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Oscar 2009: Previsões

Bob Harris
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Deckard Newbie

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Kate Winslet melhor que Cate Blanchett? 09

 

Ambas são fantásticas, mas a Blanchett é muito melhor!

 

Em Notas sobre um Escândalo ela faz miséria. Isso sem falar em Elizabeth, O Talentoso Ripley, O Aviador, Little Fish e Não Estou Lá. Até nos filmes menos inspirados ela está ótima: O Dom da Premonição, O Custo da Coragem e Vida Bandida. 

 

*Não quero provocar uma discussão, como foi Kidman x Winslet. É apenas opinião.

 

 
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FeCamargo Newbie

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Não é provocar nada, você acha Blanchett melhor. Eu acho as duas igualmente talentosas. Mas eu prefiro Winslet por preferir. Empatia talvez. Ela me pega. Mas discordo completamente entre uma ser melhor que a outra. Acho que são igualmente talentosas. As maiores atrizes de suas gerações.

 

As atuações de Cate Blanchett que prefiro: Little Fish, Elizabeth, O Aviador e I'm Not There.

 

As de Kate Winslet: Razão e Sensibilidade, Hamlet, Contos Proibidos do Marquês de Sade, Brilho Eterno de Uma Mente Sem Lembranças e Little Children.

 

Comparar essas atrizes e dizer que uma é muito melhor que a outra? Sinceramente, impossível...

FeCamargo2008-11-23 13:15:43

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Deckard Newbie

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Blanchet nem sonhando mereceu aquele Oscar em Aviador. E em Ripley ela é um cisco e quem brilha no filme é só o Damon... Se você citasse Paraíso até concordaria contigo!!

 

 

 

Na boa, você só viaja. Detona a Helen Mirren, Ralph Fiennes e qualquer ator apenas para enaltecer a Kate Winslet. Ela não precisa disso, além de fantástica atriz, é também uma bela mulher com uma carreira de sucesso. Cate Blanchett está excelente em O Talentoso Ripley.

 

Eu adoro a Jolie, minha atriz favorita, mas não falo mal de outras atrizes para enaltecê-la.  
Deckard2008-11-23 13:35:33
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Blanchett' date=' a melhor atriz da atualidade, nunca deve ser subestimada. Porque além de ser a verdadeira "queridinha" da Academia, é uma atriz que surpreende a cada trabalho. Mas foi indicada como coadjuvante por Notas sobre um Escândalo, quando era protagonista ao lado de Judi Dench, será que isso não se repetirá?!

 

Quem deve rodar para uma possível indicação de Blanchett na categoria principal deve ser Anne Hathaway. Meryl Streep, Kate Winslet, Angelina Jolie e Kristin Scott-Thomas estão fechadas e devem chegar ao Oscar. Vale lembrar que as três primeiras estão sendo citadas desde o início das previsões.

 

A campanha da Universal para promover Jolie por A Troca está muito lenta, não vi nenhum FYC do filme ainda. Espero que ela não seja prejudicada, novamente, como no ano passado com a divulgação escassa da Paramount Vantage para O Preço da Coragem.
[/quote']

 

Acho que quem cai é a Jolie. Sua atuação não foi tão elogiada como a das outras e o filme menos ainda...

 

Agora com a Blanchett meio que se fechou a coisa. Já se tem três estrelas (ela, mais a Streep e a Winslet) na disputa, um nome jovem de costume (Hathaway) e mais a última vaga que, provavelmente, vai ficar com uma menos conhecida (Scott-thomas, Hawkins) ou com alguma surpresa que comece a aparecer na lista dos críticos de última hora (Beckinsale, Williams)...

 

-----

 

Não acho que a ênfase de Benjamin Button mudou do último trailer pra esse. O casal já tinha sido demonstrado como um aspecto bem importante da trama.
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MacGruber Newbie

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A ênfase do trailer de The Curious Case of Benjamin Button do antigo para esse novo mudou completamente. Focaram muito mais na relação do casal. Seria uma tentativa para já iniciar a competição com Revolutionary Road?

