Oscar 2006

[meninocezar]

Vi Crasch e achei muito bom, tenho certeza de que fará uma bela campanha no Oscar. Fiquei muito feliz ao ver Brendan Fraiser, Sandra Bullock e Matt Dillon que estão mandando muito bem. Crasch sem dúvida é uma felicidade para a alma e faz muito bem ao coração

[Ronny]

É ótimo ver o nome de Felicity Huffman voltando á tona nas previsões. Há Oscarpredictors que a colocam entre as 5 indicadas em detrimento de sua colega de estúdio (A Weinstein Corpt.): Judi Dench.

Eu gostaria de ver as duas na disputa, mas, ao contrário de TRANSAMERICA, MRS. HENDERSON PRESENTS não está agradando tanto assim por lá. Mas acho que, independente do filme, Dench garante sua vaga facilmente.

Huffman tem alguns programas agendados para o inicio de Dezembro, como Oprah Winffrey e David Letterman, além da campanha do estúdio, que já divulgou FYC´s com seu nome!

Momento Fãnzoide?

Não. Acredito apenas que ela esteja fabulosa no longa!!!

Se me decepcionar, serei o primeiro a dizer!!!

[MERI BRASIL]

Sinceramente, acho que a receptividade de Transamérica não está nada diferente da de Mrs. Henderson Presents.

[MERI BRASIL]

O link abaixo tem uma tabela bem interessante sobre as apostas de alguns críticos e sites nas categorias de filme e ator no Oscar 2006.

Vale a pena conferir.

http://www.moviecitynews.com/awards/2006/awards_gurus_051121 .html

Muito boa mesmo essa tabela, e bem parecida com minhas previsões.

[Ronny]

Sinceramente' date=' acho que a receptividade de Transamérica não está nada diferente da de Mrs. Henderson Presents.[/quote']

Meri, voce se baseia em que para essa afirmação?

Já eu não acredito que MRS HENDERSON PRESENTS tenha o buzz de TRANSAMERICA, que já tem alguns prêmios na bagagem!

Embora ambos os filmes sejam do mesmo estúdio, a pretensão do mesmo a MRS. HENDERSON PRESENTS é imensa, mas não há por onde eles fazerem uma campanha, pois o filme não tem prêmios ou críticas entusiasmadas.

Há um prêmio Inglês, ao qual o filme do Frears concorre, mas não acredito que isso dê muita credibilidade ao filme!

Acho que seria a hora da Weinstein pensar em maiores vôos para THE LIBERTINE!

Ronny38677.863587963

[Ronny]

Mais buzz ao Sr. Ledger!

ON A ROLE: Ledger, who says making romantic comedies bores him, was drawn to the "fresh, honest story of love" in Brokeback's script

From the Magazine | Arts<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Heath Turns It Around

Everybody's talking about him in Brokeback Mountain. Not just that he plays a gay cowboy. But that he can act

 

By BELINDA LUSCOMBE

 

 

Here's a tip: If you're in a jam, find the nearest Heath Ledger fan. They are among the most charitable people in the world--forgiving, long suffering and loyal. How can you tell? Because they have put themselves through some spectacular duds on his behalf. (The Order, anyone? The Four Feathers?) Having captivated them as a rascally but tender heartthrob six years ago with teen catnip like 10 Things I Hate About You and A Knight's Tale, Ledger, 26, then virtually disappeared from the kind of movies they--and almost everyone else--enjoy. The chisel-jawed Australian is decent enough to acknowledge this. "I feel like I've never been in a film that people have liked before."

 

Those who have missed Ledger's work to date are in luck because they can start with his latest, Brokeback Mountain, an elegiac western about two gorgeous, lonely young people who find in each other a passion and a long-sought sense of belonging but who cannot be together. Oh, and they're both guys.

