Newsgroup: it.arti.cinema
Titolo: a qualcuno qui è piaciuto "EDMOND"?

Io l'ho visto l'anno scorso e ricordo di aver cacato bacarozzi e larve
di lombrico.
Troppo stereotipato il personaggio del "povero stressato che si
ribella". 
Del tutto idioti gli altri personaggi.
Noioso lo svolgimento.
"Fuori orario" di Scorsese è anni luce sopra questo mediocre "Edmond".

Molto
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 ha scritto nel messaggio
news:uvsht4dljf9bd1284...@4ax.com
A me, decisamente.
Seth Brundle
P.S:
Ma che c'entra Fuori Orario con Edmond?
-- 
I say, never be complete.
I say, stop being perfect.
I say, let's evolve, and let the chips fall where they may. 

Ma che c'entra Fuori Orario con Edmond?
Ah niente, niente.... dicevo cosě per dire....

Karlo ha scritto:


Violo la regola che mi imporebbe di non rispondere a chi usa metafore come
"cacare bacarozzi" solamente per testimoniare il mio gradimento rispetto a
questo film, passato inopinatamente sotto silenzio...
-- 
questo articolo e` stato inviato via web dal servizio gratuito 
http://www.newsland.it/news
 segnala gli abusi ad 
ab...@newsland.it

Va bene, allora postiamo qualche critica a supporto della mia
impressione su EDMOND, cominciando dal "Guardian":
Peter Bradshaw The Guardian, Friday 6 July 2007
David Mamet fans may wish to avert their gaze from this one. The great
man lets rip with deafening flatulent macho nonsense in a truly awful
movie, one of the very worst US pictures to be released here in years.
He reaches a level of self-parody so extreme his trademark dialogue
becomes almost literally meaningless. A fellow writer pointed out to
me after I had emerged, queasily, from the press screening, that the
original Mamet play from which the author adapted this screenplay was
actually written 25 years ago - so his capacity for conceit and
self-indulgence has been there a while: kept in check for his other,
better works.
Stuart Gordon directs, and William H Macy plays Edmond, a 47-year-old
New York executive, a white liberal in an unhappy marriage who
suddenly cracks and walks out on his wife (Rebecca Pidgeon). He has a
chance encounter in a bar with a world-weary guy (Joe Mantegna) with
racist opinions, who advises him to get laid, and Edmond starts
trawling the underworld of lap-dance joints and massage parlours,
shrilly complaining about the rip-off prices. He then starts getting
into tense situations with the young black men who seek to prey on his
vulnerability. It isn't long before he is thrilled to discover in
himself a capacity for racist violence, stabbing and beating a mugger
half to death.
He then murders a waitress and wannabe actress played by Julia Stiles,
who looks deeply embarrassed, as well she might, at the sheer
implausibility of this nutter managing to seduce her. And just in case
all you wussy liberals out there are shifting uneasily at all the
racist talk, Mamet gives us an outrageously contrived "redemption"
scene in prison that unthinkingly reinforces all the fatuous
stereotypes the movie has been trading on. There are a range of
insulting and cursorily written cameos for various women - Denise
Richards, Mena Suvari - who are there to be dismissed with maximum
contempt. If what the author is saying is that suppressed race pride
lurks within all white liberals, and that denying it is a symptom of
wimpy self-hatred, well I can only say: speak for yourself, Mr Mamet.
-------------------------------------------------------------------------------
Edmond (2005)
Director: Stuart Gordon 
 Time Out rating
Average user rating
2 reviews Movie review
From Time Out London
The start of this grim fairy tale – adapted by David Mamet from his
own 1982 play – is ominous in more ways than one. Not only does the
titular salaryman’s encounter with a clairvoyant convince him to
change his life – he immediately abandons his unsuspecting wife
(Rebecca Pidgeon, naturally) for the neon-lit mean streets of sin city
and, inevitably, a long, dark night of the soul – but the heavily
brooding atmospherics hint that we, like Edmond (William H Macy,
naturally), may be in for a confusing, even bruising ordeal. 
For, as the wide-eyed everyman follows the advice of a barfly (Joe
Mantegna…) by visiting bars and bordellos in search of revitalising
sex, it’s impossible to tell whether the endless humiliations he
suffers or his subsequent manic exhilaration at rediscovering his
‘masculine’ ability to take control is meant as a metaphor for the
alienated plight of modern man or as satirical black comedy. That it’s
hardly funny suggests the former; that it’s absurdly overwrought the
latter. Either way, the film fatally duplicates not only the casual
sexism of its white males, but also – in its crude depiction of
various black characters – the racism to which they give
characteristically repetitive Mametian voice. There’s homophobia, too,
of course; and if the coda’s deep irony mitigates against such
charges, that doesn’t stop the rest of the movie leaving a sour taste.
Representational ethics apart, the film piles cliché upon cliché, and
any claims its authors may make to its serving as a parable are
undermined by the ludicrously compressed and melodramatic nature of
Edmond’s odyssey. But be thankful it’s not longer; at 80 minutes, one
may still derive some perverse pleasure from the silliness of it all.
Author: Geoff Andrew
Time Out London Issue 1924: July 4-10 2007
-----------------------------------------------------------------------
Edmond (18) 
Reviewed by Anthony Quinn
Friday, 6 July 2007
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This David Mamet-scripted film takes the temperature of the modern
American office drone and finds a very sick patient indeed. William H
Macy, who has founded a career on such roles, plays Edmond, an
unexceptional salary slave who one evening suddenly cracks. He tells
his wife (Rebecca Pidgeon) he's leaving her – "You don't interest me,
spiritually or sexually" – and walks out into the New York night in
search of the wild side. 
He finds it, too, but in doing so lifts the lid on his own creeping
fear and disgust: encounters with a black mugger and later a young
waitress (Julia Stiles) set him on a downward spiral of violence from
which he seems unable, or unwilling, to escape. "Every fear hides a
wish," Edmond is told, and Mamet charts the way his racial and sexual
prejudices will be turned in on himself.
Sadly, it's not very convincing, and still less entertaining. Macy
does his hangdog best with the part, but this loser hasn't the
intelligence (nor the charm) to make us fret at the vicious racist and
misogynist who lurks within him. When he eventually stops ranting and
swearing he takes to posing himself philosophical questions, which in
the final scenes sound more like the chuntering of a stoner than a
serious attempt to understand his life.
It plays like a low-cal Falling Down, with all the rage of Michael
Douglas's office malcontent but none of his dark humour. Possibly the
weakest thing Mamet has ever written.
------------------------------------------------------------------------------
Edmond (2007) 
Reviewed by Neil Smith 
Updated 03 July 2007 Contains very strong language and racism theme 
 
