sábado, setembro 24, 2005

Good Night, and Good Luck 

1 Um grande elenco, que inclui o recentemente distinguido com o prémio de melhor actor, em Veneza, David Strathairn (dta.). E, claro, o realizador e actor George Clooney (esq.) e o cantor e actor Robert Downey Jr.

Estreou ontem nos EUA, no
New York Film Festival:

News in Black, White and Shades of Gray
Published: September 23, 2005

SHOT in a black-and-white palette of cigarette smoke, hair tonic, dark suits and pale button-down shirts, "Good Night, and Good Luck" plunges into a half-forgotten world in which television was new, the cold war was at its peak, and the Surgeon General's report on the dangers of tobacco was still a decade in the future. Though it is a meticulously detailed reconstruction of an era, the film, directed by George Clooney from a script he wrote with Grant Heslov, is concerned with more than nostalgia.

Burnishing the legend of Edward R. Murrow, the CBS newsman who in the 1940's and 50's established a standard of journalistic integrity his profession has scrambled to live up to ever since, "Good Night, and Good Luck" is a passionate, thoughtful essay on power, truth-telling and responsibility. It opens the New York Film Festival tonight and will be released nationally on Oct. 7. The title evokes Murrow's trademark sign-off, and I can best sum up my own response by recalling the name of his flagship program: See it now.
mais in NYTimes

Directed by George Clooney; written by Mr. Clooney and Grant Heslov; director of photography, Robert Elswit; edited by Stephen Mirrione; production designer, Jim Bissell; produced by Mr. Heslov; released by Warner Independent Pictures. Running time: 90 minutes. This film is rated PG. Tonight at 8:15 at Alice Tully Hall and at 9 at Avery Fisher Hall, at Lincoln Center, as part of the 43rd New York Film Festival.

WITH: David Strathairn (Edward R. Murrow), George Clooney (Fred Friendly), Patricia Clarkson (Shirley Wershba), Robert Downey Jr. (Joe Wershba), Frank Langella (William Paley), Grant Heslov (Don Hewitt), Ray Wise (Don Hollenbeck) and Dianne Reeves (Jazz Singer).

Mais críticas de filmes a estrear do outro lado do Atlântico:


Viggo Mortensen and Maria Bello star in David Cronenberg's new film, playing a husband and wife living in a fictional Indiana town.

Once Disaster Hits, It Seems Never to End

A masterpiece of indirection and pure visceral thrills, David Cronenberg's latest mindblower, "A History of Violence," is the feel-good, feel-bad movie of the year. The story of a seemingly average American family almost undone by cataclysmic violence, the film takes place in a surreal and mercilessly brutal land, Anytown, U.S.A., that has been repeatedly soaked in blood only to be repeatedly washed clean. The great kick of the movie - or rather, its great kick in the gut - comes from Mr. Cronenberg's refusal to let us indulge in movie violence without paying a price. The man wants to make us suffer, exquisitely.


From left, Lewis Chase (Charley Bates), Harry Eden (Artful Dodger) and Barney Clark (title role) in Roman Polanski's "Oliver Twist."

Dickensian Deprivations Delivered From the Gut
With tact and enthusiasm, Roman Polanski grabs hold of a great book and rediscovers its true and enduring vitality.

Roman Polanski's last movie, "The Pianist," which was widely hailed as a return to form, was also an intensely personal movie for the director. Adapted from someone else's autobiography, the movie, about a Polish Jew struggling to survive the nightmare of Naziism, nonetheless dealt with experiences painfully close to Mr. Polanski's own life. The same might be said about his wonderful new adaptation of Charles Dickens's "Oliver Twist," a novel that has been brought to the screen many times before, but never with such a dark intensity of feeling.

Or almost never. Precedent for Mr. Polanski's somber, heartfelt interpretation of Dickens can be found in David Lean's black-and-white versions of "Oliver Twist" and "Great Expectations," both made just after the Second World War. Those films seem marked by the shadows of their own time as much as by the memories of Victorian poverty, and this new "Oliver Twist," while scrupulously reproducing the costumes and décor of the 19th century, seems hardly to be contained within the distant past. Mr. Polanski, a Polish Jew born in 1933, spent much of his childhood in hiding and in flight, which is pretty much the condition of Dickens's young hero (as it was of Dickens himself). Mr. Polanski has, in many of his films, gravitated toward innocent protagonists hounded and bedeviled by monstrous cruelty and, when they are lucky, borne up by small instances of kindness and charity. His retelling of Dickens's tale of a friendless boy discovers within the story those familiar, primal emotions of terror, fragility and the almost perverse will not only to survive but to remain human in inhuman circumstances.

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