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Notas Sobre um Escândalo


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Novo filme de Richard Eyre (Iris), com Judi Dench e Cate Blanchett no papel que pode lhe render seu segundo Oscar.




Abaixo, a resenha da Variety sobre o filme.


Five years after their sensitive collaboration on "Iris," Richard

Eyre guides Judi Dench to another pitch-perfect performance -- make

that bitch-perfect -- in "Notes on a Scandal," a deviously entertaining

account of one woman's indiscretions as related by a

not-so-disinterested third party. If the results suggest a crafty

British spin on the Mary Kay Letourneau saga, the riveting interplay

between Dench and Cate Blanchett draws blood with every scene, thanks

to a precision-honed script and Eyre's equally incisive direction.

Dazzling star combo and appreciative reviews will prove especially

enticing to older, literate audiences, yielding solid specialized

returns for the Fox Searchlight pic.



-felipe-2007-01-14 21:40:42

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Notes on a chameleon



How Cate Blanchett is changing her colors, yet again.





By Choire Sicha , Special to The Times







January 10, 2007











Cate Blanchett considered her venti decaf

nonfat latte. "Things are so big in America," she said. Four young

studio publicists had squabbled over who would have to fetch this mega

coffee for her. "What should I do with this? Hit someone over the

head?" Her New York press day in December for "Notes on a Scandal"

could have been worse. "I don't have cancer," she said when proffered

pity. But she was locked in an ugly suite on the 12th floor of the

Regency Hotel on Park Avenue, when she'd rather have spent that time

with her two young children.




She sat by a light in the dark room. Dressed in warm, strong colors,

with the wide, rust-brown net of her stockings and her complicated

necklace, her eyes dark that day, she looked like a beautiful pale

octopus all clutched around herself.




The actress had spent February and March in New York, doing a vicious

Hedda Gabler at the Brooklyn Academy of Music. The academy had also

shown her 2005 Aussie film "Little Fish," so Blanchett and her film and

stage costar Hugo Weaving — that's Elrond and Agent Smith to Americans

— did a little public chat in the movie theater one night.




Blanchett, clad in a black cape, and her playwright husband, Andrew

Upton, had spoken in praise of the egalitarianism of Australian film

sets — "Everyone mucks in!" — and in praise of theater. In film, she

said with a little dismissal, "You need to be switched on and switched

off." Theater, to her, was "energy production, really." So the balance

was already swinging toward the theater and Sydney. This November,

Blanchett, 37, announced she and Upton were taking full-time day jobs

at the Sydney Theatre Company.




The next stage of her career




"I'd seen it coming for quite a while," said playwright Patrick

Marber, a friend who also wrote the screenplay for "Notes on a

Scandal." "But they actually told us the day before it was announced.

It wasn't a surprise. I knew that they both enjoyed working at the

Sydney Theatre Company a lot over the years. And I had the sense they

were both looking for an artistic home."



The theater system, poisonous to a young audience with its

hundred-plus dollar tickets, has tried to save itself by spewing out

musical after awful musical. ("Yeah, it's global," Blanchett said —

tremors and shudders on the West End, Broadway and everywhere else.) It

is maybe a sign of the times that 2006's biggest credit for one of the

current generation's leading American playwrights is as an executive

producer on an ABC dramedy. (That being said, Marber pointed out that

he had a play that was doing "wonderfully well.") Still, so many

straddle that thin, uncomfortable fence between the often unprofitable

theater and the often frustrating studio system. Who can afford to jump?



Beginning in January 2008, Blanchett and Upton will sign on for

three years as artistic co-directors of the Sydney company. "I hope

it's going to be more than three years!" Blanchett said. "If one is to

achieve anything, it'll have to be longer than three years." Indeed,

the company, in its 27 years, has only had three previous artistic




The company's directors are encouraged to pursue their own work

three months of the year. Does this mean that Blanchett might film only

once a year?



"Gosh, every actress should be so lucky, to find one great role a

year," she said. "And whilst I might not take that every year, there's

also two of us doing the job. And it will depend on where the company's

at that year, and if anything comes up. But as long as the film

industry will have me, then I'll have it."


