniel Craig in "Casino Royal" (probably 20x better than Tom Cruise's French beauty, Emmannuelle Beart in "Mission Impossible"), she has just completed productions "The Golden Compass" (w/ Nicole Kidman and yet again, Craig) and the futuristic romance-thriller Franklyn with Ryan Phillippe. Most international talents either make a start in their home country and then do a couple of stints from time to time on some Hollywood productions. It appears that Green has a steady hold on her English and is hoisting in the big roles on American productions. Don't expect her to disappear from the radar anytime soon.
3) Leonor Watling: Almodovar's "Volver" demonstrated Penelope Cruz's acting abilities in Spanish, but she has yet to convince American audiences that she can penetrate successfully into Hollywood without depending solely on her beauty...Gee, I wonder why. Maybe this is the reason: Despite the numerous English features she has done, she has yet to convince us that her accent nothing short of being grotesquely distracting. But Cruz has nothing to worry about. She has a contract with L'Oreal and earned herself a Oscar nomination. But what about the seemingly unknown Almodovar muse, Leonor Watling. Possessing an otherworldly talent which is overlooked in the States, Watling has made a nice staple in her native country, Spain. In her supporting roles, she brings together a subtlety that is always remembered by the spectator (take a look at Isabel Coixet's "My Life Without Me" and as the miracle comatose patient in Almodovar's "Talk to Her"). Watling seems to enjoy the leisures of residing in Spain (she is the singer of a jazz and blues influenced group Marlango); however, with a couple films completed across the way in England, she is not only extending her English speaking resume (her mother is British, so no resemblance in any form of diction and speech to Cruz) but developing the supportive roles which will grant her the necessary pathway to international recognition. Her talent is exquisite and maybe more refined and developed than many of the actresses currently working in Hollywood and global cinemas. It is very possible that she could be one of the best to grace the screens currently; but with her shy temperament and hesitance to be in the spotlight, it is difficult to say whether she will make the decision to come out into the Hollywood production circuit. Nonetheless, she certainly has the talent to get what she wants!
4)Paz Vega: A whole lot of nudity and an author's slips through reality and fiction proved a knockout success in "Sex and Lucia." Paz Vega gained notoriety as the next Spanish "It" girl and has lived up to it exceptionally. Although met with mixed reviews, critics seemed to remark finely on the performance of Vega in "Spanglish." It's hard finding work in Hollywood for most actresses (except for maybe Nicole Kidman) but this Spanish beauty is intensifying and withdrawing from the Hollywood radar in engaging herself in Spanish projects as well as dipping herself into the American film circuit. Not only will she garner critic's praise for her portrayal of the mythic feminist Saint Teresa in "Belle du seigneur," but she has been tapped to participate in the upcoming feature, "The Six Wives of Henry Lefay" where she will be acting alongside Tim Allen, Elisha Cuthbert, and Andie MacDowell. Expect Vega to do more features in Spain but make impressive turns on English productions from time to time.
Not to restrict the list to only French and Spanish imports, but these actresses proved not only demonstrate an abundance of talent but also are projected for the most success. Don't attack me with your combative requests, but it's obvious that these four are the cream of the crop.
This may be an obvious insight, but Hollywood loves international talent. Now, not to sound like a xenophobe-but Hollywood loves perfected accents from international talent and for those that do not, well they can go back and do films in their native language. Is it really that difficult? I mean, most great film interpretations from Americans demonstrate excellence in inhibiting foreign-American accents (tapping Meryl Streep in "Sophie's Choice" for example). We can't exactly say that Hollywood actors have done a great job in executing with precision our own accents (who could forget the horrendous southern accent of Leonardo DiCaprio in an otherwise great performance in "The Aviator").
So why is Hollywood so critical of international talent? Well...maybe because we have higher standards. Maybe because execs are trying to protect their priceless female roles for American actresses (because I mean we just have so many A-listers). This is all to reflect an extreme xenophobic side of Hollywood. But we all know this isn't true, but can we just get one fact straight..."These women got to speak good English."
