The Crippled Corner

[crippled_avenger]

Reprizirao sam THE END OF THE AFFAIR Neil Jordana, courtesy of Ginger. Jako sam voleo ovaj film još onomad kad se pojavio pre skoro deset godina i još tada sam ga upamtio kao nešto što bih rado reprizirao. Na ovo ponovno gledanje motivisao me je Fritz Lang i MINISTRY OF FEAR koji sam nedavno gledao. To su u oba slučaja ekranizacije Grahama Greenea smeštene u London pod bombama.

Sličnosti se tu ne završavaju. Lang i Jordan su obojica veliki stilisti. U svom filmu, Lang ke kako sam već opisao demonstrirao rediteljski stil koji je apsolutno sinhronizovan sa onim kakao se film radi danas, samo sa nešto manje pozicija kamere. Jordan je sa druge strane podelio Langovu sudbinu. I Jordan je neprevaziđeni stilista koji s jedne strane prevazilčazi svoje evropske korene, međutim s druge strane ni Holivud ne zna šta da radi sa njim pošto prečesto njegov stil jede supstancu. Međutim, fascinacija Holivuda Jordanom uspeva da opstane i on se pojavljuje na najneočekivanijim mestima a uz to ni ne prestaje da radi u Evropi.

THE END OF THE AFFAIR je slučaj u kome je Jordan umešno spojio stil i supstancu. Štaviše deo stila je učinio supstancom. Jordan je koncipirao svoj film kao namerno vrlo staromodan film, gotovo blizak Langu, sa vrlo svedenim vizuelnim stilom koji samo povremeno unapređuje inovativnijom upotrebom objektiva ili slow motiona, primer za to je scena eksplozije. S druge strane, na nivou glume, pošto je kadriranje vrlo svedeno kao u starim filmovima, gluma je vrlo precizna i vrlo old school čemu svakako pomažu i mahom britanski glumci koji imaju iskustva sa takvim redirteljskim konceptom još od BBCjevog minimalizma. Konačno u samoj inscenaciji, Jordan ne ide na modernu demistifikaciju epohe, štaviše on insistira na epohi kao okviru u kome takva melodrama može da funkcionđe. Tako i scene seksa, iako steamier nego što bi Lang i pomislio, ako izuzmemo gole grudi Julianne Moore, radikalnije samo u detaljima, u tome šta junaci čine sa rukama, ali konvencija je ista.

Dakle, moglo bi se reći da u ovom filmu Jordan perverzno uživa u formi. Štaviše, formalizm utiče na to da THE END OF THE AFFAIR bude na neki način vrlo distanciran što naizgled nije dobro za melodramu, međutim ljubavna priča sa ovako oštrim melodramskim obrtima, bi potpuno izgubila svoju kontemplativnost da je još na sve to i sentimentalna. U svakom slučaju, Jordan uspeva da do maksimuma eksploatiše karakteističnu filozofsku crtu Greeneovog rukopisa, i ja mislim da bi Greena bio zadovoljan ovom adapracijom što je i važno jer je roman navodno autobiografski.

Iako se  glavni junak ne zove Graham, on vodi svoju ljubavnicu na film 21 DAYS i kaže kako je njime nezadovoljan a taj film pisao upravo Greene.

Slutim da možda žene u ovom filmu mogu naći i sentimentalnu vrednost, međutim meni je, kako već rekoh to odsustvo nametljivih emocija bio veliki plus, ali razumem da nekome baš to može biti mana.

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[crippled_avenger]

Pogledao sam HOPSCOTCH Ronald Neamea, courtesy of Ginger.

Ovo je hladnoratovska komedija sa Walter Matthauom u glavnoj ulozi. Sasvim je jasno da ovaj film pokušava da bude neka vrsta CHARLEY VARRICKa smeštenog u svet špijunaže, čak i Walt vozi avion u par scena, međutim, Neameov film ne dobacuje do ikonoklstičnosti i overall genijalnosti Siegelovog remek-dela.

Ipak, ono što HOPSCOTCH jeste može biti definisano kao špijunska intriga sa elementima satire koja se odvija u dosta solidnom tempu, efikasnošću nadoknađuje neuverljivost, i ima prilično veseo, anarhičan duh.

Neame nije veliki reditelj komedija, iako GAMBIT zsiata stoji kao klasik, međutim, on uspeva da iskoristi svoj izgrađeni zaat da odlično iskoristi brojne lokacije na kojima se priča odvija.

U sceanraističkom smislu, filmu nedostaje malo napetosti. Piostoji bukvalno samo jedna situacija u kojoj se stvari ne odvijaju po onome kako je glavni junak zamislio tako da film ne prestaje da biva prijatan ali postaje prilično ravan.

Imajući u vidu politički stav filma, verujem da je u svoje vreme bio znatno upečatljiviji u ideološkom smislu nego danas. U svakom slučaju, preporučujem ga onima koje appealuje makar jedan od ovih sastojaka.

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[crippled_avenger]

Out doing promotion for the Bill Maher documentary "Religulous", director Larry Charles ("Borat") tells Coming Soon that he's already shot a pilot for the currently untitled Kanye West project over on HBO.

David said that the project was similar to "Curb Your Enthusiasm" with West as a 'black Larry David' - "It's kind of improvised about the situations and stuff. It was really good, but again I think it was too hardcore for HBO...People gave it a very good response and it seems to be on the shelf right now. The management has shifted at HBO so we're waiting to see."

As for the Motley Crue biopic "The Dirt" which he was attached to, Charles admits he did a lot of work on it including a pass on the script, but it got put to the side due to the Paramount shake-up this year - "It was at MTV Films which then got swallowed by Paramount Vantage which then got swallowed by Paramount. All those people were gone that developed it."

One stipulation he had would be that it was hardcore - "My thing about that which was that I felt it had to be an NC-17 movie...I would do it if it could be done the proper way. If it's going to be sanitized then they don't need me to do it. They could find somebody else to do that."

[crippled_avenger]

Thanks to pulse pounding action involving Iraq War soldiers responsible for disarming bombs; a cast of compelling young male leads and a gritty visual style that syncs perfectly with its desert wartime setting - "The Hurt Locker" reintroduces veteran director Kathryn Bigelow to audiences as a filmmaker at the top of her game and offers the first Iraq War movie with strong box office potential. Pairing Mark Boal's (co-writer on "In the Valley of Elah") pitch-perfect script and Bigelow's expertise at crafting action and suspense, "The Hurt Locker" shows strong chances at crossover business, drawing young teens with its action and art-house moviegoers with its likely word-of-mouth, critical acclaim. "Hurt Locker" looks to be one of a handful of films exiting Toronto on a wave of enthusiastic praise and Bigelow's first major release since 2002's "K-19: The Widowmaker."