This year and last, the film industry has had her fully. Her lithe,

Golden-Globe-nominated sinner in "Notes on a Scandal" makes her fifth

nomination — her first was a win for 1998's "Elizabeth." There was her

smoky German enigma in "The Good German" and her lost, injured American

in "Babel," a film that garnered seven Golden Globe nominations. She is

filming with David Fincher and, in late 2007, will bring what is

expected to be a wallop: a return to the bodices of Queen Elizabeth I

in "The Golden Age."



Had she consulted others — agents, managers, the like — in

deciding about Sydney? "No, it was only amongst ourselves," she said,

meaning her husband. "We're really galvanized by it," she said. "I

think as an actor you can find — particularly, you know, an actor who's

been dallying in filmmaking — you sort of work piecemeal.



"You can become very isolated in it," she said of jetting from set

to set. She would leave that night for London. "You simply go from job

to job to job and you have to find meaning in retrospect. Whereas

there's something in being part of a company, an ensemble, that allows

the development of not only you as an individual but you as a group of

people — that actually flows through the direction of the work, and

hopefully, your own work becomes deeper and the company's work becomes





Noted for good manners




The day before, Blanchett had flown in from Sydney and arrived late

to her "Notes on a Scandal" premiere on the lower Upper East Side. The

editors of Men's Health and Out magazines were present, but Blanchett,

doing David Bowie-glamazon in a terrifying silver suit — "Armani,

darling," she said — which clasped somewhere near her navel, ditched

the red carpet media and sneaked off to meet with another editor:

Vogue's Anna Wintour.



"We had a chitty-chat," Blanchett would only say. "She's great

fun. We spoke about Bill Nighy, actually." In the auditorium, the

film's director, Richard Eyre, gave a speech in which he said that the

studio, Fox Searchlight, had "defied" the stereotype of the Hollywood

studio in its bravery for making this movie, the "scandal" of which is

Blanchett's teacher character having an affair with a 15-year-old

student. There was an after-party in a grand society marble mausoleum,

the Metropolitan Club.



Blanchett spent time there clasped arm in arm with Lauren Bacall.

And the black-haired, sharp-eyed novelist Zoë Heller was there — her

"What Was She Thinking: Notes on a Scandal" was published in 2003 — and

she paid her respects to Blanchett. "I just went over and because I

hadn't spoken to her since I'd seen the movie, I wanted to say, in all

sincerity, what a wonderful job she'd done," Heller said. "She's very

good at that sort of 'Oh, no but you, you, you, no darling, the

pleasure's all mine.' "



She had met Blanchett on the set once. "I remember on the set

walking on and feeling the standard spare part that you feel," Heller

said. "She did this kind of 'We're all so totally' — what did she say?

— 'incredibly nervous and freaked out about your being here today.' And

I thought, 'Oh, I bet you are!' But it was a very sweet thing to say,

that they care what you think. And that was the first time I'd seen her

as the part. She's really incredible."



But for all her fantastic party manners, Blanchett was most alive

when talking about language, about Harold Pinter and David Mamet and

David Harrower — she'll direct his Edinburgh and London smash,

"Blackbird," in Sydney. "It's an impolite play," she said. "I think

theater is to be entertaining, of course, but impolite. It's really

dangerous territory."



She looks and maybe lives like a movie star, but she talks like a

late-night theorist. "The whole notion of class is that you never

transcend it," she said when asked about her own upward mobility. So

she is still a working girl too — the smart middle child of a

schoolteacher and a Texan. "It's a little bit like the caste system,

isn't it? That money doesn't buy you entry into a different class."

Well, to work, then.



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Só uma coisa o filme aqui no Brasil se chamará Notas sobre um escândalo apesar do título do livro por aqui ser Anotações sobre um escandalo...

Li o livro semana passada e de fato é sensacional o nível psicológico das personagens.Dench ao meu ver tem um trabalho digamos mais fácil,já q sua personagem é quem realiza as tais anotações,sendo mais "na cara" para a atriz e seus realizadores traçarem um perfil para a Barbara,já Blanchett ficará com os momentos mais tensos do longa(a personagem da atriz apanha muito06) e terá uma dificuldade maior de criar sua Sheba,como a personagem é apresentada ao público pelo ponto de vista que Barbara tem dela,fica na dúvida se algumas das motivações de Sheba são exageros de Barbara ou são de fato aquelas.Renderá ótimos momentos...E a trilha de Glass combina tanto com esse trabalho,principalmente logo no fim da história quando o nível de tensão aumenta(só me lembro de As Horas).

