Oscar 2006

[guidon]

Acabei de assistir A Outra Face da Raiva.  Bom filme.  Joan Allen está excelente, merecia indicação, só que o fato de o filme ter estreado no início do ano e a disputa estar acirrada podem atrapalhar.  Kevin Costner está ótimo, como há mto tempo não aparecia.  As filhas tbm são bem talentosas e realizam trabalhos bem dignos, especialmente Evan Rachel Wood e principalmente Keri Russel, que está mto bem, ela é uma espécie de coadjuvante principal.  Aliás, tai uma atriz q não tinha decolado.  Ela mostra ser mto talentosa na excelente série Felicity, ganhou até o Globo de Ouro, mto merecidamente, mas ainda não tinha feito mto no cinema.  Isso mudou com esse filme, e q sua participação em MI3 possa fazer os estúdios se interessarem mais por seu talento.

[-felipe-]

Unsentimental journey

 

"Jarhead" delivers a war story of brutality, anger, survival — and ambivalence, which was Hollywood's first reaction to the project.

 

 

 

It has been raining in the desert, an inky drizzle of oil from a burning well nearby. The sand is black with puddles of oil and carbonized Iraqi corpses. A squadron of Desert Storm-era Marines sweat and curse, digging holes in the sand for a bivouac. One of them sees a fellow Marine on a rise, poking at something in the ground. "What's Fowler doing digging way up there?" he asks. Another Marine answers, "He ain't digging."

 

 

 

Fowler is mutilating a dead Iraqi. His buddy is furious. He pulls a poncho around the corpse and starts to drag it away. "There's lots more crispy critters here," Fowler growls. "I'll get as many as I want!" The Marine replies, "You won't get this one."

 

 

 

It is 1991, the dying days of the Gulf War. It was a war that did not end all wars, a war fought by thousands of Marines, including Anthony Swofford, whose 2003 memoir, "Jarhead," offers a scathing chronicle of the loneliness and brutality of modern warfare. Though the book was initially considered untouchable for Hollywood, its tone too acerbic in the patriotic wake of 9/11, "Jarhead" has now been transformed into a film whose pedigree drips with Academy Award associations.

 

 

 

Due out Nov. 4, it was directed by Oscar-winning filmmaker Sam Mendes and written by William Broyles Jr., an award-winning journalist turned screenwriter ("Cast Away") who was himself a Marine in Vietnam. The film has a host of gifted young actors, including Jake Gyllenhaal, who plays Swofford, "Ray" Oscar winner Jamie Foxx, and Peter Sarsgaard. It remains to be seen whether America is ready for a movie that will inevitably make it face questions about the current war in Iraq.

 

 

 

Even though most of the film was shot outside El Centro in the Imperial Valley, with the desert doubling for Kuwait and Saudi Arabia, today's Iraqi corpse scene is filming on a Universal soundstage, the desert proving too hostile an environment for a nighttime sequence with sand and oil fires. As it is, the actors are practically unrecognizable, their faces streaked with a vile black syrup as if they'd just finished a frat fight with 40-weight motor oil.

 

 

 

"It's actually a mixture of molasses, food filler and black food dye," explains Gyllenhaal, who, having hit the weight room and had his hair shorn, barely resembles the scruffy oddball of such indie films as "Donnie Darko" and "The Good Girl." He grimaces.

 

 

 

The actors have been through the wringer, lugging heavy backpacks in the heat, drenched with a rain machine on cold nights, but they rarely complain. "Being out in the elements, wearing all this equipment, takes your mind off the acting," Sarsgaard says dryly. "It's great not having to think about your hair or your clothes.... You never worry, 'Do I look good?' "

 

 

 

With their jarhead 'dos, even these famous faces look strikingly similar, which of course is the whole point — in the military, no one has special privileges. Foxx, who plays a sergeant in charge of Swofford's scout sniper platoon, says that before filming began, he spoke with a friend in the Marines. "He's African American, so he's always had to work harder and be sharper," says Foxx. "But he said once you become a Marine, that's your family. There's no color except the color of your uniform. You'd never survive without the camaraderie."

 

 

 

 

 

 

 

In recent years we have seen war movies of all kinds, from "Saving Private Ryan" to "Black Hawk Down" to "We Were Soldiers." But "Jarhead" is a very different kind of movie, one in which the war is always over the next berm, just out of sight. If it has a point of view about the conflict, or its origins, it isn't showing its hand. Swofford's memoir bristles with anger and raw emotion; the movie is just as vivid but more ambivalent, contemplative one moment, irreverent and profane the next.

 

 

 

"If I felt I understood the essential mystery of war, I'd write it down in an article," says Mendes, whose other films, "American Beauty" and "Road to Perdition," are also filled with elusive characters. His work is marked by contradictions. In "Road to Perdition," for example, Tom Hanks is a morally ambiguous hero, both a hit man and a father protecting his son, leaving us as unsettled and unsure of our feelings as we are about the men portrayed in "Jarhead."

 

 

 

"You don't want to make a movie that has a thesis to propound," Mendes says. "You want to go on a journey. If this film leaves you with questions, you could say the same about 'Apocalypse Now' or 'Saving Private Ryan.' It's always a struggle to understand what war means."

 

 

 

Self-assured without being arrogant, erudite but hardly an egghead, the director can speak persuasively about everything from cricket to "Troilus and Cressida." Having made a film with no conventional narrative, Mendes finds himself thinking of Chekhov. "His plays are all about waiting and boredom — he was the master of making something out of nothing," says the 40-year-old filmmaker, who spent years as a London theater director before making his movie debut with "American Beauty." "And that's a key to this film. I loved that it didn't offer any catharsis. You don't get your rocks off. It's a war movie in which the hero doesn't fire his rifle."

 

 

 

LIFE LESSONS: Gyllenhaal's image of the Marines has been transformed since he took the "Jarhead" role. "I'm in awe of what they do," he says.

 

 

 

MIRRORING REALITY

 

 

 

"Jarhead" arrives at a time when America is mired in Iraq. It is a war that has divided the country and left nearly 1,900 soldiers dead and 13,000 wounded. The flag-waving exultation of the early victories has been replaced by widespread grief, anger and frustration, both here and in Iraq, which is bedeviled by a lethal insurgency. Even though "Jarhead" focuses on the earlier Gulf War, critics will inevitably draw parallels to the current conflict, just as "MASH" was seen as a mocking satire of Vietnam when it was released in 1970, though it was set during the Korean War. However, "Jarhead" offers such an evenhanded look at Swofford's wartime experience that those wanting a devastating indictment or a stirring tribute may find themselves disappointed.