We cannot possibly go over the whole list of international talent and their paths to possible acclaim and fame in Hollywood, but here are four that have demonstrated a "razzle-dazzle" splash:
1) Marion Cotillard: This actress is earning rave reviews as the tragic and prolific singer Edith Piaf in "La Mome" (French title or "La vie en rose" for American distribution. Cotillard first introduced herself to American audiences in Tim Burton's "Big Fish," where she gave definition to a soft, sentimental supporting role. In the art-house circuit, she co-starred as a seductive femme fatale in "A Very Long Engagement." Her ability to hold her own beside Aussie-forty Russell Crowe now gives her enough recognition to dive herself into the deep waters of Hollywood. Her impressive resume, touching both art-house film and big productions will surely grant her Hollywood success,-that is if she accepts the offer. Her recent negotiations with the Weinstein Company with regards to participating in the ensemble flic "Nine" will allow her to strut herself as a sultry singer and actress boxed in the body of a overly concerned wife...Possibly another Oscar nomination, that is if the Academy does not overlook her this year for "La vie en rose."
2) Eva Green: Not to stay on the "vague francaise" of international talent, but these two women seem to know how to grace the film stock. Eva Green is still a very young actress, but it seems that she is keeping her portfolio strictly Anglophone these days. After having co-starred in the steamy romper, "The Dreamers," Green has built a solid resume and has garnered much needed attention for her stunningly dazzling great looks. Although excelling as the sexy companion of Daniel Craig in "Casino Royal" (probably 20x better than Tom Cruise's French beauty, Emmannuelle Beart in "Mission Impossible"), she has just completed productions "The Golden Compass" (w/ Nicole Kidman and yet again, Craig) and the futuristic romance-thriller Franklyn with Ryan Phillippe. Most international talents either make a start in their home country and then do a couple of stints from time to time on some Hollywood productions. It appears that Green has a steady hold on her English and is hoisting in the big roles on American productions. Don't expect her to disappear from the radar anytime soon.
3) Leonor Watling: Almodovar's "Volver" demonstrated Penelope Cruz's acting abilities in Spanish, but she has yet to convince American audiences that she can penetrate successfully into Hollywood without depending solely on her beauty...Gee, I wonder why. Maybe this is the reason: Despite the numerous English features she has done, she has yet to convince us that her accent nothing short of being grotesquely distracting. But Cruz has nothing to worry about. She has a contract with L'Oreal and earned herself a Oscar nomination. But what about the seemingly unknown Almodovar muse, Leonor Watling. Possessing an otherworldly talent which is overlooked in the States, Watling has made a nice staple in her native country, Spain. In her supporting roles, she brings together a subtlety that is always remembered by the spectator (take a look at Isabel Coixet's "My Life Without Me" and as the miracle comatose patient in Almodovar's "Talk to Her"). Watling seems to enjoy the leisures of residing in Spain (she is the singer of a jazz and blues influenced group Marlango); however, with a couple films completed across the way in England, she is not only extending her English speaking resume (her mother is British, so no resemblance in any form of diction and speech to Cruz) but developing the supportive roles which will grant her the necessary pathway to international recognition. Her talent is exquisite and maybe more refined and developed than many of the actresses currently working in Hollywood and global cinemas. It is very possible that she could be one of the best to grace the screens currently; but with her shy temperament and hesitance to be in the spotlight, it is difficult to say whether she will make the decision to come out into the Hollywood production circuit. Nonetheless, she certainly has the talent to get what she wants!
4)Paz Vega: A whole lot of nudity and an author's slips through reality and fiction proved a knockout success in "Sex and Lucia." Paz Vega gained notoriety as the next Spanish "It" girl and has lived up to it exceptionally. Although met with mixed reviews, critics seemed to remark finely on the performance of Vega in "Spanglish." It's hard finding work in Hollywood for most actresses (except for maybe Nicole Kidman) but this Spanish beauty is intensifying and withdrawing from the Hollywood radar in engaging herself in Spanish projects as well as dipping herself into the American film circuit. Not only will she garner critic's praise for her portrayal of the mythic feminist Saint Teresa in "Belle du seigneur," but she has been tapped to participate in the upcoming feature, "The Six Wives of Henry Lefay" where she will be acting alongside Tim Allen, Elisha Cuthbert, and Andie MacDowell. Expect Vega to do more features in Spain but make impressive turns on English productions from time to time.