 

 

A mudança de foco nesse trailer de Button se deve ao fato de ser voltado para o público não-americano. Geralmente os trailers internacionais são mais explicativos e os americanos mais ousados, como foi com Road tb.
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Sorento' date='

 

 

 

Esse premio vai ficar rodeado nas mesmas de sempre, em grande maioria de atrizes de filme "mel com açúcar” extremamente “monótonas” que fazem os velinhos da Academia chorarem...

 

[/quote']

 

O que é absolutamente maravilhoso e desejável, se você estiver se referindo a Streep, Blanchett, Winslet, etc.

 

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Thico Newbie

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Porra, esse ano a categoria de melhor atriz pode ficar como em 2006, com Mirren levando merecidamente e mais 4 atuações foda (Cruz viria em seguida, na minha opinião, seguida por Streep, Winslet e Dench por último, já que o papel naquela filme ruim não colaborava também, mas ela é a melhor coisa ali). Esse ano, se a Blanchett confirmar esses elogios, ela entra na linha de frente com Streep e Winslet, ficando duas vagas para 4 nomes: Scott-Thomas (elogiadíssima), Hathaway (estrela ascendente), Hawkins (acho que ou entra ela ou Scott-Thomas, uma das duas deve dominar o circuito dos críticos, quem for leva) e Jolie (acho que é a mais distante). Parece a melhor categoria do ano!

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MacGruber Newbie

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Reader Response

Author: Sasha Stone

23 Nov

benjaminbutton6.jpg

All of the craziness in the past few days has led one reader to ask:

Hi, Sasha, I am the regular reader of your website and forum. You mentioned a while ago that Streep might give the best performance of the year in Doubt. Then now you also have great raves for the two K©ates, Winslet and Blanchett. And most surprisingly, you even state that now Blanchett may pull an upset and have a better shot at a win.  These series of remarks leave us a little  bit confused about who really is the best among these actresses. So I want to ask you: Who really gives the best performance, Streep, Winslet or Blanchett?

What I answered is that:  The Oscar race does that to you.  That’s why the film you see last often has the most impact.  But for clarity, it takes time for these things to settle.  It is an embarrassment of riches, so many great actresses, such great work.  Cate Blanchett, Meryl Streep and Kate Winslet all three do either their best work or close to it.  It’s going to be a hell of a race.  The truth about knowledge is that it is often absent in this silly work we do.  We go on gut feelings, heart, passion - and these things don’t make sense, really.  Trust yourself.  That’s the only true barometer.  It doesn’t matter what anyone else says, especially 6,000 or so Academy voters.  These films and these performances don’t exist to be “the best” or to win Oscars - hopefully they will transcend that.

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MacGruber Newbie

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A Dream Deferred - Revolutionary Road

Author: Sasha Stone

revolutionaryroad5.jpg

What happens to a dream deferred, Langston Hughes once wondered.  Does it dry up like a raisin in the sun?  Or fester like a sore — and then run?  Does it stink like rotten meat?  Or crust and sugar over — like a syrupy sweet?”

“Maybe it just sags,” Hughes wrote, “like a heavy load.  Or does it explode?”

Hughes wasn’t talking about bored and perhaps boring white suburbanites trapped in the perfect storybook of a life, though.  Surely that must make the minor dreams of April Wheeler less so, perhaps even ridiculous by comparison.  But the question must be asked anyway, what happens to a dream deferred?