 

 

 

Mendes says that when he began work on the film, "People would say, 'Ooh, you're doing something dangerous!' And I'd answer, 'What's dangerous about making a film about this country's real-life experiences?' As a European, I was shocked how little actual debate you heard here about what was going on in Iraq. When we were in the desert, I'd get USA Today at my door, with pictures of Marines in Iraq today. At the set, someone would say, 'Did you see the cover of USA Today?' And I'd go, 'Yeah, it looked exactly like the shot we did yesterday.' "

 

 

 

If "Jarhead" is crammed with contradictions, it is an apt reflection of its creative team's own ambivalence. The film's young stars, for example, are largely the kind of guys you'd meet at a peace march, yet they are fierce admirers of the soldiers doing the fighting. Broyles has been a critic of the war, yet he fought in Vietnam and has a son serving in the Air Force in Iraq. Mendes opposed the invasion of Iraq but supported America's invasion of Afghanistan. The director says he had eight Marine advisors on the film; all voted Republican, "but very few of them felt it was right for us to be in Iraq."

 

 

 

For Mendes, the Middle East is a complex political landscape, not open to simple answers. "It would be easy for anyone who hasn't seen the movie to imagine it as disrespectful of the Marines, but it's quite the opposite. It's a hymn to their resilience and tenacity. It's not pro-war or antiwar. It's one man's version of this war."

 

 

 

If anyone has seen his beliefs challenged by the experience of making the film, it's Gyllenhaal, who plays a scout sniper trained to take out distant targets with a .50-caliber sniper rifle. Talk about casting against type. The actor grew up in what he calls a "super-liberal antiwar family." His sister, the actress Maggie Gyllenhaal, was recently under attack after saying that the United States was "responsible in some way" for the 2001 terror attacks. Gyllenhaal says his mother "freaked out" when he got his hair cut for "Jarhead."

 

 

 

"She went, 'Oh, my God, what happened to my son?" he says with a laugh. "My dad forced her to hold her breath talking about the war while I'm doing this movie." Gyllenhaal's image of the Marines has been transformed since he took the role. "I'm in awe of what they do," he says. "These guys are no older than me, and they're choosing to go to Iraq and give their lives. I mean, I'm their age, and I don't even know who I am yet. I really wonder if I could handle what they go through."

 

 

 

UNITY: Before filming, Foxx spoke with an African American friend in the Marines. "He said once you become a Marine, that's your family. There's no color, except the color of your uniform."

 

 

 

UNWELCOME CANDOR

 

 

 

The initial Hollywood reaction to "Jarhead" was resounding disinterest. ICM agent Ron Bernstein sent the manuscript to the town's top book buyers, who all promptly passed. It was fall 2002, barely a year after the9/11 attacks, a time when a caustic memoir about the Gulf War fell on profoundly deaf ears. "The response was icy cold," recalls Bernstein. "Nobody wanted to touch it because no one wanted to see anything critical of the military." Even after publication in March 2003, when the book earned rave reviews, industry reaction was, as Bernstein put it, "all smoke, no fire."

 

 

 

However, the book found a pair of admirers in Douglas Wick and Lucy Fisher, producers of the upcoming "Memoirs of a Geisha." They knew that the best way to get a studio interested was to recruit high-profile collaborators, so they sent the book to Broyles, who earned an Oscar nomination for his work on "Apollo 13." With a son already in Iraq, the ex-Marine felt a deep kinship with Swofford's story. "I probably did it because I couldn't bear to have anyone else do it," he recalls.

 

 

 

Although Broyles' script retains many scenes from the book, it radically reshapes the story, putting it in chronological order and focusing on Swofford's Gulf War experience, jettisoning most of his family relationships and his traumatic postwar readjustment. Because Wick and Fisher have a deal with Sony, they took the script there first. When Sony passed, they went to Universal, which bought it right away. Wick recalls being especially nervous about sending the script out to directors. "It was scary because you really needed someone who would get the black humor but not turn it into a comedy."

 

 

 

When the producers heard that Mendes was available — he was actually bidding against them on a spec script at the time — Wick sent him the book. "I'm one of these people who saw 'Three Kings' and thought, 'Well, that's all the juice you can squeeze out of that conflict,' " he explains. "But reading Tony's book, I was fascinated by him — was he a true professional soldier or the ultimate anti-soldier? Were these grunts the victims or the aggressors?"

 

 

 

Mendes and Broyles worked for months on innumerable drafts of the script. Broyles' Vietnam background did not go unmined. One day Mendes asked the writer what Marines had called napalmed corpses. "Crispy critters," Broyles replied. Mendes practically jumped out of his chair, exclaiming, "Oh! You've got to put that in." The men were still tinkering with the film's ending in late August. "Sam was a joy," says Broyles. "The directors I like working with are the ones who aren't completely satisfied. Sam isn't proprietary at all about ideas. If it's a good idea, he doesn't care where it comes from."

 

 

 

With Mendes at the helm, the film had its pick of the town's best young acting talent. Gyllenhaal was dying to play Swofford but had to endure months of characteristic ambivalence from Mendes. When the actor first read for the director, he thought he'd blown the audition. "I knew it was bad because he didn't talk to me for four months," Gyllenhaal says.

 

 

 

When he heard through the grapevine that Mendes was meeting with other actors, he called at 2 a.m. and left the director a message, the desperation clear in his voice. "I said, 'I'm willing to vomit in the sand, I'll do whatever you want me to do, but I'm the guy to be in this movie!' " Gyllenhaal groans. "He never called me back!" A month later, Mendes told him he had the part.

 

 

 

Broyles and Mendes had met with Swofford to obtain information about Marine armament and training techniques. Just before filming began, Mendes set up a lunch with Gyllenhaal and Swofford. It was an awkward moment. "I panicked," Gyllenhaal recalls. "It played on all my fears about being an L.A. kid from Harvard-Westlake. I kept thinking: 'I don't look like him. I don't act like him. Maybe they should've cast someone else in the part.' I barely said a word."

 

 

 

Once the rest of the cast was assembled and the filmmakers had $60 million from Universal Pictures, they went off to shoot.

 

 

 

Mendes loved the desert. "The absolute flatness is amazing. It's very Zen-like — there's something psychologically cleansing about it." But he admits that it presented its own special challenges. "We all went a little crazy out there. You have an entirely blank environment, so you can't say, 'Let's set up next to that tree,' because, of course, there's no trees at all. And then there's the whole idea of communications. I said to [cinematographer] Roger Deakins, 'How on earth did David Lean ever do "Lawrence of Arabia" without cellphones?' "

 

 

 

 

 

TWO MEN, TWO WARS

 

 

 

Broyles and Swofford were both Marines, but their wars were very different. "Tony's generation had a more clear sense of purpose," says Broyles. "For whatever reason, they all wanted to be there. We were drafted. And by the time I got there, in 1969, we had no idea what we were there for."