Not to restrict the list to only French and Spanish imports, but these actresses proved not only demonstrate an abundance of talent but also are projected for the most success. Don't attack me with your combative requests, but it's obvious that these four are the cream of the crop.
Marion Cotillard: Why Academy Voters Have Already Narrowed Their Best Actress Nominations to Four
CINEMA PROFILE- MARION COTILLARD: ACCEPTANCE OF A FRENCH SPOKESWOMAN AND SUPERSTAR IN HOLLYWOOD
It is time for cinephiles to wake up and realize that there will not be a second New Wave. It has been over a decade since the death of legendary screen director Francois Truffaut, and subsequently we witness Louis Malle and Jean-Luc Godard making less films then they did in the 60s.
Contemporary French cinema seems to struggle in defining themselves. It is without a doubt that American cinema dominates cineplexes worldwide; while French cineastes appear to dispute whether to emulate the American formula or to remain devoted to their cinema d'auteur roots such as Truffaut and Godard. American audiences are no strangers to French films; however, over the past decade, audiences have only flocked to see only a few. The last time a super hit French import splashed its way into the arthouse circuit was 2001's "Le destin fabuleux d'Amelie Poulain" or the American title put simply, "Amelie." Although more modestly budgeted French films have followed, most notably "Sur mes levres" (Jacques Audiard) and "De battre mon coeur s'est arrete" (also by French extraordinaire Audiard) gathered critical praise here in the States, audiences have yet to praise these films as much as those of la Nouvelle Vague. What the film industry and the New French Cinema has created for the audiences is a new breeding ground for the makings of the new "international star."
Perhaps in an attempt to follow American film trends which have led to subsequent box office successes, French cinephiles eagerly anticipated the February opening of La vie en rose. The film appears to follow in the same vane as preceding American biopic films (look more recently "Ray" & "Walk the Line"); a tasteful soundtrack and an impeccable and unforgettable performance by Marion Cotillard. This enough would solidify her as a unimaginable international star. Her path to fame, on the other hand, will differ from another French actress, Amelie's dud Audrey Tautou who made her Hollywood stamp in the overnight arthouse knockout; then followed up in the most controversial film since The Passion of Christ when she co-starred alongside Hollywood go-to A-lister, Tom Hanks. Cotillard's unconventional career path has allowed her to make small strides, taking supporting roles in American productions as well as slowly introducing herself to American audiences in more mainstream French cinema, most notably "Big Fish" (playing Billy Crudup's pregnant wife) "A Good Year" (Russell Crowe's spicy French love interest) and as the sexy, but deadly Italian taking vengeance over those responsible for the death of her lover in Jean-Pierre Jeunet's follow-up to "Amelie", "A Very Long Engagement." (Un long dimanche fiancailles)
Her carefully orchestrated resume has built a solid base with American audiences, but nowhere around the same pace as Audrey Tautou. The recent US release of "La vie en rose" (or the French title, "La Mome") has already garnered her much attention. The Academy's appreciation towards actor's who interpret the lives of real people (Capote, Cash, Charles) as well as evening news coverage would certainly put Cotillard in front of other actresses in the race!