Despite its bold look, in some ways, "Hurt Locker" is a simply told tale, young soldiers, led by a new sergeant, James (Jeremy Renner), face daily risks and challenges as member of a U.S. bomb disposal team; classic war movie storytelling. But Boal, a longtime journalist and emerging scriptwriter, adds welcome complexity to these young soldiers, especially in the character of James, as young heroes in a complex war that continues to generate more controversy than patriotism. Jeremy Renner, known for roles in "28 Days Later" and "North Country," receives the best character in his acting career in James, and he gives a career-making performance. Troubled by his passion for his job and the constant stresses of his duties, Renner makes James into one of the most compelling, complex, unforgettable screen heroes in recent memory.

Reaching a terrifying climax involving the race to disarm bombs forced upon an innocent Iraqi father, "Hurt Locker" is youthful and audience friendly in all the best ways. Yet, its intelligence and great lead performances provide a good chance at crossover appeal.

[crippled_avenger]

Kathryn Bigelow hasn't made a feature film since 2002's Harrison Ford starrer K19: The Widowmaker, unless you count the "blink and you'll miss it" Mission Zero with Uma Thurman. The Hurt Locker returns her to real roots as a character-driven action director, and she gets some terrific performances out of relative unknowns Jeremy Renner and Anthony Mackie in this film about the war in Iraq.

In our interview, she discusses fictionalizing real war stories, what The Hurt Locker does that other Iraq films haven't, and the everlasting legacy of Point Break.


How did this project come together?

It really predominantly came from his account and his first hand observations. I worked on the shaping of the script with him but he wrote it. We kind of shepherded it together onto the screen.

Were these characters amalgams of people he ran across in Iraq?

Yes, composites. I mean, it's definitely fictionalized.

At what point did you read this and think "This is going to be my next movie."

Well, it was literally within days of when he came back and he told me these stories. Before he'd even started to write it. At that point I just thought it was an opportunity to be topical and relevant, and yet it's just inherently so dramatic. Given their "day at the office" so to speak is as terrifying an experience that I could think of.

What sort of military research did you do for the film?

I spent some with EOD (explosive ordnance disposal) techs at Fort Irwin, since I wasn't in Baghdad, and then I went to Kuwait and Camp Arifjan and spent time with the EOD techs there. That gave me a fair to kind of extreme understanding of what their life is like. I don't mean to simplify it, but the idea of making life and death decisions multiple times on any given day under tremendous stress... first of all, what they look for in a young tech is the ability to work under those conditions. And to be able to keep your head and keep your cool, and not to mention the aptitude and the IQ tests that precede your being invited to this really elite group.

The actors trained at Fort Irwin, Fort Hood, and in Jordan with live ordnance and EOD techs. Jeremy (Renner) was really incredibly proficient by the time we started shooting.

Did you ever strap on one of those bomb suits?

I didn't myself... it's 80 pounds and steel plated. I did lift it and was very close to it a lot. You know, it's a pretty daunting experience. It almost becomes a character in and of itself. It's a bit other-worldly.

The piece is structured in that they are kind of at two ends of the spectrum at the beginning, in term of protocol. Sanborn, the Anthony Mackie character, being more familiar with the sort of good-natured spirit of the Guy Pearce character, and then suddenly being saddled with this individual that seems very much of of a cowboy. Then we come to realize that whatever methodology one chooses, his methodology is obviously very effective. So, by the time we reach that sniper sequence in the middle of the movie, they've sort of come together in a way and found an uneasy or easy alliance, based on respect and trust and survival.

Films about the Iraq war haven't really connected with audiences yet. Why do you think that is? Are we afraid to look at ourselves?


Well, first of all, there hasn't been one. I mean they're about soldiers reintegrating into the homefront. That is somewhat unprecedented. I mean, war is inherently dramatic, look at Black Hawk Down. Also, directly referencing in-theater combat is Fahrenheit 911, and that was a hugely successful movie. So, I think that's a misconception.

The film opens with the quote "War is a Drug." Could you take that further and say guns are a drug? Violence are a drug? Undercover cops and policemen seem to face some of the same problems as the characters in this film.


You know, these are high threat professions and I think... there's a certain type of psychological profile that is adept at those kinds of occupations. It's not really for me to analyze, but I think it definitely a type of psychology, your survival depends on that psychology, and how you function under extreme pressure and extreme stress. There's a price to that kind of bravery and heroism, you pay a high price to be able to survive.

Although their are a lot of familiar faces in this film, your leads are very fresh faces. How did you find them?

Since the threat level in that environment is so extreme, providing an actor for whom an audience has a pretty limited history then the question of whether or not that person is going to survive is what contributes to that tension in the whole film. We're used to a certain kind of language. You know, it's X actor, and nothing's going to hurt him. So I think that when you realize anything is possible, then you begin to have a more accurate picture of what it might be like to be on the ground in that conflict right now.

When you're in the casting process you've got the characters pretty well defined in your head, and you begin to look for great talent. In this case, having gone to Kuwait and done some scouting there, I was in the mess hall and probably looking at about 800 faces of soldiers. There's just a quality they have that is both accessible and capable and available, and having that in my head and trying to find actors... I can't imagine better actors than these playing these roles. I think Jeremy just gives an explosive, breakout performance, as do Anthony and Brian. They have such heart and such truth in these roles.

I wanted to ask you about the lasting legacy of Point Break. I'm not sure if you saw Hot Fuzz...

Oh yeah, I loved it. I loved it.

That was so central to the plot and there's either a musical or a quote-along or...

A play. It's been everywhere, it's been in New York... it's now in San Francisco, and it was in Los Angeles. There's even a character that plays me. It's bizarre.

Does it surprise you?

I don't know if it surprises me but... it's very surreal. The permutations of once something has left your hands and enters the zeitgeist and how malleable it really is.

It has a life of its own.

Completely. I know! It's alive!

On the flipside, Strange Days and K19 didn't really connect with audiences.

I'll leave this question to the analysts, that's not for a filmmaker to answer.

[Ghoul]

THE END OF THE AFFAIR je meni omiljeni film nila džordana, tj jedina petica koju ima od mene;
inače, prosto da malo cepidlačim, "karakteističnu filozofsku crtu Greeneovog rukopisa" bih pre zamenio sa "karakterističnu religioznu crtu Greeneovog rukopisa" pošto je grin jedan od najzanimljivijih lapsed katolika za koje znam (a ti su najbolji, ako uopšte postoje neki drugi)!
a zaista je ingeniozan žanr tog filma: RELIGIOZNA MELODRAMA!

[crippled_avenger]

Nesumnjivo je da je Greene jedan od kontroverznih katolika u književnosti, međutim zar nisu religija, a naročito katolicizam prepleteni sa filozofijom, a naročito u ovom filmu u kome se pitanje Žrtve tek na kraju postavlja u religijsku ravan, kada se desi Čudo ali pre toga imamo vrlo kontemplativan tretman Žrtve koji nije isključivo religiozni već ulazi u filozofski i psihološki domen.