Revolutionary Road is about two people who have to believe that there is more to life than what they’ve signed up for - the perfect house, the two kids, good looks, a decent job.  What is it they want that they don’t have? If you ask author Richard Yates it might be that innate, unshakable desire to live out the American dream because so many that came before us died earning their freedom to do just that.  It isn’t enough to be good.  One has to be great.
But the thing many of us learn as we stumble through life is that there are no guarantees.  We are entitled to life, liberty and the pursuit of happiness.  The key word is pursuit.  We are predetermined to always be chasing after that elusive conclusion to our lives: we will one day “be happy.”  At a certain point almost everyone realizes that happiness is not wholly attainable; happiness comes and goes like the seasons, only not as predictably and without the pretty pictures.  We learn to live with and without everything that goes along with it.

revolutionaryroad4.jpg

Mostly, though, we are all destined to decades of longing for those things we don’t have, the wives we never married, the trip we never took, the car that so and so just bought, the attention that so and so is getting, when is it MY turn, why can’t I have THAT.  Longing is so much a part of us that when we finally do get what we’ve always dreamed of most of the time we don’t want it anyway.  After all, we were able to acquire it so it must not be worth much.

Richard Yates has said that the title comes from this idea that at the end of the long road after the American Revolution this is where we end up; the American Dream is nothing more than a bubble of hope, a collection of dreams deferred.  That theme threads neatly through the Mendes film but because of the explosive relationship between Frank and April as interpreted by Kate Winslet and Leonardo DiCaprio you have a film that is more about two people, a marriage, a toxic relationship.

In Edward Albee’s Who’s Afraid of Virginia Woolf you have two characters, George and Martha - the mother and father of our country, if you choose that interpretation.  And much the way that film became a filter of irony as to life here in America, so does Revolutionary Road expose a flaw in the perfect American life.

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The Wheelers symbolize the ideal couple in the ideal home with the perfect kids.  The horrendous fights between them is never witnessed by neighbors.  What happens inside stays inside.  When the lights are flicked on everything seems almost normal.  Then comes the beer, the wine, the whisky, the light dims and the monsters come.

You probably won’t find two better performances this year than those of Leonardo DiCaprio and Kate Winslet in Revolutionary Road, and with the likes of Meryl Streep, Cate Blanchett and Brad Pitt’s extraordinary turn this year as Benjamin Button, that is saying quite a lot - but the reason for this is that the two together are like fire and gasoline.  Old friends who trust each other seem to have no barriers.  Sam Mendes, with a background in theater, gave them room for exploration.  Funnily enough, Blanchett and Pitt worked well for similar reasons — good friends, not lovers in real life.

That doesn’t mean they’ll win Oscars.  Kate should win, though, for this performance and for all the others she didn’t win.  She is well practiced at playing exuberant just this side of crazy.   But here, she has peeled herself off layer by layer with precision; this isn’t sloppy work.  She aims, she shoots. The first time we see her, walking into the makeup room and looking not at herself in the mirror but at her husband to see his reaction that to the horror that just took place on stage.

She looks at him with so many things going on in her face at once - disappointment mixed with approval-seeking mixed with shame mixed with anger.  It is just a look but it says so much.    The next scene is her hard heels on the high school hallway, clack clack clack clack - so loud and out of place.  There’s nothing to say until they are alone in the car, in the darkness and no one can see them for what they really are.  No longer the glamorous and perfectly held together Wheelers but a collection of mistakes, inbred fury and regret.

In the film April has only one hope of escaping her own life.  She believes that she and Frank can opt out of the American dream and move the family to Paris so Frank can find out who he really is.  She really believes this to be the thing that will rescue them.  For a while they are “happy” again. But things don’t quite turn out that way. Real life rears its ugly head and the moment April feels like there is no way out that is when she implodes.

DiCaprio as Frank Wheeler doesn’t have to delve as deeply as Winslet but he is there to react to her.  His world is pieced together, illusion by illusion, and he’d be content living the typical, hypocritical life of the American male in the pre-feminist 60s - the office, the mistress, the booze, the suits.  His wife is hurting, though, because in many ways she is the one living out the illusion all alone in her pretty house with her perfect kids.  In that way it’s a lot like Mad Men but the characters in the TV series aren’t shattering illusions, not yet anyway.