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Richard Eyre on how to direct a Scandal...



"It's an odd thing, because on the whole we don't get to observe other people having sex"



02 Feb 2007 3:25pm







When you first got approached, what attracted you to it? The book? Marber? Judi Dench?

I think it was a combination of all those things and also Cate was

in the picture, plus the fact that, with Scott Rudin, films get made.

And this may sound an extraordinarily banal to say, but there are very

few producers who have projects and can get them made. If I hadn't been

interested before, the fact that the project could actually be achieved

is in itself very attractive. But, of course, the component elements

were irresistible.

It was Scott's idea to cast Judi Dench as Barbara. Did you agree?

No, because I thought when he initially mentioned it to me, we had

just done Iris, Scott was one of the producers of Iris. So he was

thinking, "Wouldn't it be great to find another project for Judi

Dench?" And it struck him and me when I first read the novel that she

would be wonderful in the part.

So you'd thought of her as well?

I thought this might make a good film, but hadn't done anything about it.

Are you close to Judi outside of work?

I've known her for 30-odd years, so yes, we've been friends for a long time.

What did she say when you approached her?

She had read the novel and really, really liked the novel. She's

always been attracted to doing things which people think she can't pull

off. So if you say to Judi, "Here's a part for you but you're not

really right for it," immediately she thinks, "Oh, this is something

I've got to do!" Not that I did say that to her. But she tends to play

people who are mostly good-hearted. She's a quite spectacularly

generous, decent person, who radiates goodness; she's widely regarded

as a secular saint, and rightly so!

And she's just wonderful company; a good, funny person. So it's an

attractive idea to have her playing the complete opposite of everything

that she is, someone who is malign and small hearted and mean spirited

and desperate and obsessive. And I think for any actor it's a

challenge. It's wonderful to be asked to play things that, on the face

of it, seem improbable. And also she's got practically no vanity at

all. She has a great deal of respect for her own talent. It takes a

curious and rare form of lack of vanity to appear like that in a film.

Dyed, reddish hair, shocking wig, fairly unflattering clothes, and

somehow make that, not in any sense a sort of, "Look what I'm doing,

I'm being that slightly Oscar-seeking… I'm playing somebody who is

ugly, how brave!" but simply doing it because it's the truth of the


She shrinks into this very small, bitter, shrewish woman.

She's not the person you'd think of playing a role like that - I

thought of Helen Mirren when I read about it. What about Cate

Blanchett? Was she attached early on?

Just about… she'd been approached, if not confirmed.

Did you think about anyone from the Iris cast, like Kate Winslet?

I didn't, actually. I think Kate was probably too young. Have you

seen Little Children? Wonderful film. No, I didn't think of Kate, not

least because she wasn't free! We all thought that if we could get Cate

she was the world's best casting.

What about the kid? Andrew Simpson. What were you looking for in him?

We cast the net very wide. I guess we were naively thinking that the

James Dean of North London would emerge! We thought we'd see two or

three hundred boys and this boy would walk in and we'd think, there he

is! Gary Oldman, Tim Roth! And we didn't. We didn't find him. We saw

hundreds of boys. Screen tested a lot.

It became clearer and clearer that there's a huge difference between

a 16-year-old and an 18-year-old and that the 18-year-olds couldn't

really fake it. We so wanted a boy who appeared plausible as a

15-year-old, otherwise you could so easily slip into a Desperate

Housewives, the boy mowing the lawn kind of sexy 17-year-old. He's a

KID, not an adult.

And when you found him, was it a little bit of a process, or was it like, "Let's get him!"

I thought, "Here he is, let's get him!" And then we had to make

sure. It's alright saying trust your instinct, but we still had to test

him and make sure there aren't any others who were better than him. It

was a pretty exhaustive process. He tested with Cate Blanchett as well.

Does the fact he's Irish have any significance in the script?