Štaviše, ja bih rekao da kontekst datog religioznog miljea u kome se film dešava zapravo osnovni uslov da bi melodrama ovog tipa uopšte mogla da funkcioniše. Iako film ima ishod u religioznom diskursu, moglo bi se isto tako reći da je religioznost junaka zapravo osobina likova koja omogućuje da se priča razvija na ovaj način.

Ova priča ne bi mogla da funkcioniše ni u jednom drugom miljeu osim katoličkog.

S druge strane, ono što je zastrašujuće jeste Jordanova sposbonost da filtrira priču ovakvog melodramskog intenziteta kroz stil kojim joj daje blagu distancu kako bi se mogla intelektualno percipirati. Sličan postupak imamo i kod Von Triera u BREAKING THE WAVES s tim što se on ne oslanja na stilizaciju već na dokumentarizam kao na filter kojim zatomljuje melodramsku žestinu svoje priče. I u tom filmu takođe imamo motiv ženske žrtve, samo u drugom ključu.

Dok je u THE END OF THE AFFAIR dominantnija crta ženske junakinje sposobnost da apostrofira stranu svoje ličnosti koja se opire zavođenju muškarca i prepuštanju, kako bi ljubav opstala, tako je u BREAKING THE WAVES priča sa ženom koja se podaje strancima kako bi terapeutski delovala na muža potpuno suprotna.

Bilo bi zanimljivo pogledati Jordana i Von Triera kao double bill.

[DušMan]

Lollobrigide su 400 kt.

[crippled_avenger]

Mislim da je to cena koja je sasvim podnošljiva. U tkojoj su sali?

[DušMan]

Mali klub, jebiga.
Karte će biti 500 na dan koncerta.


Ja ću imati priliku da ih overim na većem prostoru, sad u petak.

[crippled_avenger]

Imaces priliku da overis Lollobrigide? Ajme?

[crippled_avenger]

Ako nekog zanima Cripplovo predavanje o Miliusu u audio formatu, evo prilike da skinete mp3 i saslušate ga...

http://dobanevinosti.blogspot.com/2008/10/milius-audio.html

[crippled_avenger]

Da se pohvalim novom majicom koju sam danas pazario

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Pogledao sam DE LIFT Dicka Maasa, courtesy of Kunac.

Rad Dicka Maasa sam gledao ranije ali njegov verovatno i najpoznatiji film zapravo nisam ranije gledao. U principu, utisci o Dicku Maasu mi se nisu izmenili ni kada sam pogledao naslov koji je zaslužan za njegov proboj na međunarodnoj žanrovskoj sceni. I ranije, Maas mi je ostavljao utisak prilično veštog evropskog reditelja koji pokušava da simulira američki stil filmmejkinga, da radi za nijansu arhaizirane formule koje su par godina ranije izašle iz mode u Holivudu, i da pokazuje mogućnosti koje ga čine superior8m u odnosu na većinu DTV reditelja a opet nedoraslim da se zaista uključi u holivudsku produkciju.

Međutim, njegovo efikasno tretiranje najoveštalijih žanrovskih formula je meni uvek bilo simpatično i Maas se izdvajao kao jedan od najboljih imitatora holivudskog rukopisa u Evropi. Ako tome dodamo da Maas nikada nije radio neke velike showcase projekte, poput Bessonovih produkcija i sl. njegova sposobnost imitiranja Holivuda zaslužuje puno poštovanje.

U filmu DE LIFT iz 1983. godine, Maas je najbliži holivudskom dometu, naročito ako ovaj naslov smestimo u tadašnje svetske žanrovske tokove. DE LIFT se bavi high concept pričom o liftu kojije razvio ličnost i ubilačke nagone kada mu je izmutiirao čip napravljen od organskih materija što je jedan high concept koji u sebi spaja dosta Cronenbergovih opsesija sa pukom visceralnošću Cameronovog pristupa stvarima.

I zaista, ako se izuzmu holandski glumci koji nama ne znače previše, ali koji isto tako i kad nam ne znače previše uvek imaju personalnost kad ih režira Verhoeven, Maas je manje-više, na planu hardvera snimio Hollywood-ready film.

Međutim, mimo toga, maas nije pružio ništa i sasvim je jasno zašto je Verhoeven sa svojim unikatnim, pregnantnim i često iracionalnim vizijama bio zanimljiviji Holivudu od vrlo pedantnog Maasa. Iako bi po stepenu konvencionalnosti i logičnosti zapleta, postavci odnosa i tehničkoj realizaciji, čak i vrlo glavnotokovskoj libidinalnoj ekonomiji svoje priče (a ona je uvek bila specifična za holandsku kulturu i film pre svega), Maas bio prevashodni kandidat za Holivud, upravo je odabran wild one Verhoeven.

Meni, kao starom formalisti, naravno, puno znači autorova sposobnost da dostigne taj visok nivo zanata koji se gaji u Holivudu, međutim jasno je da takav pedantan imitator nema šta da traži na mestu gde već postoji masa takvih. Maasova sudbina je u tom smislu vrlo poučna za mlade evropske žanrovske filmmejkere.

Iako je pokazivao tehničku kompetenciju koja je prevazilazila mnoge njegove saremenike, mudro birao high concept po kome će snimiti film, Maas je ostao marginalna pojava evropskog žanrovskog filma čiji rad prati zaista mali broj ljubitelja.

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[crippled_avenger]

Pogledao sam THE QUILLER MEMORANDUM Michaela Richardsona.

Reč je o ekranizaciji romana Trevor Dudley Smitha, po scenariju Harolda Pintera, u režiji Michaela Andersona koji je tada bio u naponu snage. Čini mi se da je THE QUILLER MOMRANDUM jako uticao na Greengrassov BOURNE SUPREMACY, ne samo po upotrebi lokacije Berlina već i po završnici u kojoj se posle velikog fizičkog obračuna produži melodramsko razrešenje koje traje duže nego uobičajena koda.

Pinterova egzekucija Smithovog romana je sjajna. Dijalozi i situacije u kojima se razmenjuju informacije su teatralni taman na onaj način koji je vrlo pozitivno uticao na britanski film. Za razliku od špijunskih filmova tog doba u kome su dijaloške scene imale tendenciju da budu naporne i statične, Pinter i Anderson ih postavljaju u okolnosti koje osvežavaju te neizbežne iako često pogubne scene.

Suspense situacije su takođe maestralno rešene, sa odlično napisanim situacijama i Andersonovom realizacijom koja generiše suspense delimično ignorišući hitchcockov princip da gledalac zna više o junaka, ali sa dobro uspostavljenim konceptom preokreta za koji se oseća da čeka iza ugla i da samim tim junak mora da se pazi. Sama završnica je baš intenzivna.

Anderson je sasvim očigledno želeo da snimi film koji će publici pružiti nšto drugačije od onoga što su nudili filmovi o Bondu. Sličnim putem pošao je i Greengrass u svojim Bourne filmovima. U tom smislu, THE QUILLER MEMORANDUM se nameće kao jedan od najzanimljivijih špijunskih filmova šezdesetih.

