Newsgroup: it.arti.cinema
Titolo: THOM - news...

Vi assillo con altre recensioni e con le belle notizie che:
1- il film ha vinto in una categoria dei British Independent Film Awards,
indovinate quale?! [Avevo già scritto un post su questo, ma penso sia andato
perso];
2 - esce in Italia il 10 Novembre, lo saprete se avete visto il fantomatico
trailer.
Ciaooooooo
Nicole-Lily
PS: Proprio oggi ho trovato su Film-TV una secca stroncatura del film, che
dice praticamente il contrario di quanto sostengono l'80% delle recensioni
estere. Non so però quanta attendibilità abbia ormai una rivista che da
tempo sembra stroncare le cose belle ed esaltare le cacchiate (IMHO). Fate
voi...
________________
From The Irish Times:
The House of Mirth
By Michael Dwyer
Five years after his first American film, the disappointing The Neon Bible,
Terence Davies is back at the peak of his form for his second literary
adaptation set in the US, his enthralling treatment of the Edith Wharton
novel, The House of Mirth, which he filmed on location in Scotland.
Davies's best film since his searing Distant Voices, Still Lives - and a far
superior Wharton adaptation to Martin Scorsese's The Age of Innocence - the
impeccably composed The House of Mirth proceeds at a perfectly measured pace
as it reveals the emotionally bruising fate of Lily Bart, a New York
socialite in the early years of the 20th century.
Reliant on her aunt for money, Lily believes that she must marry into
wealth, which rules out the prospects of a loving relationship with the
amiable lawyer, Lawrence Selden (Eric Stoltz) who has little money. A
combination of mis-steps, misinterpretations and her own impulsive
behaviour - and the scheming of a spiteful socialite (Laura Linney) - render
Lily's social standing ominously precarious, with devastating consequences.
The characteristically sombre, unhurried approach Davies brings to the
material he films allows ample time and space for the characters and the
drama to breathe and develop, heightening the emotional turmoil which
inexorably ensues. In marked contrast to the majority of period pictures,
the emphasis here is firmly on the characters rather than the trappings
which surround them, and the use of sets and costumes is refreshingly
unobtrusive. The drama is permeated by the film's precisely captured milieu
of suffocating social hypocrisy, in which image and status are
all-important.
Unlike Scorsese's The Age of Innocence, which had Joanne Woodward reading
Wharton's book on the soundtrack to advance the narrative, Davies's film
often proves more revealing through looks and glances rather than what is
uttered verbally. In this respect, the director is very well served by the
expressive performances of his imaginatively chosen cast.
Lily Bart is played in a revelatory performance by X- Files star Gillian
Anderson, in an example of casting against type which pays off handsomely.
In addition to Eric Stoltz and Laura Linney, the sterling supporting cast
notably includes Dan Aykroyd, Anthony LaPaglia, Jodhi May, Elizabeth
McGovern and Eleanor Bron.
__________________________
From Leicestershire Mercury:
The House Of Mirth (PG)
Funnily enough, this is the business - a beautifully photographed costume
epic from director Terence Davies. It's superbly acted, very moving and has
a story that builds and builds. All Hollywood producers, take note.
Lily Bart (Gillian Anderson) is a ravishing New York socialite at the height
of her success. But she quickly discovers the precariousness of her position
when her beauty and charm start attracting unwelcome interest and jealousy.
Torn between her heart and her head, Lily goes with the head. She seeks a
wealthy husband, but in trying to conform to social expectations, she runs
the risk of missing her chance for real love.
This is stunning stuff - an intense, exquisite love story based on the
classic Edith Wharton novel. It is set, like Wharton's best-known work, The
Age of Innocence, against a background of wealth and social hypocrisy in
turn-of-the-century New York. It is so emotional, it hurts to watch.
British director Davies and producer Olivia Stewart have assembled a
first-rate cast and crew. X Files star Anderson is joined by Eric Stoltz,
Dan Aykroyd, and Laura Linney.
It was filmed in modern Glasgow, but you genuinely wouldn't know it. The
movie captures the atmosphere of the time perfectly, with the hypocrisy of
social manners clearly identified, and then hung out to dry.
Davies also manages to get a performance of real worth out of Anderson, who
for some time, has been regarded as totty on a cult sci-fi series. Here she
is magnificent, and through Davies' probing and her sensitivity we are able
to feel her rise and decline.
OK, the movie is a little slow, OK it is wordy, but it has a sense of
occasion that we very rarely see at the cinema these days. You might have to
travel a bit to see this, but it's well worth catching a film and a
performance - by Anderson - that is already being touted as Oscar winning
material.
______________
From Looktown:
THE HOUSE OF MIRTH
by Gloria X
A magnificent tragedy adapted from the Edith Wharton novel.
In "The House of Mirth" Gillian Anderson is exquisite in her portrayal of an
independent-minded woman stifled by the rigid social structure in New York
in 1905.
She plays Lily Bart, charming and beautiful, but carrying the twin burdens
of being penniless and unmarried. Although she truly loves Selden (Eric
Stolz,) he is not rich enough to support her so she seeks out a wealthy and
influential mate. Of course she's approached by all manner of dullards. As
time passes, her debts increase and desperate Lily asks her friend's
husband, Gus, (Dan Ackroyd) to help her. He agrees but the repayment he
demands is of a compromising nature and Lily flees his advances and is left
with an even greater debt to pay.
More trouble follows when another so-called friend accuses Lily of having an
affair with her husband in order to mask her own dalliances. The ploy causes
Lily to be banished from her circle and forces her to enter the working
world to earn a living. She is ill-prepared for work having been raised as a
lady. Destitute and miserable she seems completely lost but she has the
means to reinstate herself with society. Will she resort to the same
shameless tactics that others have used to destroy her? Gillian Anderson's
face reflects every agony of Lily's choices.
The House of Mirth is gorgeously appointed with every plush detail of
costume and set evoking the period.
A wonderful film.
___________________
The 3rd Annual British Independent Film Awards - a complete list of winners,
from Sky News:
Best British independent film: Billy Elliot
Best newcomer (on-screen): Jamie Bell (Billy Elliot)
Best actor: Daniel Craig (Some Voices)
Best actress: Gillian Anderson (The House Of Mirth)
Best director: Stephen Daldry (Billy Elliot)
Best independent foreign film (English language): The Straight Story
Best independent foreign film (foreign language): Kadosh
The Douglas Hickox award for British directorial debut: Kevin Macdonald (One
Day In September)
Best screenplay: Lee Hall (Billy Elliot)
Best newcomer (off-screen): Justine Wright (editor of One Day In September)
Best Achievement in production: One Life Stand
Producer of the year: Andrew Eaton