With the notable exception of Glengarry Glen Ross, few of David
Mamet's plays have survived the transition from stage to film with
their original power and drama intact. So it proves with Edmond, an
adaptation of a 1982 one-act by Re-Animator director Stuart Gordon,
that is as dreary a talkfest as ever washed up on a cinema screen. A
committed performance from Mamet regular William H Macy isn't enough
to make this anything more substantial than a repetitive, dyspeptic
curio.
Macy is Edmond Burke, a Manhattan businessman who - after a chance
encounter with a fortune teller who tells him "You are not where you
belong" - heads home to inform his wife (Mamet's own spouse Rebecca
Pidgeon) that their marriage is a sham. Heading off into the night, he
is preyed upon by pimps, hookers and muggers, before finding an
unlikely soulmate in waitress Glenna (Julia Stiles). When their
foreplay turns violent, however, this mild-mannered milquetoast ends
up wanted for murder.
"FRUSTRATING AND ALIENATING"
Resembling a pretentious art-house version of those yuppie-in-peril
movies that were all the rage in the 1980s (After Hours especially
comes to mind), Gordon's film ultimately feels as frustrating and
alienating as its miserly protagonist. (Everything is "too much" for
this whining loser, whether he's ordering a drink from hostess Denise
Richards or requesting fellatio from Mena Suvari's whore.) Sticking
rigidly to Mamet's patchwork quilt of fleeting, unconnected scenes,
meanwhile, the director fails to breathe any sort of life into a piece
practically carbon-dated by its flailing assaults on political
correctness.
Edmond is out in the UK on 6th July 2007.
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