 

 

 

What both men agree on — and what they've both written movingly about — is how much they miss their guns. "When I got back from Vietnam, I missed having my weapon," Broyles says. "There's some kind of primal connection you have with your rifle. It's like a cowboy and his horse. You take the cowboy off his horse and he still walks bowlegged because they are one thing, just like you and your rifle."

 

 

 

In 1984, Broyles wrote an eloquent essay for Esquire magazine, "Why Men Love War." As he put it then: "That's why, when we returned from Vietnam, we moped around, listless, not interested in anything or anyone. Something had gone out of our lives forever, and our behavior on returning was inexplicable except as the behavior of men who had lost a great — perhaps the great — love of their lives, and had no way to tell anyone about it."

 

 

 

In many ways, that sense of experiencing something horrible and exhilarating, which few people outside your insular world will ever truly understand, is what "Jarhead" is about. War, even the monotonous preparation for war, is filled with such a primal intensity that everything afterward pales by comparison. It's why in his memoir Swofford contends that Vietnam-era films are "all pro-war, no matter what the supposed message Kubrick or Coppola or Stone intended." While civilians and parents watch those films and weep, the men who go to war see those same films "and are excited by them, because the magic brutality of the films celebrates the terrible and despicable beauty of their fighting skills."

 

 

 

All through filming, Mendes and the actors were constantly asked if they were making an antiwar film. Everyone wrestled with an answer. "I always said, 'Well, there aren't many pro-war movies,' " explains Sarsgaard. "I think this story taps into our subconscious idea of who we are as a country and what our ideals are. And in some ways, what we feel in our dreams is probably a lot more important than what we think about our country in our conscious minds."

 

 

 

Of course, moviegoers aren't usually on such an exalted plane when they make their decisions about what to see on Friday night. It's an open question, even if "Jarhead" earns respectful reviews, whether Americans who have paid so little attention to the messy events in Iraq will want to experience a film that offers such an unsentimental portrait of men going off to war.

 

 

 

"Look, when we decided to make this movie we were all aware that people were turning a blind eye to the war — all they wanted to do was watch 'American Idol,' " says Universal Pictures chairman Stacey Snider. "But we always believed that Sam and his creative partners could do something great with this material. In recent months it feels like people are starting to engage. It's not just the pundits and the bloggers — people seem to be spending a lot more time reading the front pages. And you always want to believe that if a great movie comes along, you'll find a way to get people not to turn away."

 

 

 

As in Swofford's memoir, there is no neatly wrapped finale in the film, no momentous victory, no bitter defeat. For Broyles, who says that until his son comes home he is terrified every time his phone rings late at night, this is as it should be. "Our story is unromantic and apolitical. It's about young men who join the Marine Corps trying to find a place for themselves in life. And all I want is for the audience to feel what those young men feel."

 

 

[Scarlet Rose]

Unsentimental journey
"Jarhead" delivers a war story of brutality' date=' anger, survival — and ambivalence, which was Hollywood's first reaction to the project.

It has been raining in the desert, an inky drizzle of oil from a burning well nearby. The sand is black with puddles of oil and carbonized Iraqi corpses. A squadron of Desert Storm-era Marines sweat and curse, digging holes in the sand for a bivouac. One of them sees a fellow Marine on a rise, poking at something in the ground. "What's Fowler doing digging way up there?" he asks. Another Marine answers, "He ain't digging."

Fowler is mutilating a dead Iraqi. His buddy is furious. He pulls a poncho around the corpse and starts to drag it away. "There's lots more crispy critters here," Fowler growls. "I'll get as many as I want!" The Marine replies, "You won't get this one."

It is 1991, the dying days of the Gulf War. It was a war that did not end all wars, a war fought by thousands of Marines, including Anthony Swofford, whose 2003 memoir, "Jarhead," offers a scathing chronicle of the loneliness and brutality of modern warfare. Though the book was initially considered untouchable for Hollywood, its tone too acerbic in the patriotic wake of 9/11, "Jarhead" has now been transformed into a film whose pedigree drips with Academy Award associations.

Due out Nov. 4, it was directed by Oscar-winning filmmaker Sam Mendes and written by William Broyles Jr., an award-winning journalist turned screenwriter ("Cast Away") who was himself a Marine in Vietnam. The film has a host of gifted young actors, including Jake Gyllenhaal, who plays Swofford, "Ray" Oscar winner Jamie Foxx, and Peter Sarsgaard. It remains to be seen whether America is ready for a movie that will inevitably make it face questions about the current war in Iraq.

Even though most of the film was shot outside El Centro in the Imperial Valley, with the desert doubling for Kuwait and Saudi Arabia, today's Iraqi corpse scene is filming on a Universal soundstage, the desert proving too hostile an environment for a nighttime sequence with sand and oil fires. As it is, the actors are practically unrecognizable, their faces streaked with a vile black syrup as if they'd just finished a frat fight with 40-weight motor oil.

"It's actually a mixture of molasses, food filler and black food dye," explains Gyllenhaal, who, having hit the weight room and had his hair shorn, barely resembles the scruffy oddball of such indie films as "Donnie Darko" and "The Good Girl." He grimaces.

The actors have been through the wringer, lugging heavy backpacks in the heat, drenched with a rain machine on cold nights, but they rarely complain. "Being out in the elements, wearing all this equipment, takes your mind off the acting," Sarsgaard says dryly. "It's great not having to think about your hair or your clothes.... You never worry, 'Do I look good?' "

With their jarhead 'dos, even these famous faces look strikingly similar, which of course is the whole point — in the military, no one has special privileges. Foxx, who plays a sergeant in charge of Swofford's scout sniper platoon, says that before filming began, he spoke with a friend in the Marines. "He's African American, so he's always had to work harder and be sharper," says Foxx. "But he said once you become a Marine, that's your family. There's no color except the color of your uniform. You'd never survive without the camaraderie."



In recent years we have seen war movies of all kinds, from "Saving Private Ryan" to "Black Hawk Down" to "We Were Soldiers." But "Jarhead" is a very different kind of movie, one in which the war is always over the next berm, just out of sight. If it has a point of view about the conflict, or its origins, it isn't showing its hand. Swofford's memoir bristles with anger and raw emotion; the movie is just as vivid but more ambivalent, contemplative one moment, irreverent and profane the next.

"If I felt I understood the essential mystery of war, I'd write it down in an article," says Mendes, whose other films, "American Beauty" and "Road to Perdition," are also filled with elusive characters. His work is marked by contradictions. In "Road to Perdition," for example, Tom Hanks is a morally ambiguous hero, both a hit man and a father protecting his son, leaving us as unsettled and unsure of our feelings as we are about the men portrayed in "Jarhead."

