Arquivos da tag:Bertrand Tavernier

75 anos de Harvey Keitel

Top dúzia então: 1- Taxi Driver (Martin Scorsese, 1976) 2- A Última Tentação de Cristo (The Last Temptation of Christ, Martin Scorsese, 1988) 3- Cães de Aluguel (Reservoir Dogs, Quentin Tarantino, 1992) 4- Vício Frenético (Bad Lieutenant, Abel Ferrara, 1992) 5- Caminhso Perigosos (Mean Streets, Martin Scorsese, 1973) 6- Os Duelistas (The Duellists, Ridley Scott,Continuar lendo “75 anos de Harvey Keitel”

Achado bloguístico do dia: DVDBlog par Bertrand Tavernier

DVDBlog par Bertrand Tavernier Porque o Tavernier tem um blog com dicas e eu não sabia. Related articles 24 Frames: A Morte ao Vivo (La Mort en Direct, Bertrand Tavernier, 1979) Bertrand Tavernier – Michael Powell – 1968 24 Frames: O juiz e o assassino (Le juge et l’assassin, Bertrand Tavernier, 1976) ‘Round Midnight –Continuar lendo “Achado bloguístico do dia: DVDBlog par Bertrand Tavernier”

24 Frames: O juiz e o assassino (Le juge et l’assassin, Bertrand Tavernier, 1976)

The titles fill the screen: “Between 1893 and 1898,” they tell us, “Bouvier killed twelve children. In those same years more than 2,500 children under fifteen died—assassinated—in mines and textile factories.”
The closing titles, of course, merely underscore the social and political message that has pervaded the entire film. Bouvier may be an assassin, but the world he inhabits—and which condemns him—is populated by assassins who are far more deadly than he. Indeed, this point is made explictly by the judge’s clear-sighted Royalist friend; citing an observation taken from Octave Mirbeau, a popular author of the period, he says, “We are all assassins, at least potentially, only we channel this criminal impulse through legal means: industry, colonial trade, war, anti-Semitism.” Reiterating this message in somewhat different terms, in one interview Tavernier described the confrontation between the judge and the assassin as the clash of “two violences: a crazy, tormented, uncontrollable, and unconscious violence and a legal, repressive, and hidden one.”

Professor Hubert Farnsworth’s Only Slightly Futuristic Holiday Movie Quiz

1) Best Movie of 2010 2) Second-favorite Roman Polanski Movie 3) Jason Statham or Dwayne “The Rock” Johnson 4) Favorite movie that could be classified as a genre hybrid 5) How important is foreknowledge of a film’s production history? Should it factor into one’s reaction to a film? 6) William Powell & Myrna Loy orContinuar lendo “Professor Hubert Farnsworth’s Only Slightly Futuristic Holiday Movie Quiz”

24 Frames: A Morte ao Vivo (La Mort en Direct, Bertrand Tavernier, 1979)

Profoundly rooted in a national culture, they refuse all spirit of insularity, serving as proof of an openness of spirit, a curiosity and almost unique breadth of vision…His intentions go beyond everyday naturalism, and lead to an irrational, metaphysical intensity which bears innumerable visions. You don’t follow a plot, you dive into a universe…

– Tavernier on Michael Powell.

‘Round Midnight – Red Shoes

In Wayne’s favorite movie, The Red Shoes, the ballerina protagonist, Vicky, couldn’t make the choice between her husband and dancing, between life and art. Her solution was to throw herself in front of a train; she danced herself to death. I asked Wayne how The Red Shoes might have ended differently. He imagined a modern corrective to Vicky’s romantic fatalism, a dancing Buddha character who seemed a little like himself. “The thing with Vicky was that she was a junkie for those red shoes,” he said. “When she was hit by the train, she passed away, but even in passing away, according to the principle of eternal karma, she’s still locked into the curse of the red shoes, still dancing in death, and can’t stop. So maybe here comes another dancer in modern times, tap dancing, and he has his own junkie problems. But he finds a way to overcome his stuff and change poison into medicine, so he can rescue her from the curse. Vicky forfeited her life for art, but this guy saves her when his life becomes bigger than art.”

Footprints: The Life and Music of Wayne Shorter by Michelle Mercer

Tavernier – Amolad – 2002

“I’ve always admired British cinema of the Thirties and Forties, in particular the work of Michael Powell,” he says. “And I’m absolutely certain that Powell was one of my very greatest influences – I still feel totally linked to his work. He gave me a lot of courage when I was beginning, just by watching his films because they were incredibly daring. He was always experimenting, never hiding behind one style or one subject.

24 Frames: Bluebeard’s Castle (Herzog Blaubarts Burg, Michael Powell, 1963)

Bluebeard’s Castle appears suddenly as the missing link that connects The Tales of Hoffman and Peeping Tom. It combines the incredible visual inventiveness, the surrealistic set design of the first one, and the moral rigor, the peremptory, inescapable and yet deeply compassionate tone of the second. Bluebeard is Mark’s twin brother. Both live in a universe of death and desolation, haunted by terrifying memories of their crimes and broken dreams. Flowers and clouds are tinted with blood like the images filmed by Karl Boehm or the magnetic tapes upon which he recorded the screams of his victims as well as his own cries of fear. In this funereal world, victims seem to long for their destiny or to stage it.

Bertrand Tavernier – Michael Powell – 1968

Nota: Num trecho, Tavernier cita a predileção de Jean Pierre Melville por Colonel Blimp, Melville não fora apenas o mentor profissional de Tavernier, mas também foi grande responsável em incutir sua paixão ao cinema powelliano, paixão esta que hoje só é comparável a do Scorsese dentro dos meios cinematográficos. Tavernier era uma raríssima excessão emContinuar lendo “Bertrand Tavernier – Michael Powell – 1968”