Not really. In the school in which we were filming, it would be

completely unexceptional for the boy to be not from North London. There

were kids there… there's a huge immigrant population: Serbians,

Bulgarians, Eastern Europeans, Somalis, Sudanese, even a couple of

Americans. Somebody who came in who was Irish wouldn't be completely

implausible. Of course we were a bit anxious in case people couldn't

understand a word he said, but surprisingly, in all the screenings in

the States, there have been no complaints. Given that they always

complain about British working class accents!

How about the fact he isn't a James Dean type?

He isn't, but I think that he's charming and alluring. He's got

wonderful eyes. But no, he's not a sex bomb at all. Certainly in the

novel - and Zoë was always insistent - that he wasn't this great stud.

And we were very concerned that it was open-ended in the sense that

you didn't think, "Of course, if I was her I'd have fallen for him."

And also, by casting Bill Nighy as the husband, you don't think. "Oh, I

see, this is a desperate marriage and she's married to a man who's much

older than her and she's tyrannised…" You actually thought, "He seems

pretty good company, he's a good father…" You have to ask questions

beyond that, much more in an existential territory. What is it? What

kind of desperation and loneliness lies within her that she is casting

around for a relationship that is outside her marriage?

On every single level she struggles: she's married to an

older man, she falls under the spell of this strange woman and then she

falls for this student…

And also, of course, that because of marrying young, she feels she's

missed out on youth. So it's a desperate attempt to regain that.

She doesn't really seem to have friends… Is she as isolated as Judi Dench's character?

She is isolated; isolated within the marriage. And obviously the

presence of these children who are being very demanding have soaked up

her life.

What about shooting tricky scenes between Cate and Andrew?

Well, all credit to Cate, really. Shooting sex scenes is difficult

in any circumstances. Maybe there are directors and actors to whom it's

all perfectly matter-of-fact, but I think it's, by its nature,

difficult stuff.

Contrary to popular belief, it's all scientifically done; you have

to know what you're doing, you can't just wildly improvise. And even if

you did, there's no guarantee that it would look convincing. It's an

odd thing, because on the whole we don't get to observe other people

having sex! So it's much more to do with the feelings between the two

of them. Cate was brilliant as an actor in making you believe that she

found him very sexy, and therefore making him sexy, and making their

sex scene seem remarkably plausible.

How was it for him? Was he…

…terrified! (Laughs) He's a good boy. He was just very, very nervous. But she was quite wonderful with him.

And you were quite discrete shooting them; there wasn't a lot of skin or whatever. Was that because of his age?

Partly. There are restrictions on what you can show and get a

certificate for because of showing a 15-year-old boy… the fact that he

was 16 was neither here nor there, because if you're saying in the film

that he's 15, then in probably at least 30 states in the US it's

actually a criminal offence. So there aren't scenes where the two of

them are naked and you're showing genitalia because of that. But also,

I'm not sure it would have made it more plausible if you had. And the

thing about sex outdoors, and what I wanted is the… It's like teenage

sex, tearing at each other's clothes, but it's too cold to take your

clothes off!

What about the relationship between Cate and Andrew - did you talk to anybody who'd been through that experience?

No, I don't think so. Cate always said that she didn't understand

it. It wasn't a problem playing the part, but as a woman, she said, "I

simply cannot understand a 35-year-old woman being attracted to a

15-year-old boy." Her job as an actress was convincing us that she felt

passionate about it, and that's what actors do; she doesn't have to

understand it or find 15-year-old boys attractive, she just has to

convince us that the character finds him attractive.

I talked to a lot of teachers, and one school I went into, I was

talking to the English class and they were 15, 16-year-olds, and they

said, "What's the film about?" So I told them. And they were,

"Wooooooah!" I said, "Do you think that's plausible?" and they said,

"You bet!" It wasn't just the boys saying it! And I said, "What about

the teachers?" And they said, "Oh yeah, I think Miss Henderson might…"

So, you know, it's sort of part of the speculation.

When I spoke to Andrew, he hinted it might have happened at his school…

Well, 15-year-old boys, they think of nothing but sex! You know,

that's… they're always talking about sex and speculating about

teachers' sex lives.