"You don't want to make a movie that has a thesis to propound," Mendes says. "You want to go on a journey. If this film leaves you with questions, you could say the same about 'Apocalypse Now' or 'Saving Private Ryan.' It's always a struggle to understand what war means."

Self-assured without being arrogant, erudite but hardly an egghead, the director can speak persuasively about everything from cricket to "Troilus and Cressida." Having made a film with no conventional narrative, Mendes finds himself thinking of Chekhov. "His plays are all about waiting and boredom — he was the master of making something out of nothing," says the 40-year-old filmmaker, who spent years as a London theater director before making his movie debut with "American Beauty." "And that's a key to this film. I loved that it didn't offer any catharsis. You don't get your rocks off. It's a war movie in which the hero doesn't fire his rifle."

LIFE LESSONS: Gyllenhaal's image of the Marines has been transformed since he took the "Jarhead" role. "I'm in awe of what they do," he says.

MIRRORING REALITY

"Jarhead" arrives at a time when America is mired in Iraq. It is a war that has divided the country and left nearly 1,900 soldiers dead and 13,000 wounded. The flag-waving exultation of the early victories has been replaced by widespread grief, anger and frustration, both here and in Iraq, which is bedeviled by a lethal insurgency. Even though "Jarhead" focuses on the earlier Gulf War, critics will inevitably draw parallels to the current conflict, just as "MASH" was seen as a mocking satire of Vietnam when it was released in 1970, though it was set during the Korean War. However, "Jarhead" offers such an evenhanded look at Swofford's wartime experience that those wanting a devastating indictment or a stirring tribute may find themselves disappointed.

Mendes says that when he began work on the film, "People would say, 'Ooh, you're doing something dangerous!' And I'd answer, 'What's dangerous about making a film about this country's real-life experiences?' As a European, I was shocked how little actual debate you heard here about what was going on in Iraq. When we were in the desert, I'd get USA Today at my door, with pictures of Marines in Iraq today. At the set, someone would say, 'Did you see the cover of USA Today?' And I'd go, 'Yeah, it looked exactly like the shot we did yesterday.' "

If "Jarhead" is crammed with contradictions, it is an apt reflection of its creative team's own ambivalence. The film's young stars, for example, are largely the kind of guys you'd meet at a peace march, yet they are fierce admirers of the soldiers doing the fighting. Broyles has been a critic of the war, yet he fought in Vietnam and has a son serving in the Air Force in Iraq. Mendes opposed the invasion of Iraq but supported America's invasion of Afghanistan. The director says he had eight Marine advisors on the film; all voted Republican, "but very few of them felt it was right for us to be in Iraq."

For Mendes, the Middle East is a complex political landscape, not open to simple answers. "It would be easy for anyone who hasn't seen the movie to imagine it as disrespectful of the Marines, but it's quite the opposite. It's a hymn to their resilience and tenacity. It's not pro-war or antiwar. It's one man's version of this war."

If anyone has seen his beliefs challenged by the experience of making the film, it's Gyllenhaal, who plays a scout sniper trained to take out distant targets with a .50-caliber sniper rifle. Talk about casting against type. The actor grew up in what he calls a "super-liberal antiwar family." His sister, the actress Maggie Gyllenhaal, was recently under attack after saying that the United States was "responsible in some way" for the 2001 terror attacks. Gyllenhaal says his mother "freaked out" when he got his hair cut for "Jarhead."

"She went, 'Oh, my God, what happened to my son?" he says with a laugh. "My dad forced her to hold her breath talking about the war while I'm doing this movie." Gyllenhaal's image of the Marines has been transformed since he took the role. "I'm in awe of what they do," he says. "These guys are no older than me, and they're choosing to go to Iraq and give their lives. I mean, I'm their age, and I don't even know who I am yet. I really wonder if I could handle what they go through."

UNITY: Before filming, Foxx spoke with an African American friend in the Marines. "He said once you become a Marine, that's your family. There's no color, except the color of your uniform."

UNWELCOME CANDOR

The initial Hollywood reaction to "Jarhead" was resounding disinterest. ICM agent Ron Bernstein sent the manuscript to the town's top book buyers, who all promptly passed. It was fall 2002, barely a year after the9/11 attacks, a time when a caustic memoir about the Gulf War fell on profoundly deaf ears. "The response was icy cold," recalls Bernstein. "Nobody wanted to touch it because no one wanted to see anything critical of the military." Even after publication in March 2003, when the book earned rave reviews, industry reaction was, as Bernstein put it, "all smoke, no fire."

However, the book found a pair of admirers in Douglas Wick and Lucy Fisher, producers of the upcoming "Memoirs of a Geisha." They knew that the best way to get a studio interested was to recruit high-profile collaborators, so they sent the book to Broyles, who earned an Oscar nomination for his work on "Apollo 13." With a son already in Iraq, the ex-Marine felt a deep kinship with Swofford's story. "I probably did it because I couldn't bear to have anyone else do it," he recalls.

Although Broyles' script retains many scenes from the book, it radically reshapes the story, putting it in chronological order and focusing on Swofford's Gulf War experience, jettisoning most of his family relationships and his traumatic postwar readjustment. Because Wick and Fisher have a deal with Sony, they took the script there first. When Sony passed, they went to Universal, which bought it right away. Wick recalls being especially nervous about sending the script out to directors. "It was scary because you really needed someone who would get the black humor but not turn it into a comedy."

When the producers heard that Mendes was available — he was actually bidding against them on a spec script at the time — Wick sent him the book. "I'm one of these people who saw 'Three Kings' and thought, 'Well, that's all the juice you can squeeze out of that conflict,' " he explains. "But reading Tony's book, I was fascinated by him — was he a true professional soldier or the ultimate anti-soldier? Were these grunts the victims or the aggressors?"

Mendes and Broyles worked for months on innumerable drafts of the script. Broyles' Vietnam background did not go unmined. One day Mendes asked the writer what Marines had called napalmed corpses. "Crispy critters," Broyles replied. Mendes practically jumped out of his chair, exclaiming, "Oh! You've got to put that in." The men were still tinkering with the film's ending in late August. "Sam was a joy," says Broyles. "The directors I like working with are the ones who aren't completely satisfied. Sam isn't proprietary at all about ideas. If it's a good idea, he doesn't care where it comes from."

With Mendes at the helm, the film had its pick of the town's best young acting talent. Gyllenhaal was dying to play Swofford but had to endure months of characteristic ambivalence from Mendes. When the actor first read for the director, he thought he'd blown the audition. "I knew it was bad because he didn't talk to me for four months," Gyllenhaal says.