Ono što je najvažniji Andersonov doprinos je činjenica da atmosfera neonacističke zavere u (tada) savremenom Berlinu i suspense funkcionišu i danas, iako je QUILLER MEMORANDUM kao uzor generalno obesmišljen brojnim epigonima.

U svakom slučaju, ovaj film i dan danas stoji kao primer respektabilnog oldtimerskog filmmakinga koji je istovremeno star i poučan i za današnje generacije.

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[Shozo Hirono]

Jel' si to gledao onu VHS kopiju Lifta na engleskom ?....ili imas prevod ?

[crippled_avenger]

Ovo je dubbovan neki VHS rip.

[crippled_avenger]

Pogledao sam minorni triler Samuela Fullera THE CRIMSON KIMONO, courtesy of Kunac.

U ovom simpatičnom noiru poprilično asimetrične strukture, tačno možemo videti po čemu je Fuller bio genre-bender. On se unutar detektivske priče smeštene u Mali Tokio, nažalost nimalo sličan onom iz Mark L. Lesterovog filma, mnogo više bavi ljubavnim trouglom između dvojice detektiva i svedokinje, odnosno pozicijom etničkih Japanaca u američkom društvu.

Detektivska intriga je gurnuta u dugi plan i junaci joj se, zajedno sa rediteljem sporadično posvećuju. Međutim, u tom smislu, CRIMSON KIMONO je upravo i zanimljiv zato što nam nudi prilku da vidimo mladog Fullera u punom melodramskom modeu, sa grandioznim motivom zabranjene ljubavi u koju su umešana i pitanja lojalnosti i rasnih odnosa.

Kad je o rasnim odnosima reč, CRIMSON KIMONO se otvoreno bavi pacifikacijom odnosa između mejnstrim bele Amerike i Japanaca koji su, kao što znamo, bili dosta šikanirani za vreme rata, setimo se Parkerovog filma na temu logora za Japance. Fuller prikazuje lojalnu japansku zajednicu čiji mladići stradaju za američku zastavu u Koreji, i pokušavaju da pomire svoje tradicije sa američkim običajima.

Naravno, jasno je da Fuller u ovoj fazi još uvek nije bio tako veliki majstor da može da svoj genre-bending dovede do nivoa istinskog kvaliteta. CRIMSON KIMONO je stoga pre zanimljiv nego istinski kvalitetan film. Međutim za ljubitelje žanra predstavlja bitnu fusnotu.

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[Shozo Hirono]

Ovo je dubbovan neki VHS rip.

To je Kunac skinuo sa cinemageddona,moj DVDRip ceka prevod .....

[Kunac]

Ovo je dubbovan neki VHS rip.

To je Kunac skinuo sa cinemageddona,moj DVDRip ceka prevod .....

Види ти њега, све зна...

[crippled_avenger]

Crippled Corner kao što je već dobro poznato služi za objavljivanje blasfemičnih stavova o Johnu Carpenteru i blaćenje njegovog dela. Čitaoci ovog topika mogu steći pogrešan utisak da imam nešto protiv njega, iako ja zapravo smatram da je divno što je neko sa tako ograničenim rediteljskim sposbnostima postigao tako veliki planetrani uspeh i kultni status, i da to stoji kao velika potvrda da SVAKO može da uspe u svetu filma.

Šalu na stranu, sada ću verovatno napisati najveću hulu o Johnu Carpenteru koju je ovaj topik ikada video. Već neko vreme osećam da sam pronašao reditelja čiji je rad u meni stvorio utiske kakve Carpenterovi fanovi pripisuju njegovim filmovima. Taj reditelj je Peter Manoogian. Do sada sam pogledao samo dva njegova filma i da parafraziram Fassbindera kada je govorio o Sirkovim filmovima, ,,neki od njih su bili najbolji na svetu".

Naravno, koliko sam ja Fass toliko je i Manoogian Sirk, no sveono što me ja zaobišlo kada sam gledao PRECINCT 13, našao sam kasnije kod Manoogiana u ENEMY TERRITORY, sav taj sirovi, nsikobudžetni saspens, urbani milje pretvoren u nepredviljivu džunglu, ljude svedene na nivo predatora, i harizmu najvećih majstora američkog B-filma koja se topi sa ekrana.

Sinoć sam pogledao Manoogianov film ARENA. I mogu reći da je reč o jednom izuzetno bezobraznom filmu koji bi se u carpenterovskim koordinatama nalazio negde u domenu ESCAPE FROM NEW YORK. ARENA je pre svega B-film sniman u Italiji krajem osamdesetih kada je ovaj produkcioni format već bio na izdisaju, i kada je holivudski SF već bio tehnološki znatno odmakao od onoga što su Charles Band i Italijani mogli da pruže.

Otud je najpre bezobrazno to što je Manoogian svoj film postavio ambicioznije od mnogih holivudskih. Film govori o svemirskoj stanici na kojoj se oganizuju broilački turniri između raznih rasa koje žeive u svemiru. Posle pedeset godina pojavljuje se čovek koji je sposoban da se bri za titulu. Ovo zvuči kao high concept za film od 200 miliona dolara.

Manoogian ga je snimio za mnogo manje ali je bio dovoljno bezobrazan da sve profunkiconiše. Pre svega, scenografija je jako zanimljiva. Umesto da se drži malog vroja skučenih ali spaceship-like prostora, Manoogian frekventno menja ambijente na svemirskoj stanici. Stepen izrade pojedinačnih ambijenata varira, ali u principu njegovi saradnici su iskusni low budget likovi koji sa malo gadgeta umeju da stvore relativno OK setting. Sa tako slobodnim kretanjem kroz brod, Manoogian uspeva da stvori uverljiviji space station setting od mnogih skupih filmova. Iako skupi filmovi sigurno imaju bolje scenografije, na kraju dana, gledalac i dalje mora da suspenduje svoju nevericu, i kada se prikazuje nešto što evidentno ne postoji, osim zanatske perfekcije i fascinacije njome, upitno je šta donosi skupa scenografija. U Manoogianovom filmu se otprilike nazire šta su te lokacije u stvarnom životu ali one kad se sve sabere, dostižu nivo retro SF filma sa Chuck Hestonom, i deluju dovoljno uverljivo.

Kad je reč o vanzemaljcima, Manoogian se ne koristi sofisticiranim rešenjima svojstvenim vremenu u kome je radio tipa Predatora. Njegovi monstrumi su krajnje rudimentarne maske koje nose ljudi, izuzev jednog zaista izuzetnog monstruma koji nije humanoidan ali je takođe fizički prisutan u prostoru. Te maske na početku deluju malo iritantno,međutim vremenom, Manoogian to razbija time što uvodi maskirane likov u neke atipične dramske ili komične situacije i pokazuje kako njegov film i junaci nemaju tradicionalni odnos prema vanzemaljcima. Pošto je film smešten u daleku budućnost, slično STAR TREKu, ne postoji odbojnost među raznim rasama i oni intenzivno komuniciraju tako da drama u scenama čini da se maska ubrzo potpuno apstrahuje. Isto tako, štos sa junakovim sidekickom koji ima četiri ruke je masterstroke starog low budget majstora.