Although most critics have all marveled at her stunning grace and interpretation of Edith Piaf, some have drawn strong opposition with regards to the film as a whole (See A.O. Scott's review in The New York Times). This should not dissuade voters as the Academy's guilt has settled for passing on preceding phenomenal portrayals by international actresses. In the age of non-existent French cinema in American theaters, there have been glimpses of the "French superstar" in the past. What may give Cotillard the largest leverage is that of Catherine Deneueve and Isabelle Adjani. Two films, "Camille Claudel" and "Indochine" showcased enormous talent from screen actresses, Deneuve and Adjani; however, similarly to Cotillard's "La vie en rose", the two films suffered in overall execution (See US reviews of "Indochine" as well as Brigitte Rollet's article on Alterity and Colonialist Mentalities in "Indochine"). On the other hand, the Academy was sympathetic in awarding the two actresses Oscar nominations ("Indochine" proved more a winner when it nabbed Best Foreign Language Film in 1993). Domestic box office can give Cotillard a strong advantage also. Adjani and Deneuve's films were not able to mustard as much as the Piaf biopic which already in a month of release has already surpassed $7 million domestically.
Another possible reason for French cinephiles to cheer about a possible nomination is Cotillard's career path and the tendency for audiences to praise talented actresses who can "play down" their accents. Examples of French actresses who were not able to translate their successes in their native country to the States include Emmanuelle Beart (Mission Impossible, as Jim Voight's husband) and Virginie Ledoyen (Leonardo DiCaprio's screen siren French girlfriend in The Beach). Whereas Juliette Binoche has enjoyed great success in both worlds and soon will young Cotillard as her English-speaking productions will prove an advantage in lending herself gained audience recognition.
Cotillard has more reasons to celebrate today because she not only is a certified international star, but maybe more of a "international American French sweetheart." Although she has yet to jump aboard any American projects, a slew of critics' awards in the near future will open nothing but enormous opportunity for this sensational actress.
And you may ask: what is her next move? She's currently in talks with the Weinstein Company in joining the ensemble cast of "Nine."
It is time for cinephiles to wake up and realize that there will not be a second New Wave. It has been over a decade since the death of legendary screen director Francois Truffaut, and subsequently we witness Louis Malle and Jean-Luc Godard making less films then they did in the 60s.
Contemporary French cinema seems to struggle in defining themselves. It is without a doubt that American cinema dominates cineplexes worldwide; while French cineastes appear to dispute whether to emulate the American formula or to remain devoted to their cinema d'auteur roots such as Truffaut and Godard. American audiences are no strangers to French films; however, over the past decade, audiences have only flocked to see only a few. The last time a super hit French import splashed its way into the arthouse circuit was 2001's "Le destin fabuleux d'Amelie Poulain" or the American title put simply, "Amelie." Although more modestly budgeted French films have followed, most notably "Sur mes levres" (Jacques Audiard) and "De battre mon coeur s'est arrete" (also by French extraordinaire Audiard) gathered critical praise here in the States, audiences have yet to praise these films as much as those of la Nouvelle Vague. What the film industry and the New French Cinema has created for the audiences is a new breeding ground for the makings of the new "international star."
Perhaps in an attempt to follow American film trends which have led to subsequent box office successes, French cinephiles eagerly anticipated the February opening of La vie en rose. The film appears to follow in the same vane as preceding American biopic films (look more recently "Ray" & "Walk the Line"); a tasteful soundtrack and an impeccable and unforgettable performance by Marion Cotillard. This enough would solidify her as a unimaginable international star. Her path to fame, on the other hand, will differ from another French actress, Amelie's dud Audrey Tautou who made her Hollywood stamp in the overnight arthouse knockout; then followed up in the most controversial film since The Passion of Christ when she co-starred alongside Hollywood go-to A-lister, Tom Hanks. Cotillard's unconventional career path has allowed her to make small strides, taking supporting roles in American productions as well as slowly introducing herself to American audiences in more mainstream French cinema, most notably "Big Fish" (playing Billy Crudup's pregnant wife) "A Good Year" (Russell Crowe's spicy French love interest) and as the sexy, but deadly Italian taking vengeance over those responsible for the death of her lover in Jean-Pierre Jeunet's follow-up to "Amelie", "A Very Long Engagement." (Un long dimanche fiancailles)
Her carefully orchestrated resume has built a solid base with American audiences, but nowhere around the same pace as Audrey Tautou. The recent US release of "La vie en rose" (or the French title, "La Mome") has already garnered her much attention. The Academy's appreciation towards actor's who interpret the lives of real people (Capote, Cash, Charles) as well as evening news coverage would certainly put Cotillard in front of other actresses in the race!