 voi...
allora... eccoti qualche impressione.
e` un film sorprendente, primo: perche' non ha NIENTE di spettacolare, tanto
da rasentare il noioso in certi punti; e la cosa mi sorprende, perche'
sembrerebbe un'operazione commerciale in grande stile... invece non lo e`
nemmeno un po'. Secondo, per gli attori che vi recitano: l'ex stella di
X-Files, Dan Aykroyd ingrassato e vile, Eric Stoltz ben diverso dallo
spacciatore di droga di Pulp Fiction.
nel complesso, un gran bel film. Bella ricostruzione e qualche colpo di regia
sapientissimo. Per nulla commovente, un account serio e preciso di come ci si
possa rovinare per un comportamento "non standard" e poca diplomazia.
un tantino forzato il finale, se mi permetti. un po' tanto forzato. pero`
glielo si perdona.
che dici?
-- 
Io sto morendo, ma quella puttana
di Emma Bovary vivra` in eterno.
- Flaubert -

 voi...
100% d'accordo.
Aggiungerei che le rece di Magrelli sono quanto di piu' brutto e degradante
ci sia nella rivista.
Quest' anno quando lessi il reportage su Venezia da lui scritto, comincia a
barcollare come colto da un malore (inguaribile).
Purtroppo e' l'unica rivista che mette tutte le trame dei film.
--
_________________________________
         B A r r Y Z
Godeliano per natura, Cartesiano
         per scelta.
       (icq UIN 7098241)
_________________________________

 - Flaubert -
Stupenda!
Bye, stone-hearted man     :)
NB

 100% d'accordo.
Io ho deciso che prenderò i loro giudizi come le previsioni del tempo...