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Michael Shannon plays the film’s only literally “crazy” person.  He’s received shock therapy numerous times and can’t control his anger or his verbal attacks on anyone he meets.  He is the only person who speaks the truth about what he sees in the lives of the Wheelers.  Does that make him happy?  Nope.  Does that make him sane?  Nope.

He douses the atmosphere with enough crazy that soon the Wheelers find they can’t pretend anymore, especially April who begins to crumple.

Kathy Bates is perfect as the kindly lady who so admires the perfect Wheelers and their perfect little house.  She has some of the film’s best lines and it’s funny to see her with DiCaprio and Winslet all over again.

One of the odd things about the film is the absence of the children in almost every scene.  It is clear that they don’t exist except as set pieces.  Who are they, anyway?  What will become of them?  Again, this echoes Virginia Woolf, where children loom large because George and Martha couldn’t have any.

That makes Revolutionary Road a tough film to connect with; we’re not to admire these people so much as to pity them.  And maybe pity those weak aspects of our character.  What we throw away every day is exactly what matters most in the end.

It’s rough going, to be sure, but it is as beautiful as it is hard to watch.  It has the techs nailed down - Roger Deakins’ breathtaking cinematography, the costumes, the art direction, the score, none of which upstage the story or the acting.

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D4rk-Schn31d3r Newbie

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The Curious Case of Benjamin Button

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'The Curious Case of Benjamin Button'

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A Paramount (in U.S.)/Warner Bros. (foreign) release and presentation of a Kennedy/Marshall production. Produced by Kathleen Kennedy, Frank Marshall, Cean Chaffin. Directed by David Fincher. Screenplay, Eric Roth; screen story, Roth, Robin Swicord, based on a short story by F. Scott Fitzgerald.
 
Benjamin Button - Brad Pitt
Daisy - Cate Blanchett
Queenie - Taraji P. Henson
Caroline - Julia Ormond
Thomas Button - Jason Flemyng
Tizzy - Mahershalalhashbaz Ali
Captain Mike - Jared Harris
Monsieur Devereux - Elias Koteas
Grandma Fuller - Phyllis Somerville
Elizabeth Abbott - Tilda Swinton
Preacher - Lance Nichols
Ngunda Oti - Rampai Mohadi
Daisy age 7 - Elle Fanning
Daisy age 10 - Madisen Beaty
 
"The Curious Case of Benjamin Button" represents a richly satisfying serving of deep-dish Hollywood storytelling. This odd, epic tale of a man who ages backwards is presented in an impeccable classical manner, every detail tended to with fastidious devotion. An example of the most advanced technology placed entirely at the service of story and character, this significant change-of-pace from director David Fincher poses some daunting marketing challenges, even with Brad Pitt atop the cast. Strong critical support will be needed to swell interest in this absorbing, even moving, but emotionally cool film, which is simultaneously accessible and distinctive enough to catch on with a large public if luck and the zeitgeist are with it.

Due to its history-spanning structure, blank-page title character and technical sleight of hand, the film "Benjamin Button" most recalls is "Forrest Gump," but in a good way; it is entirely possible to dislike the 1994 smash and embrace this one, which resists every opportunity for mawkish and sentimental displays. Still, it is no coincidence that Eric Roth wrote both of them, and Roth -- who followed many other writers, including credited co-story author Robin Swicord, in trying to crack the long-gestating project -- has veered far from the specifics of F. Scott Fitzgerald's 1921 short story.

Fitzgerald's original was inspired by a Mark Twain observation to the effect that it's a pity the best part of life comes at the beginning and the worst part at the end. Yarn began in 1860 Baltimore, had Benjamin, born looking like a 70-year-old man, raised by his father, marrying and having a son, starring for Harvard in football and ending his life by attending kindergarten with his own grandson.

Using precious little of the story save the central aging conceit, Roth's version ranges from World War I into the 21st century and creatively uses New Orleans as its base, with sojourns to distant corners of the globe. Scripter could have chosen to make the central figure a more exceptional, active character -- a doer of great things, or an intellectual with an acute awareness of his unique condition. Instead, Benjamin is a passive sort to whom things happen, a trait by no means an impediment to audience involvement. Gump was like that, as were Dr. Zhivago and others.