Although most critics have all marveled at her stunning grace and interpretation of Edith Piaf, some have drawn strong opposition with regards to the film as a whole (See A.O. Scott's review in The New York Times). This should not dissuade voters as the Academy's guilt has settled for passing on preceding phenomenal portrayals by international actresses. In the age of non-existent French cinema in American theaters, there have been glimpses of the "French superstar" in the past. What may give Cotillard the largest leverage is that of Catherine Deneueve and Isabelle Adjani. Two films, "Camille Claudel" and "Indochine" showcased enormous talent from screen actresses, Deneuve and Adjani; however, similarly to Cotillard's "La vie en rose", the two films suffered in overall execution (See US reviews of "Indochine" as well as Brigitte Rollet's article on Alterity and Colonialist Mentalities in "Indochine"). On the other hand, the Academy was sympathetic in awarding the two actresses Oscar nominations ("Indochine" proved more a winner when it nabbed Best Foreign Language Film in 1993). Domestic box office can give Cotillard a strong advantage also. Adjani and Deneuve's films were not able to mustard as much as the Piaf biopic which already in a month of release has already surpassed $7 million domestically.
Another possible reason for French cinephiles to cheer about a possible nomination is Cotillard's career path and the tendency for audiences to praise talented actresses who can "play down" their accents. Examples of French actresses who were not able to translate their successes in their native country to the States include Emmanuelle Beart (Mission Impossible, as Jim Voight's husband) and Virginie Ledoyen (Leonardo DiCaprio's screen siren French girlfriend in The Beach). Whereas Juliette Binoche has enjoyed great success in both worlds and soon will young Cotillard as her English-speaking productions will prove an advantage in lending herself gained audience recognition.
Cotillard has more reasons to celebrate today because she not only is a certified international star, but maybe more of a "international American French sweetheart." Although she has yet to jump aboard any American projects, a slew of critics' awards in the near future will open nothing but enormous opportunity for this sensational actress.
And you may ask: what is her next move? She's currently in talks with the Weinstein Company in joining the ensemble cast of "Nine."
Saturday, September 01, 2007
Premonition: Or Why You Should Go See Another Faux-Thriller Instead of This One
Premonition. A film by Mennan Yapo with Sandra Bullock & Julian McMahon opens today (August 29) in theaters throughout Paris.
Following the success of the Oscar winning ensemble film, "Crash" Sandra Bullock tries to strut her dramatic muscles in "Premonition. Unfortunately, this tale of a flat affect wife and mother piecing together the mystery of her husband's death fails in the overall film plot and lack of that chilly climax which is evident in thrillers of the same genre.
Sandra Bullock stars in the so-called thriller helmed by German director, Mennan Yapo, as a housewife who tries to trace the events preceding and aftermaths of the death of her husband Jim (Julian McMahon of Nip/Tuck). After a local police officer announces the death of her husband to Linda (Sandra Bullock), she begins to go down a long spiral of perceived hallucinations and depression.
The screenplay by Bill Kelly provides an abundance of foreshadowing and possible symbolisms that lead audience to a climax, which…well never really successfully happens. This whirlwind of a feature so deeply makes its descent into the religious supernatural genre, and although this film is not a direct remake of the Japanese film of the same translation, it is almost unfortunate in the current American trend of readapting Japanese thrillers which deal with the mother-child dynamic and thrilling climaxes (The Ring, Dark Water) which this film so sorely lacks.
Credits go to Sandra Bullock for dealing with such an optimistic, yet dismal screenplay and poor direction by Yapo. Do us a favor next time, when you start seeing things, remind us that we should stop taking our daily anti-depressants because I was under the illusion that I was hallucinating through this terrible, anti-climatic film.
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