 

Ledger plays a tightly wound sheepherder named Ennis Del Mar, who if this were a more traditional romance would be the female. He is the one who's pursued, who withdraws, who has to be won over. But there's nothing girly about Ledger's Del Mar. He's classic cowboy, from the way he wrangles his words out through lips opened barely half an inch to his habit of donning his hat to ward off anyone coming too close. Del Mar doesn't have too much to say, but he's got a Russian novel's worth of body language, most of it about loss. "If you can't fix it," he tells Jack Twist (Jake Gyllenhaal), his lover, in a rare moment of reflection about his life, "you've got to stand it."

 

That is not a philosophy Ledger subscribes to. Shy in demeanor but headstrong as a buffalo, he's not much for talking; he just up and does what he wants to. When he arrived in Los Angeles seven years ago, pursuing a woman, he had done some Australian TV and a few small movies and was completely broke. "We were going to dinner one night," says Gregor Jordan, a friend and the director of two of his films (Two Hands and Ned Kelly). "He put his credit card in the ATM, and it swallowed it because he was so overdrawn. But then later at the bar, I found a margarita in my hand, and someone said Heath had bought everyone a round of drinks."

 

That devil-may-care charm, plus what director Lasse Hallstrom calls "those eyes and that physicality," twigged the antennae of Amy Pascal, head of Columbia Pictures, who took him under her wing and laid out a buffet of starmaking career moves. In short order, he was Mel Gibson's son in The Patriot, and then--without so much as an audition--he was given the lead in A Knight's Tale. The posters proclaimed, HE WILL ROCK YOU.

 

For many actors, that chain of events is a dream come true. Ledger is not one of them. "In a way, I was spoon-fed, if you will, a career. It was fully manufactured by a studio that believed that they could put me on their posters and turn me into their bottle of Coca-Cola, their product," he says, his fingers fidgeting with anything he can find--a pencil, his scraggly beard, his beat-up old Samsung phone, the buttons on his army-style coat. "I hadn't figured out properly how to act, and all of a sudden I was being thrown into these lead roles. I didn't have the black room and the black pajamas to prance around making mistakes in private. All my mistakes are on the screen." Most of all, Ledger says, he felt he was undeserving. "I wanted to scrub it all away and start again, to see what my abilities are, if there are any." Or as Jordan puts it, "They wanted him to be Harrison Ford. He wants to be Sean Penn."

 

So he destroyed whatever buzz he had generated in the industry. Thoroughly. He went after roles in which he wasn't the son or romantic lead. The result was that, with the exception of Monster's Ball, all the films he has made since A Knight's Tale got critical drubbings or have been commercial busts or both (including this year's The Brothers Grimm and Lords of Dogtown), at least in the U.S. Even Brokeback Mountain, which was the talk of the Toronto and Venice film festivals and has generated lip-smacking advance criticism, could be a tough sell. Many people might find the notion of gay cowboys too jarring In Texas, where the movie is partly set, voters just overwhelmingly endorsed a ban on gay marriage. But producer James Schamus is confident people will see the love story, not the politics. "Young girls are going to be a huge part of this movie," he says. And that's largely because of Ledger. "He's managed to become a bit of a movie star and at the same time to protect his own vulnerability."

 

Ledger's masculinity frames an urgent sensitivity; he gives off the air of being willing to punch someone but only to mask his own pain. He's the kind of guy who has his mom's, sister's and two half sisters' first initials tattooed in Gothic letters on his wrist. ("It spells KAOS, but upside down it looks like Sony," he notes wryly.) But will young girls warm to his vulnerability when it's drawn out by another guy? "I don't think Ennis could be labeled as gay," says Ledger. "Without Jack Twist, I don't know that he ever would have come out. I think the whole point was that it was two souls that fell in love with each other." Then again Ledger's not sure about conventional notions of gay and straight anyway. "I don't think it's that black-and-white, and I think because we label it so harshly, there's just a lot of confused people running around thinking, Oh, f___, which side am I on?"

 

Even if the movie pulls in crowds only in New York City, South Beach and San Francisco, it has redeemed Ledger from being a pawn--or even a knight--in the Hollywood chess game. "He's one of the best actors of his age," says Ang Lee, Brokeback's director. "He has complexity and intensity, and he's meticulous." Gyllenhaal, who wondered before filming whether Ledger "was going to pull it off," says he was blown away. "I know he hasn't been 100% happy with every performance he has given. But being able to make mistakes and fail has brought him to this success," Gyllenhaal says. "I knew within two days of meeting him he was going to be great."