 Bye, stone-hearted man     :)
breve elenco degli ultimi film che mi hanno fatto versare fiumi di lacrime:
Once upon a time in the west (Leone 1969)
It's a wonderful life (Capra 1947)
Heaven can wait (Lubitsch 1943)
Le plaisir (Ophuels 1952)
...ce n'e` d'avanzo, anzi, invecchio. snif :-)


 Io ho deciso che prenderò i loro giudizi come le previsioni del tempo...
beh, non so voi, ma io ho le mie fonti classificate rozzamente in due: quelli
che quando dicono che un film e` bello ci si va, e quelli che quando dicono
che un film e` bello NON ci si va :-)


> Bye, stone-hearted man     :)
breve followup:
scopro che lo sceneggiatore e`lo stesso Davies. Mi vien voglia di guardare il
resto dei suoi film.
invece, leggo un'altra cosa sacrosanta a proposito di tHoM: manca quasi
completamente di musica in sottofondo. (gli esperti direbbero:
extradiegetica, credo) Questo da` al film un tono straordinariamente intimo e
cupo. come se il regista lasciasse parlare gli eventi.
volevo dire anche un'altra cosa, ma mi son scordato. alla prossima dunque.
cheers


 breve elenco degli ultimi film che mi hanno fatto versare fiumi di lacrime
:)
L'importante è piangere per le cose giuste.
Bye
NB
*I'm gonna make a mistake
I'm gonna do it on purpose
I'm gonna waste my time
Cuz I'm full as a tick
And I'm scratching at the surface
What I find is mine*
                         Fiona Apple

 cheers
OK!
Regards,
NB
     |||||||||||||||                 |||||||||||||
     ||| °( ° |||                 | ° §° |
     |||   ^  |||                     /-\

 essere più esplicita.
mi rendo conto teste' che te l'ho spoilerato completamente... pardon.


 mi rendo conto teste' che te l'ho spoilerato completamente... pardon.
Bè, difficile spoilerare completamente un film di 2 ore e 20.  :)
Piuttosto, toglimi un dubbio che da mesi non mi fa dormire!
...Il bell'Eric nel film è tinto castano come sembrerebbe dalle foto oppure
lui e GA sono matching redheads come scriveva qualcuno???
Sai che "Lily" era uno dei soprannomi della Wharton? Insieme ad un nome
maschile che ora non ricordo, e a... Pussy. Però, che tipa!
A presto,
NB
*...It was rather that he had preserved a certain social detachment, a happy
air of viewing the show objectively, of having points of contacts outside
the great gilt cage in which they were all huddled for the mop to gape at.
[...] That was the way of readjusting her vision. Lily, turning her eyes
from him, found herself scanning her little world through his retina...*

 maschile che ora non ricordo, e a... Pussy. Però, che tipa!
sai che faccio? prima di andarmene di qui, compro uno dei suoi romanzi e me
lo porto dietro. hai qualche suggerimento da darmi (oltre ovviamente a questo
e a L'eta` dell'innocenza)?
-- 
Meu sabia', meu violao, e uma cruel desilusao
Foi tudo que ficou,
Ficou pra' machucar meu coracao.

 e a L'eta` dell'innocenza)?
Sorry, no. THOM č l'unico che ho letto finora. Piuttosto, ti raccomando di
prenderlo nell'edizione di Film Four. La riconosci dalla copertina.  :)
Ciao
NB
"I have seen it, but I don't remember this part.  Funny, it's like what's
happening to us, like the past.  The movie never changes -- it can't
change-- but everytime you see it, it seems to be different because you're
different -- you notice different things."

 prenderlo nell'edizione di Film Four. La riconosci dalla copertina.  :)
mi sta che sto per fare un saltino da James Thin. poi ti so dire. saluti