Fincher spends 13 minutes short of three hours telling this unique man's life story, and the time goes by easily, with no sense of dawdling, waste or indulgence. The film evinces a sure hand that maintains narrative confidence, steadiness of tone and a mature awareness of the temporal nature of life's opportunities and the fleeting quality of happiness.

Death pervades the film and Benjamin's life, but in a matter-of-fact, rather than depressing way; if you're raised among oldsters in a retirement home, death is never a stranger. Framing story is set in a modern hospital room, where the fading Daisy (a recognizable Cate Blanchett under heavy makeup) has her 40ish daughter Caroline (Julia Ormond) read to her from the diary of her late dear friend Benjamin.

Benjamin is born of the armistice and is lovingly raised by a black attendant, Queenie (Taraji P. Henson), at the rest home. An establishment awash in the gentility of the Old South, the place is ideal for a child who, with his bald pate, cataracts, deficient hearing and need for a wheelchair, fits right in with the other occupants.

When he's 12 and looks about 70, Benjamin meets a resident's lovely red-haired granddaughter, Daisy. No doubt named in homage to the immortal heroine of Fitzgerald's "The Great Gatsby," Daisy will zig-zag in and out of his life from then on and eventually embody his emotional touchstone.

With a solicitous stranger he doesn't know is actually his father (Jason Flemyng), as well as with an African pygmy bon vivant (Rampai Mohadi), Benjamin gets a taste of the outside world, including the pleasures of the flesh at a bordello. He also befriends hard-drinking tugboat captain Mike (Jared Harris) and, in time-honored tradition for a young man, goes to sea. In one of the film's most bewitching interludes, Benjamin, who has begun to realize he's looking younger, has an affair in Murmansk with the sophisticated Elizabeth (Tilda Swinton), from whom he learns what it is to be loved and desired. Pic's action highlight is a startling nocturnal encounter between the tug and a Nazi U-boat that has just sunk a troop transport.

Safely back in New Orleans after the war, Benjamin becomes reacquainted with Daisy, now a rising dancer and unashamed sensualist who comes on a little strong for her old friend. But after his father dies, leaving him his button factory and entire estate, Benjamin follows Daisy to New York, where he sees her dancing the ballet in "Carousel," then to Paris, only to continue being rejected by the headstrong young woman even after she suffers a terrible tragedy detailed in a suspense montage that by itself reps a dazzling display of directorial savoir faire.

Much of the film's romantic and philosophical posture hinges on Benjamin and Daisy getting together at the right time, and they do so in an entirely satisfying way; by the time of consummation, with Brad Pitt now in full physical glory and Blanchett at her womanly peak, they -- and the audience -- are more than ready for it. But their passion is all the more pointedly ephemeral due to the consciousness of being headed in opposite physical directions. The necessary acceptance of this fact produces a sincerely and genuinely earned sense of melancholy about the transitive nature of love and life.

The extent to which Fincher and his vast team of collaborators have succeeded in their storytelling can be seen by the fact that one comes out of the film thinking about the characters and narrative intent, not the admittedly amazing aging effects and other technical achievements. Truly, the visions of Benjamin and other central characters at different ages are sights to behold; baby Ben resembling a little E.T., Blanchett appearing a convincing 23. But truly the most unnerving image is Pitt looking more or less the way he did in "Thelma and Louise," or at least half the age of the man now playing the character. Clearly anything is possible.

In all his physical manifestations, Benjamin is a reactor, not a perpetrator, and Pitt inhabits the role genially, gently and sympathetically. Blanchett's Daisy is the more volatile and moody one and, after bluntly revealing the selfish impetuousness of Daisy's youthful self, the thesp fully registers both the passion and insecurity of the mature woman.