 

Ledger seems to have had enough rebellion for a while because the movie he made after Brokeback is the ultimate heterosexual fantasy. In Casanova, out Christmas Day, directed by Hallstrom, he's the swashbuckling charmer for whom his fans have been waiting. It's a very Disney Casanova, with minimal sex and maximal caper (Hot-air balloons! Masked balls! Duels! Mistaken identities!). Ledger, who plays the legendary lover, opposite Sienna Miller, is not too proud to admit that the appeal of the movie lay more in a 120-day shoot in Venice, where he could unwind from Brokeback, than in any nuances of script (although the part is deceptively hard, given the number of identities Casanova assumes). It will probably make more money than his previous five outings combined.

 

But that's O.K. by him. He has a cheerful yellow house in a leafy part of Brooklyn, N.Y., where neighbors took lasagna when his fiancé Michelle Williams (see box) gave birth to daughter Matilda Rose a few weeks back and where he and his family have been chased by paparazzi only once. He wants more kids. He wants to take Matilda to the beachside home he bought in Sydney, although he dreads the "long lenses looking at your butt as you come out of the ocean."

 

Brokeback Mountain is a movie about the circumscription of dreams, about how fate and our choices make the life we have much smaller than the one we had hoped for. But that's not Ledger's story. Now that he has finally shed that bulky knight's armor, his life is just opening up.

 

[Ronny]

By the way, a matéria é da revista TIME dessa semana!

[guidon]

Quem diria, Ledger como um dos favoritos ao Oscar.  Acho que se o Depp não entrar, ele vai ser o favorito e o possível vencedor.

[Administrator]

Eu ainda acho que o Hoffman vem com tudo.

[guidon]

Sei não, parece que eles não gostam muito dele e tbm, Ledger está no filme que provavelmente vai ser nomeado como um dos melhores do ano, sem contar que ele é jovem.  Não sei, mas é apenas uma impressão.

[Ronny]

Guidon, tem sim fundamento o que voce diz, mas também ainda acredito no Hoffman!!!

[guidon]

Eu sei, ele tem grandes chances, hj é o favorito, mas essa impressão que tenho é conforme passar o tempo, tipo, na hora H.

[Christopher_P]

sem mto tempo, só colocar minhas previsões atuais em todas as categorias, que postei agora há pouco num tópico do fórum do Oscarwatch.

aí está:

BEST PICTURE
The New World
Walk the Line
Brokeback Mountain
Memoirs of a Geisha
King Kong

BEST DIRECTOR
Terrence Mallick - The New World
Ang Lee - Brokeback Mountain
Peter Jackson - King Kong
David Cronenberg - A History of Violence
James Mangold - Walk the Line

BEST ACTOR
Heateh Ledger - Brokeback Mountain
Joaquin Phoenix - Walk the Line
Phillip Seymour Hoffman - Capote
David Strathairn - Good Night and Good Luck
Johnny Depp - The Libertine

BEST ACTRESS
Q'Orianka Kilcher - The New World
Zhang Ziyi - Memoirs of a Geisha
Reese Witherspoon - Walk the Line
Judi Dench - Mrs. Handerson Presents
Charlize Theron - North Country

SUPPORTING ACTOR
Paul Giamatti - Cinderella Man
Clifton Collins Jr. - Capote
Bob Hoskins - Mrs. Handerson Presents
Don Cheadle - Crash
Matt Dillon - Crash

SUPPORTING ACTRESS
Gong Li - Memoirs of a Geisha
Diane Keaton - The Family Stone
Maria Bello - A History of Violence
Rachel Weisz - The Constant Gardener
Scarlett Johansson - Match Point

ORIGINAL SCREENPLAY
Crash
Good Night and Good Luck
Match Point
The New World
Cinderella Man

ADAPTED SCREENPLAY
Pride and Prejudice
Memoirs of a Geisha
Brokeback Mountain
The Constant Gardener
A History of Violence