Konačno, akcione scene predstavljaju treće ludicno rešenje. Naime, realizovane su u maniru bokserskog filma, tipa ROCKY ili RAGING BULL. Nema nekih naročitih fancy tehnika borbe, junaci se uglavnom boksuju, i udarci koji se razmenjuju su baš muški čemu pomaže i činjenica da su oba borca i čovek i vanzemaljac fizički prisutni u ringu. Bokserske borbe su dobro savladane i urađene i u prinicpu nisam ranije viđao ljude koji se boksuju sa monstrumima.

Manoogian na svim nivoima vlada kadriranjem i vođenjem priče i što je najvažnije uspeva da savlada sva produkciona ograničenja koja su nametnuta jednom tako ambicioznom konceptu. Ovaj film je star dvadesetak godina i već se sada nametnuo kao zanimljiviji od mnogih tehnički bolje realizovanih filmova svog žanra. Kako vreme bude odmicalo moslim da će samo dobijati na ceni jer će tehnička naivnost izvesnih detalja biti tumačena kao patina.

Imajući u vidu da se Manoogian sa tako malim budžetom upustio u jednu ovako high concept priču u svemiru, mogu da zamislim koliko je bio miniskulan budžet ENEMY TERRITORYja kada je sebi rekao, ,,okej, ovaj ipak moramo da radimo na zemlji, u savremeno doba."

Nažalost, Manoogian za razliku od Carpentera nikada nije stekao taj hype, i nije dobio priliku da radi skup holivudski film. Sasvim je moguće da se, kao uostalom ni Carpenter, u tome ne bi snašao. Ipak, na neki način Manoogian je kroz video distribuciju svojih filmova koju rade majori uspeo da dođe do nekakvog priznanja. Možda bi bilo zanimljivo da se Manoogian iduće godine pojavi na Grossmanu.

* * * / * * * *

[Ghoul]

Nažalost, Manoogian za razliku od Carpentera nikada nije stekao taj hype

kad bi stvar bila samo u hajpu, dovoljno bi bilo poslati nekim francuzima kazete sa manugijanovim remecima.
oni vole da u blatu američkog treša iskopavaju bisere.

a od grosmana nema vajde, oni bre nisu ni čuli za ovoga, a i da jesu: njima trebaju IMENA, zbog marketinga i sponzora.
ja intenzivno lobiram da dovedu KARPENTERA.

[DušMan]

Da se pohvalim novom majicom koju sam danas pazario

Hej, gde si je kupio?

Propalo mmi overavanje Lollorigida.  

[crippled_avenger]

@DušMan

Što se tiče majica, to valjaju neki mladići u Gospodar Jevremovoj 25. Idi na Prtijev profil na MySpaceu i tamo bi trebalo da imaš link do njih. Fora je da ih zovneš i zakažeš kupovinu jer može da se desi da ne budu u Jevremovoj 25 gde im je baza. Ako ne nađeš na Spaceu, javi, lociraću negde cifru pa ću ti je poslati na PM.

@Ghoul

Što se Manoogiana tiče, svakako da je bolje da dođe Carpenter nego on na Grossman, u to nema sumnje. No, u svakom slučaju, on je zanimljiv tip, ne znam šta ti misliš o njemu? Jesi li gledao ENEMY TERRITORY ili ARENU. Ili nešto drugo? Ja sam samo ova dva gledao...

[Ghoul]

odavno ga planiram, zaintrigiran sam, evo već sutra ću da poskidam bar ta 2 komada i odgledam čim prije, naročito mi ENEMY deluje zanimljivo, ARENA već teško da će da mi legne, al treba to ispoštovati anyway.

[Kunac]

Ако има истине у причи да је Карпентер тежак наркоман, не верујем да ће хтети да путује ван САД.

[Ghoul]

Jesi li gledao ENEMY TERRITORY ili ARENU. Ili nešto drugo? Ja sam samo ova dva gledao...

malopre sam razgovarao sa plisskenom, neprevaziđenim ezoterikom  najdubljeg dna filmskog trasha, i on mi kaže da je za potpunu i pravu sliku o manoogianovom autorskom značaju neophodno pogledati barem još Demonic Toys i Seedpeople.

možda je Demonic Toys manugijanov PRINCE OF DARKNESS, a Seedpeople – njegova (superiorna) verzija THE THINGA!

[crippled_avenger]

Ja ta dva nisam gledao. Svoj sud sam doneo na osnovu dva filma. Mislim da ti se ARENA neće previše dojmiti, ali zato očekujem da ti ENEMY legne. Ipak, mislim da ću uskoro pogledati još njegovih filmova. Naravno, sasvim je jasno da verovatno u celokupnom opusu, Manoogian ne može da parira Carpenteru pošto nikada nije dospeo do prilike da proširi svoj rediteljski diskurs. Od SEEDPEOPLE i DEMONIC TOYS ne očekujem da pariraju bilo čemu ali nadam se da će biti vrhunski predstavnici svog žanra & ambicije. Inače, TOYS je pisao uvaženi David Goyer.

[Milosh]

@avenger
Jesi li pogledao Down (a.k.a. The Shaft) od Maasa? Rimejk De Lifta u kome igra Naomi Watts dok se još nije proslavila, a pojavljuju se još i Michael Ironside i Ron Perlman... Ja sam od Maasa pogledao samo Do Not Disturb (Amsterdamned me već duže vreme čeka na divxu, nadam se da vredi čemu...) i koliko se sećam, bio mi je prilično nesnosan...

Što se tiče ovog Manoogiana, od njega ništa nisam gledao, ali ovaj Seedpeople mi deluje zanimljivo (iako je vrlo verovatno neki treš), makar što se u njemu pojavljuju Andrea Roth (RoboCop serija) i Holly Fields (Wishmaster 2).

[Ghoul]

taj Amsterdamned ima jednu finu scenu jurnjave kanalima amsterdama u čamcima i – ništa više.
užasno razvučen i neuzbudljiv triler.

[crippled_avenger]

Gledao sam DO NOT DISTRURB i AMSTERDAMNED svojevremeno. Oba su mi bila simpaticna ali jako derivativna.

[ginger toxiqo 2 gafotas]

...glede Manoogiana, ja sam njegov opus izučio u pet rata. Kvalitativno mereno poređao bih ovako:

1. ENEMY TERRITORY - neporecivo remek-delo B/C efektnosti i rečitosti. Razlog ogroman kao kuća da se mladunac zaljubi u žanrovski orijentisan izraz, mada ET u svojoj biti i raskoši mogućih uglova za analizu prevazilazi (i to sa lakoćom) linije razgraničenja među žanrovima. I Stacy Dash.