Henson, as Benjamin's surrogate mother, and Swinton as the calculating adulteress, are wonderful, and Harris and Mohadi etch particularly colorful supporting turns as two of Benjamin's rowdier cohorts.

Every scene is crammed with detail, from the nooks and crannies of the settings created by production designer Donald Graham Burt and the century-bridging costumes by Jacqueline West to the faces of the main cast and countless extras. Alexandre Desplat's score provides lovely and unobtrusive dramatic support. Fincher and lenser Claudio Miranda shoot mostly in deep focus images to maximize the information in every frame, and the depth of the blacks they achieve shooting on digital is extraordinary.

Still, for what is designed as a rich tapestry, the picture maintains a slightly remote feel. No matter the power of the image of an old but young-looking Benjamin, slumped over a piano and depressed about his fading memory and life; it is possible that the picture might have been warmer and more emotionally accessible had it been shot on film. It has been argued that digital is a cold medium and celluloid a hot one and a case, however speculative, could be made that a story such as "Benjamin Button," with its desired cumulative emotional impact, should be shot and screened on film to be fully realized. These are intangibles, but nor are they imaginary factors; what technology gives, it can also take away.

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excelente crítica de mccarthy ao filme! 2thumbs
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D4rk-Schn31d3r Newbie

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The Curious Case of Benjamin Button: Review

Curiousbenjaminbuttonreacts


I saw The Curious Case of Benjamin Button on Saturday (following the aborted Thursday screening), and have been trying to sort it out ever since.

David Fincher and screenwriter Eric Roth (Forrest Gump) have delivered an historic achievement, a masterful piece of cinema, and a moving treatise on death, loss, loneliness and love. As the movie proceeds, and Brad Pitt as Button ages backwards, we know where he is headed: it's where we are all going. But he feels he has to go there by himself, without his loved ones. And nobody wants to die alone. (Here is Todd McCarthy's review.)

So when the movie reaches its climax, it is extraordinarily moving (although some find the movie cold and dispassionate). It may pack a more powerful punch the older you are and the more people you have lost. In that case it will score with the Academy, who will also recognize the skillful filmmaking on display.

The movie marks a seismic shift in terms of what is possible in moviemaking. What Fincher and his team have done is no small technological feat. Button starts off as a CG-aged baby, moves through CG-altered older Pitt faces superimposed on small bodies, and then proceeds to the "real" Pitt wearing makeup and then getting younger and younger. Thus the film's central performance is in great part a visual effect. (Blanchett is also made younger digitally, but aged with makeup.) That accounts in part for the movie's high cost (well above $150 million) but is also its primary limitation.

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Thus, while I admire the film's amazing accomplishment--it's hard to imagine that anyone but the digitally sophisticated Fincher, who has become adept at "painting" his digital canvases, could have pulled this off--the movie is not entirely satisfying. But given what it is, it's hard to imagine it being done done any better. The actors are superb, especially Pitt and Cate Blanchett, who should earn Oscar noms. What's missing has partly to do with the limitations of the technology. Button reminds me of Peter Sellers as Chauncey Gardner in Being There. He's oddly passive and restrained, zen-like as he floats through all the decades, watching, listening, learning. He narrates the tale via his diary, along with his dying love Blanchett. We see him engaging with people, but he never says much. We see him from the outside; we never get under his skin, and we never learn the fruits of his wisdom. He stays much the same.

Still, the movie is sadly beautiful, of a piece, as impeccably wrought as its ornate clock that runs counterclockwise. Do Paramount and Warner Bros. have a prayer of making their money back? This movie needs all the help it can get, from anyone who loves movies and wants the studios to take more risky bets like this one.

Technorati Tags: Brad Pitt, Cate Blanchett, David Fincher, Eric Roth, Paramount, The Curious Case of Benjamin Button

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go benjamin! go fincher! go roth! go blanchett! go pitt! go the entire cast! 1606
D4rk Schn31d3r2008-11-24 10:04:41
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