ANIMATED FILM
The Corpse Bride
Wallace and Gromit
Hoodwinked

CINEMATOGRAPHY
Brokeback Mountain
Good Night and Good Luck
The New World
Memoirs of a Geisha
Cinderella Man

ART DIRECTION
King Kong
Memoirs of a Geisha
The Producers
The Chronicles of Narnia
Charlie and the Chocolate Factory

FILM EDITING
The New World
King Kong
Memoirs of a Geisha
Walk the Line
The Constant Gardener

COSTUME DESIGN
Walk the Line
Pride and Prejudice
King Kong
Memoirs of a Geisha
Mrs. Handerson Presents

MAKE UP
The Chronicles of Narnia
Memoirs of a Geisha
Sin City

VISUAL EFFECTS
King Kong
Harry Potter and the Goblet of Fire
The Chronicles of Narnia

SOUND DESIGN
King Kong
War of the Worlds
Walk the Line
The Producers
Cinderella Man

SOUND EDITING
War of the World
Harry Potter and the Goblet of Fire
King Kong

ORIGINAL SCORE
A History of Violence
The Corpse Bride
The New World
King Kong
Memoirs of a geisha

ORIGINAL SONG
Brokeback Mountain
Elizabethtown
The Corpse Bride
The Producers
Hustle and Flow

[Mariana M.]

sem mto tempo' date=' só colocar minhas previsões atuais em todas as categorias, que postei agora há pouco num tópico do fórum do Oscarwatch.

aí está:

BEST PICTURE
The New World
Walk the Line
Brokeback Mountain
Memoirs of a Geisha
King Kong

BEST DIRECTOR
Terrence Mallick - The New World
Ang Lee - Brokeback Mountain
Peter Jackson - King Kong
David Cronenberg - A History of Violence
James Mangold - Walk the Line

BEST ACTOR
Heateh Ledger - Brokeback Mountain
Joaquin Phoenix - Walk the Line
Phillip Seymour Hoffman - Capote
David Strathairn - Good Night and Good Luck
Johnny Depp - The Libertine

BEST ACTRESS
Q'Orianka Kilcher - The New World
Zhang Ziyi - Memoirs of a Geisha
Reese Witherspoon - Walk the Line
Judi Dench - Mrs. Handerson Presents
Charlize Theron - North Country

SUPPORTING ACTOR
Paul Giamatti - Cinderella Man
Clifton Collins Jr. - Capote
Bob Hoskins - Mrs. Handerson Presents
Don Cheadle - Crash
Matt Dillon - Crash

SUPPORTING ACTRESS
Gong Li - Memoirs of a Geisha
Diane Keaton - The Family Stone
Maria Bello - A History of Violence
Rachel Weisz - The Constant Gardener
Scarlett Johansson - Match Point

ORIGINAL SCREENPLAY
Crash
Good Night and Good Luck
Match Point
The New World
Cinderella Man

ADAPTED SCREENPLAY
Pride and Prejudice
Memoirs of a Geisha
Brokeback Mountain
The Constant Gardener
A History of Violence

ANIMATED FILM
The Corpse Bride
Wallace and Gromit
Hoodwinked

CINEMATOGRAPHY
Brokeback Mountain
Good Night and Good Luck
The New World
Memoirs of a Geisha
Cinderella Man

ART DIRECTION
King Kong
Memoirs of a Geisha
The Producers
The Chronicles of Narnia
Charlie and the Chocolate Factory

FILM EDITING
The New World
King Kong
Memoirs of a Geisha
Walk the Line
The Constant Gardener

COSTUME DESIGN
Walk the Line
Pride and Prejudice
King Kong
Memoirs of a Geisha
Mrs. Handerson Presents

MAKE UP
The Chronicles of Narnia
Memoirs of a Geisha
Sin City

VISUAL EFFECTS
King Kong
Harry Potter and the Goblet of Fire
The Chronicles of Narnia

SOUND DESIGN
King Kong
War of the Worlds
Walk the Line
The Producers
Cinderella Man