2. ARENA - krenulo se od uzusa desetine puta viđenih u produkcijama Charlesa Banda, a stiglo do maštovite hiper-adrenalinske ekstravagance. Plus odlično izvedena akcija. I Claudia Christian.

3. ELIMINATORS - takođe veoma uspela mešavina tada aktuelnih uspešnih naslova, ali umešno sproveden melanž uz dosta na pravim mestima lociranih preterivanja. Iako dobar, ipak zastaje u vodama guilty pleasure-a (kiborzi, brzopotezne akcije, cheesy dijalozi, nindže... you name, it has it). I Denise Crosby.

4. DEMONIC TOYS - još jedna uspela nadogradnja okoštalih bandovskih postulata. Školski primer ekonomičnog i filmičnog baratanja zadatim materijalom. Nekoliko creepy sekvenci i Tracy Scoggins.

5. SEEDPEOPLE - po mom sudu najslabija karika u ovom nizu. Gotovo tromolika C trashy horrorična zabava, koja ima dva aduta - opušteni 80s PC-free humor i Andreu Roth.

[crippled_avenger]

Tokom komentara oko 100 FEET, Ghoul je pominjao svoju ovogodišnju listu. To me je podstaklo da malo razmislim šta mi je iz 2008. ostavilo utisak.

Ako imamo u vidu da HURT LOCKER još nisam pogledao kao i da će do kraja godine biti još puno naslova mojih omiljenih reditelja, plus da sam neke favorite propustio i da čekam da ih overim, dosadašnja rekapitulacija je krajnje nekompletna. No, evo naslova iz ovogodišnje produkcije koji mi se čine kao bitni za sada. Verujem da se mnogi od njih neće naći na listi. Ovo su više filmovi o kojima imam prijatna sećanja...

HANCOCK
ČARLSTON ZA OGNJENKU
100 FEET
THE BANK JOB
WANTED
WHAT HAPPENS IN VEGAS
STREET KINGS
DOOMSDAY
THE INCREDIBLE HULK
GET SMART
BE KIND REWIND
DEFINITELY MAYBE
TROPIC THUNDER
YOU DON'T MESS WITH THE ZOHAN

[Milosh]

Ima još dosta do kraja godine, a tek treba pogledati: Let the Right One In, The Road, Burn After Reading, The Curious Case of Benjamin Button... Ali, recimo da se, što se mene tiče, za sad izdvojilo šest naslova:

In Bruges
Waltz with Bashir
Encounters at the End of the World
Chaser
Sukiyaki Western Django*
Transsiberian

*tehnički gledano film je iz 2007, ali nismo ga mogli videti pre 2008, kao ni većina sveta...

Mada čisto sumnjam da će bilo koji od njih (sem možda Tropic Thunder) završiti u top10, ja bih još pomenuo i:

The Dark Knight
Tropic Thunder
The Bank Job
Hancock
Stuck

...

[Ghoul]

Tokom komentara oko 100 FEET, Ghoul je pominjao svoju ovogodišnju listu. To me je podstaklo da malo razmislim šta mi je iz 2008. ostavilo utisak.

da uzvratim podsticaj, možda nije prerano da rezimiramo godinu:
http://znaksagite.com/diskusije/viewtopic.php?p=158758#158758

[crippled_avenger]

Što se očekivanja tiče, brojni su filmovi koji bi mogli biti dobri, ali mene uvek ponešto zaista iznenadi, no u svakom slučju meni je HURT LOCKER naravno najočekivanija stvar, zatim i CITY OF EMBER. Siguran sam da bi i WALL-E mogao da uđe na listu.

E sad, gledajući vaše liste, ja bih isto stavio STUCK na listu ali zar on nije iz 2007. godine?

[Ghoul]

bar što se mene tiče, listu za 2008. čini sve ono što se u ovoj godini nasukalo na naše obale po prvi put, bez obzira na datum proizvodnje.
stuck se kod nas nije mogao videti u 2007oj, u 2007oj o njemu nismo pisali, a preskočiti ga i u 2008oj, tj ne pisati o njemu uopšte – nije lepo!

da ne govorim o slučajevima poput miikeovog TANTEI MONOGATARI koji je u japanu imao premijeru decembra 2007. a još uvek ga nigde nema sa eng. titlovima, i lako može da se desi da ga vidimo tek početkom 2009te!

[crippled_avenger]

Makes sense. Nego sam ja naprosto striktan sa datumima. Ako se uvede kriterijum šta je kada postalo dostupno, onda neko ko je oko tih stvari rigidan kao ja počinje da gubi kompas. Stoga, stavio bih STUCK na listu, da je iz 2008.

[Ghoul]

http://rapidshare.com/files/27146202/Seedpeople.1992.FS.DVDRip.XviD-db.part1.rar
http://rapidshare.com/files/27146223/Seedpeople.1992.FS.DVDRip.XviD-db.part2.rar
http://rapidshare.com/files/27146161/Seedpeople.1992.FS.DVDRip.XviD-db.part3.rar
http://rapidshare.com/files/27146163/Seedpeople.1992.FS.DVDRip.XviD-db.part4.rar
http://rapidshare.com/files/27146139/Seedpeople.1992.FS.DVDRip.XviD-db.part5.rar
http://rapidshare.com/files/27146193/Seedpeople.1992.FS.DVDRip.XviD-db.part6.rar
http://rapidshare.com/files/27146149/Seedpeople.1992.FS.DVDRip.XviD-db.part7.rar

za sad ne nađoh enema arenu!  

[ginger toxiqo 2 gafotas]

http://rapidshare.com/files/110314252/Ar3n4_upped.by.2501.part01.rar
http://rapidshare.com/files/110323970/Ar3n4_upped.by.2501.part02.rar
http://rapidshare.com/files/110334189/Ar3n4_upped.by.2501.part03.rar
http://rapidshare.com/files/110344109/Ar3n4_upped.by.2501.part04.rar
http://rapidshare.com/files/110353959/Ar3n4_upped.by.2501.part05.rar
http://rapidshare.com/files/110363728/Ar3n4_upped.by.2501.part06.rar
http://rapidshare.com/files/110373183/Ar3n4_upped.by.2501.part07.rar
http://rapidshare.com/files/110382065/Ar3n4_upped.by.2501.part08.rar
http://rapidshare.com/files/110391450/Ar3n4_upped.by.2501.part09.rar
http://rapidshare.com/files/110400121/Ar3n4_upped.by.2501.part10.rar
http://rapidshare.com/files/110408288/Ar3n4_upped.by.2501.part11.rar
http://rapidshare.com/files/110415912/Ar3n4_upped.by.2501.part12.rar
http://rapidshare.com/files/110422750/Ar3n4_upped.by.2501.part13.rar
http://rapidshare.com/files/110429858/Ar3n4_upped.by.2501.part14.rar
http://rapidshare.com/files/110435720/Ar3n4_upped.by.2501.part15.rar
http://rapidshare.com/files/110441551/Ar3n4_upped.by.2501.part16.rar
http://rapidshare.com/files/110446622/Ar3n4_upped.by.2501.part17.rar
http://rapidshare.com/files/110451883/Ar3n4_upped.by.2501.part18.rar
http://rapidshare.com/files/110456611/Ar3n4_upped.by.2501.part19.rar
http://rapidshare.com/files/110461143/Ar3n4_upped.by.2501.part20.rar
http://rapidshare.com/files/110465305/Ar3n4_upped.by.2501.part21.rar
http://rapidshare.com/files/110469793/Ar3n4_upped.by.2501.part22.rar
http://rapidshare.com/files/110471659/Ar3n4_upped.by.2501.part23.rar

[Ghoul]

zahvaljujem.
koji je password?

samo još teritoriju da lociram!