When he heard through the grapevine that Mendes was meeting with other actors, he called at 2 a.m. and left the director a message, the desperation clear in his voice. "I said, 'I'm willing to vomit in the sand, I'll do whatever you want me to do, but I'm the guy to be in this movie!' " Gyllenhaal groans. "He never called me back!" A month later, Mendes told him he had the part.

Broyles and Mendes had met with Swofford to obtain information about Marine armament and training techniques. Just before filming began, Mendes set up a lunch with Gyllenhaal and Swofford. It was an awkward moment. "I panicked," Gyllenhaal recalls. "It played on all my fears about being an L.A. kid from Harvard-Westlake. I kept thinking: 'I don't look like him. I don't act like him. Maybe they should've cast someone else in the part.' I barely said a word."

Once the rest of the cast was assembled and the filmmakers had $60 million from Universal Pictures, they went off to shoot.

Mendes loved the desert. "The absolute flatness is amazing. It's very Zen-like — there's something psychologically cleansing about it." But he admits that it presented its own special challenges. "We all went a little crazy out there. You have an entirely blank environment, so you can't say, 'Let's set up next to that tree,' because, of course, there's no trees at all. And then there's the whole idea of communications. I said to [cinematographer'] Roger Deakins, 'How on earth did David Lean ever do "Lawrence of Arabia" without cellphones?' "


TWO MEN, TWO WARS

Broyles and Swofford were both Marines, but their wars were very different. "Tony's generation had a more clear sense of purpose," says Broyles. "For whatever reason, they all wanted to be there. We were drafted. And by the time I got there, in 1969, we had no idea what we were there for."

What both men agree on — and what they've both written movingly about — is how much they miss their guns. "When I got back from Vietnam, I missed having my weapon," Broyles says. "There's some kind of primal connection you have with your rifle. It's like a cowboy and his horse. You take the cowboy off his horse and he still walks bowlegged because they are one thing, just like you and your rifle."

In 1984, Broyles wrote an eloquent essay for Esquire magazine, "Why Men Love War." As he put it then: "That's why, when we returned from Vietnam, we moped around, listless, not interested in anything or anyone. Something had gone out of our lives forever, and our behavior on returning was inexplicable except as the behavior of men who had lost a great — perhaps the great — love of their lives, and had no way to tell anyone about it."

In many ways, that sense of experiencing something horrible and exhilarating, which few people outside your insular world will ever truly understand, is what "Jarhead" is about. War, even the monotonous preparation for war, is filled with such a primal intensity that everything afterward pales by comparison. It's why in his memoir Swofford contends that Vietnam-era films are "all pro-war, no matter what the supposed message Kubrick or Coppola or Stone intended." While civilians and parents watch those films and weep, the men who go to war see those same films "and are excited by them, because the magic brutality of the films celebrates the terrible and despicable beauty of their fighting skills."

All through filming, Mendes and the actors were constantly asked if they were making an antiwar film. Everyone wrestled with an answer. "I always said, 'Well, there aren't many pro-war movies,' " explains Sarsgaard. "I think this story taps into our subconscious idea of who we are as a country and what our ideals are. And in some ways, what we feel in our dreams is probably a lot more important than what we think about our country in our conscious minds."

Of course, moviegoers aren't usually on such an exalted plane when they make their decisions about what to see on Friday night. It's an open question, even if "Jarhead" earns respectful reviews, whether Americans who have paid so little attention to the messy events in Iraq will want to experience a film that offers such an unsentimental portrait of men going off to war.

"Look, when we decided to make this movie we were all aware that people were turning a blind eye to the war — all they wanted to do was watch 'American Idol,' " says Universal Pictures chairman Stacey Snider. "But we always believed that Sam and his creative partners could do something great with this material. In recent months it feels like people are starting to engage. It's not just the pundits and the bloggers — people seem to be spending a lot more time reading the front pages. And you always want to believe that if a great movie comes along, you'll find a way to get people not to turn away."

As in Swofford's memoir, there is no neatly wrapped finale in the film, no momentous victory, no bitter defeat. For Broyles, who says that until his son comes home he is terrified every time his phone rings late at night, this is as it should be. "Our story is unromantic and apolitical. It's about young men who join the Marine Corps trying to find a place for themselves in life. And all I want is for the audience to feel what those young men feel."

Bom ano pro Jake Gyllenhall! O cara tá em todas!

[FeCamargo]

Bomba!!!!!!!!

Finalmente saiu a primeira exibição teste de All The King's Men para os críticos...eu não sei se é boato' date=' ou falsa crítica...mas está lá que o filme é um OSCAR ROYALTY...ou seja, vem com tudo e mais um pouco. O filme não é refilmagem do filme de 49, na realidade, é uma nova adaptação do livro e dizem mais...esqueçam tudo que foi comentado sobre este projeto até agora...pois ninguém acertou nada...e aí que veio a bomba-mor...disseram que o papel de James Gandolfini é maior do que o de Sean Pean...o filme é retratado por outra visão, muito mais pesada e densa do que o filme de 49!!!!!!! Parece que o único retoque a ser feito é na duração, o longa tem 3 horas de duração, e Zaillian incontente com isso, vai cortar 15 minutos para deixá-lo mais ágil.

Agora a coisa embananou de vez!!!

PS: notícia publicada pelo The Times, de Londres e postada tb no GoldDerby.

[/quote']

Alguma novidade sobre o personagem da Winslet?! Ele será pequeno mesmo ou podemos esperar um personagem mais participativo no filme?!

Nenhuma menção sobre isso Bart!

[FeCamargo]

Off tópico

Fe assisti novamente a Closer e O Aviador e tenho que dar meu braço a torcer:

Closer- uma obra- prima' date=' com atores excepcionais.  Natalie Portman está divina e Clive idem.  JUlia brilhante e Law excelente.  Direção primorosa, roteiro genial e aquele final magnífico. 

O Aviador- Finalmente gostei do filme, é excelente, Scorsese realiza uma direção mágica e estupenda, pena que ele concorreu com o Eastwood, pena pra ele né, atuações excepcionais do DiCaprio e da Blanchett (que, mereceu seu Oscar, vc vai rir da minha cara né)além do soberbo Alan Alda, assim como Jude Law, Kate Beckinsaele, John C. Reilly, Ian Holme e Alec Baldwin, todos ótimos.  Roteiro esplêndido e visualmente fantástico.  Grande Scorsese, se recuperou e mto bem do  fiaso Gangues de Nova York.

Mas observei que é incrível q vc pode assistir novamente a um filme q não gostou, e com um olhar diferente e mais cuidadoso, pode mudar totalmente sua visão.  O msm para atuações e direção.