SOUND EDITING
War of the World
Harry Potter and the Goblet of Fire
King Kong

ORIGINAL SCORE
A History of Violence
The Corpse Bride
The New World
King Kong
Memoirs of a geisha

ORIGINAL SONG
Brokeback Mountain
Elizabethtown
The Corpse Bride
The Producers
Hustle and Flow

[/quote']

 Gostei da sua lista, apesar de que agora estou começando a suspeitar que Johnny Depp não entre, porque o filme é um tanto pesado,pelo que eu saiba tem dois fatos polêmicos no filme o envolvendo, ele dá beijos  em um outro homem e aparece pelado(pelo que eu saiba) sendo que o filme não está com a bola toda (porque de Brokeback Mountain é pesadão também) , mas o resto eu gostei, acho que P.S Hoffman ganha, também espero que King Kong não entre em melhor filme...

[Pedro Cinéfilo]

 

  Faltaram as muito prováveis indicações de Munique, como Filme, Diretor, Roteiro, Ator(Eric Bana) e Ator Coadjuvante(Geofrey Rush ou Daniel Craig). Mas as suas previsões para atuação estão muito boas!

[Ronny]

Syriana Gets an Early RAVE from Ebert and Roeper

Apologies for getting this is in so late but hey, traveling back from Hawaii is a lot harder than it sounds. Ebert and Roeper both called Syriana one of the best films of the year, with Roeper calling it THE best film of the year. It has freshness, politics and the Clooney - it is a serious contender for Best Picture, particularly since it could be the one many critics put atop their top ten list. Why? Because it stands for something people can get behind. Naming a film number one take a lot out of a person. It can't just be the movie you most enjoyed or were entertained by - there has to be a good reason for it to beat all of the others. Syriana could be that movie this year, obliterating Clooney's Good Night, and Good Luck which also stands for something. Is Clooney going to cancel himself out? Or will it be The Year of the Clooney?

Either way, Syriana has a promising start.

Two Big Thumbs Way Up [Ebert and Roeper]

[Ronny]

National Board of Review to Announce Dec. 7

The NBR will announce early December, at which time you can expect to see a good idea of at least one surefire best pic nominee, depending on which film they choose. At this same time, out go the ballots for the SAG awards and the DGA awards and shortly thereafter comes the LA Film Critics and the New York Film Critics. Sides will be taken. New York versus LA, etc. It's always an exciting time of the year, when the first of the winners are announced, to see where those early indicators go.

You have to go back to 2000 to find a best picture mismatch (they picked Quills, AMPAS didn't) but the NBR are fairly reliable, like the Hollywood Foreign Press, despite their dubious rep. Moreover, they have good taste when it comes to picking winners, like Citizen Kane and All the President's Men, for example.

So, please comment back your predictions of how you think they'll go. Last year, their top ten went like this:

1. Finding Neverland
2. The Aviator
3. Closer
4. Million Dollar Baby
5. Sideways
6. Kinsey
7. Vera Drake
8. Ray
9. Collateral
10. Hotel Rwanda

What a list, huh? This year, we're thinking these are the films that might be featured, in no particular order:

Pride & Prejudice
Good Night, and Good Luck
Brokeback Mountain
Munich
Memoirs of a Geisha
Match Point
Crash
The Constant Gardner
Cinderella Man
Syriana
Wondering about Rent and/or The Producers...

Which film will get the big number one? Brokeback Mountain or Memoirs of a Geisha seem to be the general consensus. If it's Munich, all bets are off and you have your winner for Best Pic. BUT don't be surprised if it's something entirely unexpected. If it's Crash, that boosts the film BP chances in a big way. And Crash fits their sort of movie.

Here is a quick look at Best Pic comparison chart with NBR after the jump.

[Administrator]

Um pouco previsível, não? Carioca38678.7806018519

[Ronny]

A lista não é oficial, Carioca!!!

Trata-se da estimativa do OscarWatch!

Eu não entendo pq eles consideram mais PRIDE AND PREJUDICE que THE NEW WORLD!

Enfim!