[ginger toxiqo 2 gafotas]

Rar Password: Puppeteer (lozinka se odnosi na ARENU, naravno), a ENEMY TERRITORY je dugo opstajao (i verovatno se još da naći) na ponudi Cinemageddona, ali u torrent modu)...

[Ghoul]

ok, ok, sjajno, potražićemo.
thnx again.

[crippled_avenger]

Sad osećam posebnu vrstu odgovornosti imajući u vidu trud koji ulažete da obtainujete Manoogiana...

[crippled_avenger]

The Wachowskis: From "2001"
to "The Godfather" to "The Matrix"


/ / / October 2, 2008


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by Roger Ebert

It was a night out of your dreams. We'd been invited by James Bond, the famed projection wizard, to see the new Kinowerks post-production and screening facility he designed and built on Chicago's north side. You have James to thank if you've ever attended the Grant Park outdoor film festival or Ebertfest. He'd arranged with Robert Harris, the famed restoration wizard, to show us Paramount's new print of "The Godfather."

Kinowerks' post-production sound, editing and screening facilities are state of the art. The screening room has big reclining chairs. Who walked in but Andy and Larry Wachowski and their S.O.s. They're zillionaires after the "Matrix" trilogy, but they looked like guys who had spent way too much time playing "Speed Racer" before making it into a movie. Nice people. Friendly. No Hollywood attitude. The blogosphere paints them as mysterious recluses, which may add to the legend but doesn't match the reality.

The print was sensational. I saw "The Godfather" at its World Premiere, and I swear this print looked better. Afterwards, we settled down in the bar and lounging area. Larry praised the perfect shadows in the blacks of the print. The film was photographed by Gordon Willis, the "Prince of Darkness." Willis is famous for doing shots that theoretically couldn't be done on 35mm film. "He even invented the lenses," Larry said. "One of the problems of 35mm is that it's so hard to hold perfect focus in a shot that's moving toward something. He has a shot in 'All the President's Men' where he starts by showing Robert Redford way on the other side of the big Washington Post newsroom, and then moves all the way in on him, always keeping him in focus."

I think Larry said Willis invented a "variable lens" to do that, but I don't want to misquote him. He invented something, anyway.

"I've always been fascinated by films that draw you visually into the picture," he said. "I first experienced that when I was taken as a kid to see Kubrick's '2001.' I told my dad, 'That black box is the key to everything! What do you think it means?' My dad said, 'Maybe it's the consciousness of God.' I went back and was even more deeply drawn into it."

He said if there was one film that inspired the visual look they were trying to create in the "Matrix" films, it was "2001." And digital technology allowed them to hold perfect focus as Willis had inspired them to do.

His brother was still talking about "The Godfather" with James McTeigue, also at the screening. He directed "V for Vendetta" (2005) which the brothers wrote and produced. It joined "The Matrix" in IMDb's list of the 250 top films of all time. The Wachowskis are producing McTeigue's "Ninja Assassin," now in post-production at Kinowerks.

"Yeah, we're resurrecting the 'Ninja' craze," Larry said. One thing he noticed in "The Godfather," he said, was how director Francis Ford Coppola filmed the moment when Michael finds the gun in the restroom and pauses before returning to the restaurant to commit murder for the first time.

"Michael stops, runs his hands through his hair, stares at the door and prepares his mind," Larry said. "Coppola does that moment as a high-angle shot from behind. Any other director would have moved around for a close-up. It's so much better the way he does it. We're forced to think about what's ahead of him that he's walking into, not just look at a shot of his face."

"I can see the whole camera crew jammed up there next to the ceiling in the john," Andy said. Everyone laughed. It occurred to me that the scene might have been shot using a studio set. But why bring it up? They knew that.

"The Godfather" plays starting Friday at the Music Box, 3733 N. Southport.

[crippled_avenger]

HBO renews 'Entourage'
Network picks up comedy for sixth season
By CYNTHIA LITTLETON
Production on the new season of 'Entourage' will begin early next year for a summer debut.


More Articles:
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Vincent Chase's comeback continues: HBO has picked up "Entourage" for a sixth season. Production on the new season will begin early next year for a summer debut.
Fifth season of the half-hour laffer bowed in September.

Michael Lombardo, HBO prexy of programming group and West Coast operations, called "Entourage" a "smart, sharp comedy series that continues to evolve."

Indeed, show about the adventures of a young actor in Hollywood is enjoying a creative resurgence after its fourth season fell flat with many critics.

Series, created and exec produced by Doug Ellin, stars Adrian Grenier as once-hot thesp Vincent Chase, as well as Jeremy Piven, Kevin Connolly, Kevin Dillon and Jerry Ferrara. Mark Wahlberg and Stephen Levinson also exec produce.

[crippled_avenger]

Big directors turn to foreign investors
'Locker,' 'Che,' 'Wrestler' all sold at Toronto
By ANNE THOMPSONMore Articles:
Studios wary of big budget auteurs
U.S. short on tough guy actors
Independents change tactics
Universal's golden summer
New role call for international films
What are 'Wall-E's' Oscar chances?
Kathryn Bigelow wanted to tackle a toxic genre: Iraq war movies.
Darren Aronofsky wanted to cast a toxic movie star: Mickey Rourke.

Steven Soderbergh wanted to make not one, but two two-hour biopics in Spanish.

All three projects sold in Toronto, backed by foreign sales companies, not studios or specialty divisions.

Voltage Pictures backed Bigelow's modestly-budgeted "The Hurt Locker," with a cast led by Jeremy Renner ("28 Weeks Later"); Guy Pearce and Ralph Fiennes took on supporting roles.

France's Wild Bunch backed both Aronofsky's $6 million "The Wrestler" and Soderbergh's $64 million "Che," starring Benicio del Toro.

Bigelow and Aronofsky had something to prove after their last pics proved less-than-stellar boxoffice performers. And while Soderbergh is still a studio darling, his indie ventures sometimes prove too idiosyncratic for auds.