[/quote']

Que bom Guidon!!!!
É normal as opiniões mudarem com o tempo, e é sempre bom fazer uma revisitada para aprumar a sua opinião...e fico feliz que você gostou dos filmes...pois são dois dos melhores do último ano...como Closer não havia sido indicado, e na minha excêntrica opinião que finding Neverland era o melhor entre os indicados, mas sem chances de vitória, torcia pela obra de Scorcese, que na minha opinião, eé muito mais sincera, verdadeira e voltada para o lado artístico e da realização pessoal de seus idealizadores, do que Menina de Ouro...uma pena sua derrota, pois, Scorcese nos entregou um trabalho memorável.

[FeCamargo]

Unsentimental journey
"Jarhead" delivers a war story of brutality' date=' anger, survival — and ambivalence, which was Hollywood's first reaction to the project.

It has been raining in the desert, an inky drizzle of oil from a burning well nearby. The sand is black with puddles of oil and carbonized Iraqi corpses. A squadron of Desert Storm-era Marines sweat and curse, digging holes in the sand for a bivouac. One of them sees a fellow Marine on a rise, poking at something in the ground. "What's Fowler doing digging way up there?" he asks. Another Marine answers, "He ain't digging."

Fowler is mutilating a dead Iraqi. His buddy is furious. He pulls a poncho around the corpse and starts to drag it away. "There's lots more crispy critters here," Fowler growls. "I'll get as many as I want!" The Marine replies, "You won't get this one."

It is 1991, the dying days of the Gulf War. It was a war that did not end all wars, a war fought by thousands of Marines, including Anthony Swofford, whose 2003 memoir, "Jarhead," offers a scathing chronicle of the loneliness and brutality of modern warfare. Though the book was initially considered untouchable for Hollywood, its tone too acerbic in the patriotic wake of 9/11, "Jarhead" has now been transformed into a film whose pedigree drips with Academy Award associations.

Due out Nov. 4, it was directed by Oscar-winning filmmaker Sam Mendes and written by William Broyles Jr., an award-winning journalist turned screenwriter ("Cast Away") who was himself a Marine in Vietnam. The film has a host of gifted young actors, including Jake Gyllenhaal, who plays Swofford, "Ray" Oscar winner Jamie Foxx, and Peter Sarsgaard. It remains to be seen whether America is ready for a movie that will inevitably make it face questions about the current war in Iraq.

Even though most of the film was shot outside El Centro in the Imperial Valley, with the desert doubling for Kuwait and Saudi Arabia, today's Iraqi corpse scene is filming on a Universal soundstage, the desert proving too hostile an environment for a nighttime sequence with sand and oil fires. As it is, the actors are practically unrecognizable, their faces streaked with a vile black syrup as if they'd just finished a frat fight with 40-weight motor oil.

"It's actually a mixture of molasses, food filler and black food dye," explains Gyllenhaal, who, having hit the weight room and had his hair shorn, barely resembles the scruffy oddball of such indie films as "Donnie Darko" and "The Good Girl." He grimaces.

The actors have been through the wringer, lugging heavy backpacks in the heat, drenched with a rain machine on cold nights, but they rarely complain. "Being out in the elements, wearing all this equipment, takes your mind off the acting," Sarsgaard says dryly. "It's great not having to think about your hair or your clothes.... You never worry, 'Do I look good?' "

With their jarhead 'dos, even these famous faces look strikingly similar, which of course is the whole point — in the military, no one has special privileges. Foxx, who plays a sergeant in charge of Swofford's scout sniper platoon, says that before filming began, he spoke with a friend in the Marines. "He's African American, so he's always had to work harder and be sharper," says Foxx. "But he said once you become a Marine, that's your family. There's no color except the color of your uniform. You'd never survive without the camaraderie."



In recent years we have seen war movies of all kinds, from "Saving Private Ryan" to "Black Hawk Down" to "We Were Soldiers." But "Jarhead" is a very different kind of movie, one in which the war is always over the next berm, just out of sight. If it has a point of view about the conflict, or its origins, it isn't showing its hand. Swofford's memoir bristles with anger and raw emotion; the movie is just as vivid but more ambivalent, contemplative one moment, irreverent and profane the next.

"If I felt I understood the essential mystery of war, I'd write it down in an article," says Mendes, whose other films, "American Beauty" and "Road to Perdition," are also filled with elusive characters. His work is marked by contradictions. In "Road to Perdition," for example, Tom Hanks is a morally ambiguous hero, both a hit man and a father protecting his son, leaving us as unsettled and unsure of our feelings as we are about the men portrayed in "Jarhead."

"You don't want to make a movie that has a thesis to propound," Mendes says. "You want to go on a journey. If this film leaves you with questions, you could say the same about 'Apocalypse Now' or 'Saving Private Ryan.' It's always a struggle to understand what war means."

Self-assured without being arrogant, erudite but hardly an egghead, the director can speak persuasively about everything from cricket to "Troilus and Cressida." Having made a film with no conventional narrative, Mendes finds himself thinking of Chekhov. "His plays are all about waiting and boredom — he was the master of making something out of nothing," says the 40-year-old filmmaker, who spent years as a London theater director before making his movie debut with "American Beauty." "And that's a key to this film. I loved that it didn't offer any catharsis. You don't get your rocks off. It's a war movie in which the hero doesn't fire his rifle."

LIFE LESSONS: Gyllenhaal's image of the Marines has been transformed since he took the "Jarhead" role. "I'm in awe of what they do," he says.

MIRRORING REALITY

"Jarhead" arrives at a time when America is mired in Iraq. It is a war that has divided the country and left nearly 1,900 soldiers dead and 13,000 wounded. The flag-waving exultation of the early victories has been replaced by widespread grief, anger and frustration, both here and in Iraq, which is bedeviled by a lethal insurgency. Even though "Jarhead" focuses on the earlier Gulf War, critics will inevitably draw parallels to the current conflict, just as "MASH" was seen as a mocking satire of Vietnam when it was released in 1970, though it was set during the Korean War. However, "Jarhead" offers such an evenhanded look at Swofford's wartime experience that those wanting a devastating indictment or a stirring tribute may find themselves disappointed.

Mendes says that when he began work on the film, "People would say, 'Ooh, you're doing something dangerous!' And I'd answer, 'What's dangerous about making a film about this country's real-life experiences?' As a European, I was shocked how little actual debate you heard here about what was going on in Iraq. When we were in the desert, I'd get USA Today at my door, with pictures of Marines in Iraq today. At the set, someone would say, 'Did you see the cover of USA Today?' And I'd go, 'Yeah, it looked exactly like the shot we did yesterday.' "

If "Jarhead" is crammed with contradictions, it is an apt reflection of its creative team's own ambivalence. The film's young stars, for example, are largely the kind of guys you'd meet at a peace march, yet they are fierce admirers of the soldiers doing the fighting. Broyles has been a critic of the war, yet he fought in Vietnam and has a son serving in the Air Force in Iraq. Mendes opposed the invasion of Iraq but supported America's invasion of Afghanistan. The director says he had eight Marine advisors on the film; all voted Republican, "but very few of them felt it was right for us to be in Iraq."