[Christopher_P]

sem mto tempo' date=' só colocar minhas previsões atuais em todas as categorias, que postei agora há pouco num tópico do fórum do Oscarwatch.

aí está:

BEST PICTURE
The New World
Walk the Line
Brokeback Mountain
Memoirs of a Geisha
King Kong

BEST DIRECTOR
Terrence Mallick - The New World
Ang Lee - Brokeback Mountain
Peter Jackson - King Kong
David Cronenberg - A History of Violence
James Mangold - Walk the Line

BEST ACTOR
Heateh Ledger - Brokeback Mountain
Joaquin Phoenix - Walk the Line
Phillip Seymour Hoffman - Capote
David Strathairn - Good Night and Good Luck
Johnny Depp - The Libertine

BEST ACTRESS
Q'Orianka Kilcher - The New World
Zhang Ziyi - Memoirs of a Geisha
Reese Witherspoon - Walk the Line
Judi Dench - Mrs. Handerson Presents
Charlize Theron - North Country

SUPPORTING ACTOR
Paul Giamatti - Cinderella Man
Clifton Collins Jr. - Capote
Bob Hoskins - Mrs. Handerson Presents
Don Cheadle - Crash
Matt Dillon - Crash

SUPPORTING ACTRESS
Gong Li - Memoirs of a Geisha
Diane Keaton - The Family Stone
Maria Bello - A History of Violence
Rachel Weisz - The Constant Gardener
Scarlett Johansson - Match Point

ORIGINAL SCREENPLAY
Crash
Good Night and Good Luck
Match Point
The New World
Cinderella Man

ADAPTED SCREENPLAY
Pride and Prejudice
Memoirs of a Geisha
Brokeback Mountain
The Constant Gardener
A History of Violence

ANIMATED FILM
The Corpse Bride
Wallace and Gromit
Hoodwinked

CINEMATOGRAPHY
Brokeback Mountain
Good Night and Good Luck
The New World
Memoirs of a Geisha
Cinderella Man

ART DIRECTION
King Kong
Memoirs of a Geisha
The Producers
The Chronicles of Narnia
Charlie and the Chocolate Factory

FILM EDITING
The New World
King Kong
Memoirs of a Geisha
Walk the Line
The Constant Gardener

COSTUME DESIGN
Walk the Line
Pride and Prejudice
King Kong
Memoirs of a Geisha
Mrs. Handerson Presents

MAKE UP
The Chronicles of Narnia
Memoirs of a Geisha
Sin City

VISUAL EFFECTS
King Kong
Harry Potter and the Goblet of Fire
The Chronicles of Narnia

SOUND DESIGN
King Kong
War of the Worlds
Walk the Line
The Producers
Cinderella Man

SOUND EDITING
War of the World
Harry Potter and the Goblet of Fire
King Kong

ORIGINAL SCORE
A History of Violence
The Corpse Bride
The New World
King Kong
Memoirs of a geisha

ORIGINAL SONG
Brokeback Mountain
Elizabethtown
The Corpse Bride
The Producers
Hustle and Flow

[/quote']

 Gostei da sua lista, apesar de que agora estou começando a suspeitar que Johnny Depp não entre, porque o filme é um tanto pesado,pelo que eu saiba tem dois fatos polêmicos no filme o envolvendo, ele dá beijos  em um outro homem e aparece pelado(pelo que eu saiba) sendo que o filme não está com a bola toda (porque de Brokeback Mountain é pesadão também) , mas o resto eu gostei, acho que P.S Hoffman ganha, também espero que King Kong não entre em melhor filme...

POis é, as críticas de The Libertine nos EUA não estão sendo muito favoráveis, acho que o Depp não deve entrar não. E com isso, portanto, não tenho a menos idéia de quem apostas nessa 5ª vaga. Sei lá, provavelmente Eric Bana, se Munich se der bem, ou Ralph Fiennes, se The White Countness se der bem, são boas apostas para essa 5ª vaga.

 

[MERI BRASIL]

Estava dando uma olhada no Rottentomatoes e verifiquei uma coisa: The Libertine não anda mesmo fazendo sucesso entre a crítica americana, pode ser que Jonnhy Depp esteja se afastando cada dia mais da disputa.