Do you think society condemns a woman for doing that more than a man doing it?

I think there's more condemnation of men with 15-year-old girls.

There's somehow more perception of abuse of authority, whereas in some

sense, all men think, "Isn't that the fantasy of every 15-year-old boy?"

Because you don't necessarily think it's damaging for the boy.

I don't think it is.

But you condemn Barbara more for being so manipulative.

But also Barbara's quite clear-headed about it, when she says, "Do

you think he's concerned with you." She's very scathing and probably

quite accurate.

Are there any more developments with bringing Mary Poppins to the screen?

I don't know! There was some completely fictitious story about me

having conversations with Steven Spielberg. I've never met him. I've

never spoken to him in my life! To do it would be interesting, but I

don't think… I don't know, actually! (Laughs) It's a Disney project,

and the last thing that is likely to happen would be for Disney to go

to Steven Spielberg, for a start, because he takes first dollar. And

Disney, that's anathema to them.


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Assisti hoje, e sinceramente esperava mais desse filme. A trilha sonora eh de suspense total. E a personagem da Dench age como uma serial killer. Blanchett da um show especialmente nos momentos finais..Mas o que me deixou incomodada foi o personagem da Dench ou a sua interpretacao dada a personagem...Achei ela muita uma face so, monocromatica...nao sei talvez o papel dvesse ser feito de forma menos esquematica...Se fosse um filme frances, teriamos embates, estudos de personalidades mais profundas....Valeu pela Blanchett...

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Eu não estou nem um pouco animado com esse filme, deve vr quando chegar na locadora ou na casa de algum amigo, esse filme não me chamo atenção, pelo trailer, o filme parece tentar criar um apecto sombrio com frases obscuras e etc, mt forçado não gostei

fora q eu nun gosto da mulher que protagoniza com a cate
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Eu não estou nem um pouco animado com esse filme' date=' deve vr quando chegar na locadora ou na casa de algum amigo, esse filme não me chamo atenção, pelo trailer, o filme parece tentar criar um apecto sombrio com frases obscuras e etc, mt forçado não gostei

fora q eu nun gosto da mulher que protagoniza com a cate


Eu gostei do trailer, mas ele força muito a barra. Faz o filme parecer um suspense, o que ele não é.


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Achei fraquíssimo.


Nem Cate Blanchett consegue trabalhar bem, já que o roteiro sabota a sua personagem com um desenvolvimento pífio. Só sobrou Judi Denchm, esta, realmente, brilhante.


E a trilha sonora é uma das piores dos últimos anos.



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só eu gostei desse filme pelo visto.

bom, pra vcs verem como cinema é subjetivo: eu gostei da trilha sonora e pra mim ela funcionou. Não achei o final TÃO absurdo assim, achei até interessante, mostra que a personagem de Judi Dench ainda não emadureceu e é uma pessoa que não aprende com os próprios erros, aliás o tão ruim assim do final que vcs acharam é ela tentar de novo uma companhia para terminar seus dias ? achei até coerente.
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Estou sim, e hoje revi "Notas sobre um escândalo". Mais uma vez amei o filme. Fui hoje, e tá lá um aviso dizendo que não iam exibir hoje "Hollywoodland" pelo atraso da cópia. O mesmo aconteceu com "O Bom Pastor" (o vi no manaíra). Enfim, eu gostei bastante de "Hollywoodland", mas não sei se vc vai gostar, pois o filme possui uns clichês um tanto irritantes. Mas as atuações salvam. O Pablo deu destaque pro Ben Affleck, mas eu particulamente gostei mais de Diane Lane. Por via das dúvidas, recomendo q vc veja se tiver algum tempo no meio da semana. E meu Deus, demora mesmo. "Notas sobre um escândalo" estreou no Rio no dia 02/03 e chegou em João Pessoa só hoje! Sinceramente, ninguém merece... Hoje tb chegou "Artuhr e os minimoys", acho q verei o filme amanhã, caso não veja "Motoqueiros selvagens" ou resolva rever "Hollywoodland". Pelo menos aqui os ingressos são mais baratos, lá no Rio tá 20 reais no sábado e domingo.bern@rdo2007-04-20 23:14:56

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