For Mendes, the Middle East is a complex political landscape, not open to simple answers. "It would be easy for anyone who hasn't seen the movie to imagine it as disrespectful of the Marines, but it's quite the opposite. It's a hymn to their resilience and tenacity. It's not pro-war or antiwar. It's one man's version of this war."

If anyone has seen his beliefs challenged by the experience of making the film, it's Gyllenhaal, who plays a scout sniper trained to take out distant targets with a .50-caliber sniper rifle. Talk about casting against type. The actor grew up in what he calls a "super-liberal antiwar family." His sister, the actress Maggie Gyllenhaal, was recently under attack after saying that the United States was "responsible in some way" for the 2001 terror attacks. Gyllenhaal says his mother "freaked out" when he got his hair cut for "Jarhead."

"She went, 'Oh, my God, what happened to my son?" he says with a laugh. "My dad forced her to hold her breath talking about the war while I'm doing this movie." Gyllenhaal's image of the Marines has been transformed since he took the role. "I'm in awe of what they do," he says. "These guys are no older than me, and they're choosing to go to Iraq and give their lives. I mean, I'm their age, and I don't even know who I am yet. I really wonder if I could handle what they go through."

UNITY: Before filming, Foxx spoke with an African American friend in the Marines. "He said once you become a Marine, that's your family. There's no color, except the color of your uniform."

UNWELCOME CANDOR

The initial Hollywood reaction to "Jarhead" was resounding disinterest. ICM agent Ron Bernstein sent the manuscript to the town's top book buyers, who all promptly passed. It was fall 2002, barely a year after the9/11 attacks, a time when a caustic memoir about the Gulf War fell on profoundly deaf ears. "The response was icy cold," recalls Bernstein. "Nobody wanted to touch it because no one wanted to see anything critical of the military." Even after publication in March 2003, when the book earned rave reviews, industry reaction was, as Bernstein put it, "all smoke, no fire."

However, the book found a pair of admirers in Douglas Wick and Lucy Fisher, producers of the upcoming "Memoirs of a Geisha." They knew that the best way to get a studio interested was to recruit high-profile collaborators, so they sent the book to Broyles, who earned an Oscar nomination for his work on "Apollo 13." With a son already in Iraq, the ex-Marine felt a deep kinship with Swofford's story. "I probably did it because I couldn't bear to have anyone else do it," he recalls.

Although Broyles' script retains many scenes from the book, it radically reshapes the story, putting it in chronological order and focusing on Swofford's Gulf War experience, jettisoning most of his family relationships and his traumatic postwar readjustment. Because Wick and Fisher have a deal with Sony, they took the script there first. When Sony passed, they went to Universal, which bought it right away. Wick recalls being especially nervous about sending the script out to directors. "It was scary because you really needed someone who would get the black humor but not turn it into a comedy."

When the producers heard that Mendes was available — he was actually bidding against them on a spec script at the time — Wick sent him the book. "I'm one of these people who saw 'Three Kings' and thought, 'Well, that's all the juice you can squeeze out of that conflict,' " he explains. "But reading Tony's book, I was fascinated by him — was he a true professional soldier or the ultimate anti-soldier? Were these grunts the victims or the aggressors?"

Mendes and Broyles worked for months on innumerable drafts of the script. Broyles' Vietnam background did not go unmined. One day Mendes asked the writer what Marines had called napalmed corpses. "Crispy critters," Broyles replied. Mendes practically jumped out of his chair, exclaiming, "Oh! You've got to put that in." The men were still tinkering with the film's ending in late August. "Sam was a joy," says Broyles. "The directors I like working with are the ones who aren't completely satisfied. Sam isn't proprietary at all about ideas. If it's a good idea, he doesn't care where it comes from."

With Mendes at the helm, the film had its pick of the town's best young acting talent. Gyllenhaal was dying to play Swofford but had to endure months of characteristic ambivalence from Mendes. When the actor first read for the director, he thought he'd blown the audition. "I knew it was bad because he didn't talk to me for four months," Gyllenhaal says.

When he heard through the grapevine that Mendes was meeting with other actors, he called at 2 a.m. and left the director a message, the desperation clear in his voice. "I said, 'I'm willing to vomit in the sand, I'll do whatever you want me to do, but I'm the guy to be in this movie!' " Gyllenhaal groans. "He never called me back!" A month later, Mendes told him he had the part.

Broyles and Mendes had met with Swofford to obtain information about Marine armament and training techniques. Just before filming began, Mendes set up a lunch with Gyllenhaal and Swofford. It was an awkward moment. "I panicked," Gyllenhaal recalls. "It played on all my fears about being an L.A. kid from Harvard-Westlake. I kept thinking: 'I don't look like him. I don't act like him. Maybe they should've cast someone else in the part.' I barely said a word."

Once the rest of the cast was assembled and the filmmakers had $60 million from Universal Pictures, they went off to shoot.

Mendes loved the desert. "The absolute flatness is amazing. It's very Zen-like — there's something psychologically cleansing about it." But he admits that it presented its own special challenges. "We all went a little crazy out there. You have an entirely blank environment, so you can't say, 'Let's set up next to that tree,' because, of course, there's no trees at all. And then there's the whole idea of communications. I said to [cinematographer'] Roger Deakins, 'How on earth did David Lean ever do "Lawrence of Arabia" without cellphones?' "


TWO MEN, TWO WARS

Broyles and Swofford were both Marines, but their wars were very different. "Tony's generation had a more clear sense of purpose," says Broyles. "For whatever reason, they all wanted to be there. We were drafted. And by the time I got there, in 1969, we had no idea what we were there for."

What both men agree on — and what they've both written movingly about — is how much they miss their guns. "When I got back from Vietnam, I missed having my weapon," Broyles says. "There's some kind of primal connection you have with your rifle. It's like a cowboy and his horse. You take the cowboy off his horse and he still walks bowlegged because they are one thing, just like you and your rifle."

In 1984, Broyles wrote an eloquent essay for Esquire magazine, "Why Men Love War." As he put it then: "That's why, when we returned from Vietnam, we moped around, listless, not interested in anything or anyone. Something had gone out of our lives forever, and our behavior on returning was inexplicable except as the behavior of men who had lost a great — perhaps the great — love of their lives, and had no way to tell anyone about it."