Por isso, depois da trindade Ledger/Phoenix/Hoffman creio que Starthairn, Bana, Tommy Lee Jones e Fiennes estejam brigando pelas duas ultimas vagas.

[guidon]

Não subestimem os Weisteins, pois eles colocaram 3 filmes medianos pra disputar consecutivamente (Shakespeare, Regras da Vida e Chocolate) e ainda comprarem tal prêmio de melhor filme.

[Historiense]

Christopher, vc acha mesmo q DaviD Cronenberg entra como diretor, e George Clooney não? Um ator perdendo para um diretor candense off? Outra coisa: tendo em vista o tópico das indicações inesperadas, já pensou se pinta Wong Kar Way na lista?

Abração.

[Ronny]

Antevisão - Walk the Line

Depois de Ray Charles, Johnny Cash. Um amor antigo do realizador James Mangold que agora ganha contornos de fábula americana. O filme tem conquistado tanto a critica como o público, é um dos mais fortes candidatos a filme do ano, e traz Joaquin Phoenix e Reese Witherspoon como nunca os vimos antes...

O imenso sucesso de Ray no ano passado relançou a ideia dos biopics de grandes nomes da música. Kevin Spacey já se tinha aventurado pelo mesmo caminho, mas o seu Beyond the Sea não conquistou o público, também porque Bobby Darin não tem o mesmo impacto que Ray Charles.
Para 2005 temos mais um capitulo destes biopics-musicais. Walk The Line conta a vida de Johnny Cash, o rei da country music, uma das figuras mais perturbadas e fascinantes da música norte-americana. O homem que vestia sempre de negro, amargurado pelo passado, inquieto em relação ao futuro, é o tema deste regresso ao passado, ao som de músicas vibrantes como Ring of Fire. Um filme que regressa ás origens de Cash, ao papel que teve em definir a música country nos anos 60, e ao seu imenso amor por June Carter, também ela cantora, que acabaria por se tornar numa das mais intensas relações da época.
Dirigido de forma competente por James Mangold, com notáveis desempenhos de Joaquin Phoenix e Reese Whiterspoon - que aproveitam o balanço e para além de representarem, também cantam - Walk the Line é uma das grandes estreias do Outono norte-americano, e um dos mais fortes candidatos a filme do ano. Porquê? Porque transpira a magia de um nome singular na jovem história dos Estados Unidos.

O filme começa na juventude de Cash. Os pais queriam que fosse padre, mas era demasiado rebelde para seguir o caminhos do Senhor. A visão da morte do jovem irmão perturbou-o imenso e a sua juventude foi passada em pequenos trabalhos que iam dando para viver, mas também, para conhecer melhor a vida. Foi quando pegou numa guitarra e começou a cantar a América, de dentro para fora, que o Mundo parou e escutou, fazendo de Johnny Cash um icone nacional. Pelo meio fica a mente perturbada de Cash e a sua relação amorosa com June Carter, a verdadeira alma do filme. Walk the Line prima pela competência, pela sobriedade e pela magia do universo muito próprio do cantor e do mundo que o rodeava .Um filme que tem conquistado tudo por onde passa.

E isso acontece também por culpa da dupla de actores que Mangold contratou. Phoenix é Cash, fisicamente quase sem tirar nem por, mas também por dentro. A sua alma doi-lhe com a mesma intensidade - há quem diga que ter visto o seu irmão River Phoenix morrer lhe deu o que precisava para encarnar Cash desta forma - e o seu talento como actor (que já conheciamos de Gladiator ou The Village) vem ao de cimea, criando assim uma composiçõ impar, falando-se já em prémios, entre os quais, o inevitável oscar. Mas para os criticos a alma do filme é Reese Whiterspoon. A sua June Carter Cash é sensual, enérgica e mágica. A sua performance suplanta Phoenix e serve como motor da narrativa, num ritmo cheio de garra e presença, ao contrário do introspectivo Phoenix/Cash. Tal como acontece com Phoenix, há muitos meses que se falam em prémios para a "namoradinha da América".