Iraq war thriller

After "K-19: The Widowmaker," an ambitious submarine actioner, Bigelow developed "The Hurt Locker" independently with journalist Mark Boal, without any money changing hands. "What drove us off the reservation was the opportunity to work without compromise," she says, "with the creative latitude and elasticity that provided."

Boal's script, based on his experiences being embedded in Iraq in 2003 and 2004 for Playboy, enabled Bigelow to raise money.

She filmed in Jordan with dexterous, portable Aton 16m cameras in the 100 degree-plus heat. Jeremy Renner's bomb suit made of steel plates weighed 80 pounds and constantly threatened to overheat him.

Bigelow figures the same movie backed by a studio would cost $80 million, at least, but it would lose authenticity by filming in New Mexico or Morocco with vast built sets. The studios would have cast it differently, too.

The director was seeking "a different kind of patina," she says. "Part of why the movie is so accessible and draws you in is the realism and attention to detail, authenticity and accuracy. It's based on the first-hand observation of the screenwriter, which informed everything."

Bigelow built paranoia by making everything the viewer sees a potential threat, whether it's a white bag of rice fluttering in the distance, or a passerby using a cell phone. She kills off a major character in the first sequence to "drop the gauntlet," she says, "place you in the mindset at the beginning so there's nothing you trust."

After the unveiling of "The Hurt Locker" in Venice and then Toronto, Voltage swiftly closed a North American distribution deal with Summit, which plans a 2009 release.

Low-budget actor's vehicle

After tussling with Warner Bros. over the production and release of "The Fountain," Aronofsky learned the hard way that making a $30-million studio movie in an indefinable genre can be hazardous. When "The Fountain" debuted in Toronto two years ago, its media reception was chilly and it went on to flounder at the Thanksgiving boxoffice against eight holiday competitors.

This time, no studio or specialty division wanted to support "The Wrestler," an original screenplay by Robert Siegel that Aronofsky had developed for seven years, and certainly no one wanted to back his casting choice Rourke after star Nicolas Cage backed out. But Wild Bunch topper Vincent Maraval believed in the project.

Rourke isn't a big pull overseas, having torpedoed his once-promising career with bad choices and angry misbehavior. So, the director had to make the pic on a $6 million shoestring on super 16mm in New Jersey. "It was really hectic, not enough money at all," says Aronofsky. "A lot of compromises were made."

After meeting Rourke, Aronofsky saw depths of insecurity and fragility that had not been tapped in decades of tough guy roles. The director told Rourke that he expected him to behave professionally. Over the past 13 years, Rourke says, he had reinvented himself through extensive therapy and was ready to rock as floundering wrestler The Ram. "I was bad, out-of-control, unprofessional and scary," says Rourke. "I didn't realize the degree to which I frightened people in the business."

Rourke insisted on showing the pic to his old pal Bruce Springsteen, who eventually supplied a song for the closing credits.

The same night the movie debuted in Toronto, Fox Searchlight closed a deal for U.S. rights, promising a year-end Oscar-qualifying release and award season campaign.

Che Guevara bio-epic

"Che" was long developed by thesp del Toro with producer Laura Bickford. They brought in Soderbergh, who tried to wrangle the unwieldy mass of research they had been accumulating for years, with writer Peter Buchman. But the material never jelled as a single unit, and the filmmaker decided the solution was a two-parter.

"When we started, it was going to be one two-hour movie about Bolivia," says Soderbergh. "But when we got further into development, Bolivia without the context of Cuba didn't make a lot of sense. Making two films was the right call."

This sent Wild Bunch scrambling to its partners in foreign territories to renegotiate all the deals. "Wild Bunch stayed with us through thick and thin, as we went from one movie in English to two movies in Spanish, helping us find money in Europe when the U.S. didn't want to pay for a movie in Spanish," says Bickford.

When the four-hour "Che" failed to close a deal at the start of the Cannes Fest, none of the studio divisions would step up unless the filmmakers dubbed the movie into English for TV sales, even after del Toro won best actor at the fest.

Wild Bunch kept talking to several bidders, Maraval says, before making its decision to go with IFC last week. "The film is quite complex and unique to distribute. The marketing strategy we wanted is the one closest to IFC's."

Wild Bunch will distribute the movie itself in Benelux and Germany.

Global coin made these three films from American filmmakers possible, and provided creative freedom that would have been impossible if Hollywood had backed them.

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Još jedna vest sa PTT sajta:

Izvršeno je proširenje ADSL kapaciteta na centralama: Konjevići - Centar i Konjevići - škola (mrežna grupa 032).

[crippled_avenger]

Pre neki dan sam se podsetio kultnog dokumentarca YES MEN koji su potpisali Dan Ollman, Chris Smith i Sarah Price.

Kad god mi nestane ideja za prankove na Dobu pogledam ovaj film i napunim se energijom. Naravno, nivo prankova koje prave YES MEN je jedinstven, i pomognut time što su uspeli da se fino uklope u ogroman predavački circuit i da ih samim tim uprkos velikoj popularizaciji Yes Mena učine ipak relativno anonimnim što im omogućuje da kontinuirano prave diverzije.

Milje u kome oni rade je dovoljno veliki da čak ni posle filma u kome su eksponirani neće biti do kraja razotkriveni jer se radi o ogromnom tržištu.

Iako se i sam Michael Moore pojavljuje u YES MEN, na planu nestašnih političkih dokumentaraca, smatram da ga ovaj film daleko nadilazi pošto je uzbudljiviji i nudi priču koja je zanimljivija i manje poznata od Mooreovih reinterpretacija opštih mesta.

Ko nije gledao, neka obavezno pogleda.

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Pogledao sam THE DEVIL THUMBS A RIDE Felixa Feista, courtesy of Kunac.

Ovo je curio noir za koji bi se moglo reći da ja anticipirao brojne naslove sa kriminalcima koji kidnapuju i manipulišu nedužne ljude. Samim tim njegov uticaj se proteže od nekih Hitchcocka do COLLATERALa.

Ono što je osnovna i najzanimljivija karakteristika ovog filma jeste da je u pravom B maniru krajnje efikasan, da je lišen dosadnih i redundantnih delova. Stoga, čak i kad se prikazuju opšta mesta, film je čudovišno efikasan. Otud i traje vrlo kratko, neka 62 minuta. Međutim, iz današnje perspektive ovo gotovo ospkurno trajanje svojstveno B-filmu četrdesetih i pedesetih počinje da deluje kao budućnost. Sa gledaocima koji sve bolje poznaju dramaturške konvencije i sve bolje percipiraju filmsku sliku, pitanje je trenutka kada će filmovi početi da se radikalno skraćuju kada je reč o formama koje su već kanonizovane, naročito u svetu žanrovskog filma. Odavno su prisutni naslovi kojima je čak i 90 minuta predugo, naročito u domenu žanrovskog filma.

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