In many ways, that sense of experiencing something horrible and exhilarating, which few people outside your insular world will ever truly understand, is what "Jarhead" is about. War, even the monotonous preparation for war, is filled with such a primal intensity that everything afterward pales by comparison. It's why in his memoir Swofford contends that Vietnam-era films are "all pro-war, no matter what the supposed message Kubrick or Coppola or Stone intended." While civilians and parents watch those films and weep, the men who go to war see those same films "and are excited by them, because the magic brutality of the films celebrates the terrible and despicable beauty of their fighting skills."

All through filming, Mendes and the actors were constantly asked if they were making an antiwar film. Everyone wrestled with an answer. "I always said, 'Well, there aren't many pro-war movies,' " explains Sarsgaard. "I think this story taps into our subconscious idea of who we are as a country and what our ideals are. And in some ways, what we feel in our dreams is probably a lot more important than what we think about our country in our conscious minds."

Of course, moviegoers aren't usually on such an exalted plane when they make their decisions about what to see on Friday night. It's an open question, even if "Jarhead" earns respectful reviews, whether Americans who have paid so little attention to the messy events in Iraq will want to experience a film that offers such an unsentimental portrait of men going off to war.

"Look, when we decided to make this movie we were all aware that people were turning a blind eye to the war — all they wanted to do was watch 'American Idol,' " says Universal Pictures chairman Stacey Snider. "But we always believed that Sam and his creative partners could do something great with this material. In recent months it feels like people are starting to engage. It's not just the pundits and the bloggers — people seem to be spending a lot more time reading the front pages. And you always want to believe that if a great movie comes along, you'll find a way to get people not to turn away."

As in Swofford's memoir, there is no neatly wrapped finale in the film, no momentous victory, no bitter defeat. For Broyles, who says that until his son comes home he is terrified every time his phone rings late at night, this is as it should be. "Our story is unromantic and apolitical. It's about young men who join the Marine Corps trying to find a place for themselves in life. And all I want is for the audience to feel what those young men feel."

Bom ano pro Jake Gyllenhall! O cara tá em todas!

Aguardo anciosamente esse trabalho de Sam Mendes...temos aí um poderoso candidato!

[Ronny]

Fe, mas o que diz nesse artigo???

O cara que escreveu viu o filme e tece alguma crítica sobre JARHEAD???

P.s: malditos anos aqueles em que gastava o dinheiro do curso de inglês para curtir com amigos.

Pensei estar sendo prejudicial apenas ao meu pai. Hoje vejo que não!!!

[FeCamargo]

Está passando no site ao vivo de Toronto um clipe de Bewulf and Grendel...belo clipe!!!!!!!!!

[FeCamargo]

Ja respondo!!!!!!1

Tá passando a conferência de Elizabethtown!!!!

[FeCamargo]

Eu virei um astro!!!!!!

(desculpem pelo momento megalo)

[Administrator]

Eu tb!!!
Spike Lee vai vir na mostra do Rio de Janeiro para a exibição do filme' date=' assim como Ralph Fiennes e Rachel Weizs....queria morar no Rio nessas horas![/quote']

Bem, eu já estou vendo que fudeu pra mim na faculdade... vou tentar assistir um tanto bom no festival.

Alguns dos filmes confirmados para o Festival do Rio >

 Ae Fond Kiss, de Ken Loach
- Breakfast at Pluto, de Neil Jordan
- Dear Wendy, de Thomas Vinterberg
- Enduring Love, de Roger Michell
- Espelho Mágico, de Manuel de Oliveira
- Factotum, de Bent Hammer
- Holy Lola, de Bertrand Tavernier
- Last Days, de Gus van Sant
- Manderlay, de Lars Von Trier
- O Jardineiro Fiel, de Fernando Meireles
- The Taste of Tea, de Zhang Yuan
- Elizabethtown, de Cameron Crowe
- Twilight Samurai, de Yoji Yamada
- Dias de Campo, de Raoul Ruiz
- Crash, de Paul Haggis
- Green Chair, de Park Chul-soo
- Crimen Ferpecto, de Alex de la Iglesia
- El Método Gronholm, de Marcelo Piñeyro
- Iberia, de Carlos Saura
- Odete, de João Pedro Rodrigues
- Um Lobisomem na Amazônia, de Ivan Cardoso
- Batalla En En Cielo, de Carlos Reygadas
- Pele de Asno, de Jacques Demy (Relançamento , filme do mesmo diretor do clássico francês Os Guarda-Chuvas do Amor )

<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

 

Pois é, eu definitivamente tenho que arrumar um jeito de ver a maior quantidade possível.

[Scarlet Rose]

Ja respondo!!!!!!1
Tá passando a conferência de Elizabethtown!!!!

serio???????????????? ahhhhhhhhhhhhhhhhhhhhh

[FeCamargo]

Tá!!!

[Scarlet Rose]

Tá!!!

God Bless you FeCamargo!!!

[FeCamargo]

.... Sou um usuário atual...ano 2005 com 2005 msgs!!!FeCamargo38606.852962963

[Scarlet Rose]

.... Sou um usuário atual...ano 2005 com 2005 msgs!!!

 

Caramba como fala esse Cameron Crowe!

[FeCamargo]

[Scarlet Rose]

Agora passaram pro Orlando!!! Aeeeeeeeeeee

Q massa que meu PC tah sem cxa de som!!!!!! Yupiiiiiiiii

[FeCamargo]

Putz....que merda!!!!!

[Ronny]

Scarlet e Fe, voces me devem algo!!!

[FeCamargo]

Scarlet

Eles falaram que o Orlando quiz filmar as cenas da estrada, com o carro, logo nos primeiros dias...só que foi muito perigoso, pois as estradas eram bem irregulares e tal...e o Orlando parecia um louco dirigindo!!!

[FeCamargo]

Cameron Crowe está dizendo que com esse filme ele encerrou um caítulo dele...e oq ele gostou foi da jornada, dos elementos, das personagens, que foram as almas de seus filmes.

[FeCamargo]

estão falando agora do jeito que Cameron Crowe escreve, que faz os atores sentir as personagens, além da utilização das músicas, que os ajudam em muito!!

[Scarlet Rose]

Scarlet e Fe' date=' voces me devem algo!!!

[/quote']

o q??????????????????

[FeCamargo]

Fala que Jarhead é um filme de Guerra diferente, pois é irreverente, chega a ser profano, utiliza a Guerra como fundo...sendo que até o protagonista "Jarhead" não chega a usar rifles.

O filme poderia ser visto com receio, por se tratar do Iraque, mas pelo material de Mendes, é um Oscar Favorite!