Walk the Line é um ambicioso retrato de um cantor dificil de resumir num filme. Mas uma tarefa que Mangold terá conseguido levar a bom porto, a imaginar pelas entusiásticas reações ao filme. Cash era um icone da América, tal como Charles. Após Walk the Line voltará certamente aos ouvidos e corações do mundo. Phoenix e Whiterspoon podem ter finalmente encontrado a chave certa para uma carreira de grande sucesso. E Hollywood parece ter encontrado em mais uma figura norte-americana, matéria prima para elogiar e premiar. Walk the Line estreia em Janeiro em Portugal. Até lá, os mais ansiosos terão de se contenar com os mais vibrantes albuns de um músico que mudou a face da música na América dos anos 60.

O QUE SE DIZ

"Johnny Cash cantava como sentia...Walk the Line, com as suas notáveis performances de Joaquin Phoenix e Reese Witherspoon, ajudarvos-ão a compreender o porquê!"

Roger Ebert, Chicago Sun-Times

 

"O filme de James Mangold, também, tem as suas recompensas na forma como consegue evitar os perigos mais comuns de retratar uma lenda, especialmente, uma lenda da música."

Kirt Honeycutt, Hollywood Reporter

 

"Walk the Line é notavelmente representado, musicalmente vibrante e um biopic convencional bastante satisfatório?"

Todd McCarthy, Variety

 

...

 

 

Do blog Hollywood

[Ronny]

Syriana - It's Out of the Park

Kenneth Turan of the Los Angeles Times dolls out some high praise for Stephen Gaghan's Syriana - a film most people didn't see coming. Turan writes:

Written and directed by Stephen Gaghan, "Syriana" is a fearless and ambitious piece of work, made with equal parts passion and calculation, an unapologetically entertaining major studio release with compelling real-world relevance, a film that takes numerous risks and thrives on them all. An Oscar winner for writing "Traffic," Gaghan is not shy about using traditional Hollywood ingredients such as dramatically supercharged plot elements and a major-player cast (including Matt Damon, Jeffrey Wright, Chris Cooper and Amanda Peet), but what he does with them is the opposite of standard.

Gaghan fiddles with the norms of studio storytelling in ways both nervy and unnerving, including treating all his stars like supporting players, the better to grapple with one of today's biggest stories, the ramifications of the fight to control the planet's dwindling supply of oil.

 

And of the confusing plot, he writes:

This overarching focus on enhancing reality is in the service of making us believe that what we're seeing on screen in "Syriana" just might be happening at this very moment, that a shadowy, amoral cabal of untouchable Washington power brokers might be pulling the strings that control the world.

Catch that rave.

And A.O. Scott of hte NY Times writes:

And its sheer entertainment value - the way that Mr. Gaghan, with remarkable conviction and confidence, both honors and scrambles the conventions of the genre - is worth emphasizing. Since it deals with some contentious contemporary realities, it is likely to be greeted with a fair amount of chin-rubbing commentary. Though "Syriana" is expressly a work of fiction, it will no doubt be subjected to a round of pseudo-fact-checking, and its dark, conspiratorial view of the present and recent past is likely to be challenged, either because it is too complicated or not complicated enough.

Someone is sure to complain that the world doesn't really work the way it does in "Syriana": that oil companies, law firms and Middle Eastern regimes are not really engaged in semiclandestine collusion, to control the global oil supply and thus influence the destinies of millions of people. O.K., maybe. Call me naïve - or paranoid, or liberal, or whatever the favored epithet is this week - but I'm inclined to give Mr. Gaghan the benefit of the doubt. And even if the picture's rendering of current events turns out to be entirely off base, the energy, care and intelligence with which it makes its points are hard to dismiss.

 

The NY Times rave

All that is waiting for Syriana is the public's perception. But if it does what it might do, how exciting that a film should come along, essentially out of nowhere, to make a serious impact on the Oscar race. But then there is the inevitable question, will it be over their heads? I'm just saying.

90% Fresh [Rotten Tomatoes]