You teach me now how cruel you've been - cruel and false. Why did you despise me? Why did you betray your own heart, Cathy? I have not one word of comfort. You deserve this. You have killed yourself. Yes, you may kiss me, and cry; and wring out my kisses and tears: they'll blight you - they'll damn you. You loved me - what right had you to leave me?

I always find it hilarious how often casting directors of Wuthering Heights film adaptations portray Ellen “Nelly” Dean as this elderly housekeeper next to Catherine Earnshaw, Hindley Earnshaw, Heathcliff, Edgar Linton, and Isabella Linton because that’s not who she is in the book at all.

In actuality, she’s about the same age as Hindley Earnshaw, who was only around 27-28 years old when he died, due to alcoholism. She’s only roughly six years older than Heathcliff and eight years older than Catherine Earnshaw/Linton Sr. She was only 14 years old when Mr. Earnshaw brought Heathcliff to Wuthering Heights, and they met. She was only in between her early-mid 20s when Cathy Sr accepted Edgar Linton’s proposal, and Heathcliff ran away after overhearing about how “it would degrade [Catherine] to marry him.” She was only in her late-twenties when Cathy Sr and Hindley Earnshaw died.

By the time we get into the second generation coming of age, Nelly’s story to Mr. Lockwood about these fucked up people she’s known and worked for from these two families since she was a child, Edgar Linton’s death, Isabella Linton’s death, Heathcliff’s death, and Cathy Linton Jr’s and Hareton Earnshaw’s engagement/upcoming marriage, Nelly is between her early-mid 40s.

At the end of the novel, Nelly has still just barely approached the beginning of “middle age” by the time Heathcliff and all this family drama surrounding the Earnshaws and Lintons. It’s why it just cracks me up how she’s always portrayed as this much more cynical and mature elderly lady in nearly every film. I guess, her being everyone else’s caretaker/servant everyone else’s favorite confidant, and her practical makes her attitude and personality comes across as someone you’d expect to be much older than her actual years

Granted, they also have often cast actors and actresses who are between their late-twenties to mid-thirties to portray Heathcliff and Cathy Sr as teenagers to early twenties. Of course, it’s also not uncommon for many people between their late-twenties to thirties, and sometimes even early 40s, to still get physically mistaken for being between their late-teens to mid-twenties since those are still fairly young years in adulthood, too. Juliet Binoche looked to be her actual age of 28 years old when she played the much younger 14-18 year old Cathy Sr and Cathy Jr Earnshaw/Linton, though.

Ralph Fiennes is actually my favorite actor’s portrayal of Heathcliff. I think he captured the anger, the charisma, the instability, the moodiness, the mystery, the obsessiveness, and the vague underlying sense of sympathy in Heathcliff the best. Physically, Ralph Fiennes is a white Caucasian actor, but to the the costume/make up department’s credit, they did have him wear a black wig and tan his skin enough to make him come across as mixed Romani in descent for this movie. Yeah, Nelly says his skin is “blacker than the devil,” but we also know that England was a very racist country towards outsiders who were not of pure white Anglo Saxon British descent back then, so Heathcliff could have been a lighter shade of tan than she said or he could have been dark brown. We don’t get a clear answer.

I also do love this scene of him talking to Nelly about being tired of getting revenge at the end of the 1992 Wuthering Heights film adaptation. They both appear to be around the right ages from the book here, and I love Nelly’s exasperated “Oh, for God’s sake…Can you please, stop staring like that!” She is so over and done with Heathcliff’s crazy bullshit, and the actress portraying Nelly here portrays that so well!

Happy birthday, Juliette Binoche

juliette binoche & juliet berto 🖤

Filme | Camille Claudel 1915

Encontrei esse texto na gaveta do blogue e gostei do que escrevi naquele ano ao ir ao cinema para assistir Camille Claudel 1915 com a maravilhosa Juliete Binoche...

Sai de casa para ir ao cinema… coisa que não fazia havia tempos porque, às vezes, nos perdemos das coisas mais simples e fazemos todo o resto. Hoje, no entanto, eu queria caminhar calçadas, dobrar esquinas, ultrapassar quarteirões e me perder dos passos e dos pés… quando dei por mim, estava a adentrar o Espaço Itaú de Cinemas — o antigo Unibanco, na Augusta, onde se serve um delicioso chá de…

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Very baby girl cute when he puts his hand to his mouth. Juliet Binoche IG

Godzilla (2014)

Watched:  11/04/2023

Format:  BluRay

Viewing:  Second, I think

Director:  Gareth Edwards

In a couple of weeks, Apple+ is dropping their decade-spanning, genre-mixing show about the Monarch organization, which is the group that.... something something.... in a world of giant beasties, based on Godzilla (2014) and the series of attached movies.  I've heard where in the movie timeline the show takes place - just after this movie, and it had been a while, so I finally rewatched the first of the Monsterverse films to remind myself what the hell happens in the flick.

I remember going into Godzilla (2014) with some trepidation.  The last American-made Godzilla movie I'd seen was the 1998 trainwreck that just piled on all the worst habits of 1990's-era blockbuster entertainment, and then curb-stomped you with them.*

The trailers for the 2014 edition certainly looked cool, but the fact is that at the time of the film's release, Hollywood was doing this thing where they would come up with cool stuff for trailers and then maybe make a movie that tied those scenes and lines together.  

It was promising a movie for all-ages, including adults - casting thinking-person's stars like Bryan Cranston, Juliet Binoche, Ken Watanabe, David Strathairn and Sally Hawkins (a curious trend that has continued through Godzilla v. Kong with Rebecca Hall as our lead).  So it was literally *buying* gravitas with the casting choices.  Which was maybe needed after the 1998 debacle.  

Leaving the movie, I remember a vague sense of disappointment, but wasn't blogging at the time, so there's no record of what I was thinking.  In the 9 years since I've re-watched the movie, I'd kind of forgotten what the deal was.  Certainly I remembered them bumping off Binoche in the film's first five minutes, and that Cranston similarly exits the film in the first act, when I thought he was going to be our lead.  

Instead, we are handed Aaron Taylor-Johnson in a thankless, vague and personality-free role of "Ford Brody" - a US soldier of some sort (I'm pretty sure I heard him say "navy" at some point, but that seemed weird) who specializes in defusing bombs.  He's supposedly partnered with Elizabeth Olsen as his wife, Elle, but the two get maybe three minutes together in the whole film - a film that depends entirely on you caring about Ford's return to his family (why he leaves actually makes zero sense, but whatever).  At no point will the audience care about this other than "oh, I guess that's why he's there/ doing that".  

The problem with all that all-star casting is that in 2014, neither Olsen nor Taylor-Johnson were the people many of us showed up to see.  So when those stars you came to see start getting bumped off, or get relegated to exposition-spouting background characters (sorry, Sally Hawkins), you aren't really sure why you're supposed to be following the blank-space-of a character in a motorcycle jacket that is Taylor-Johnson's character.  You'll want to spend time with literally everyone else on screen.

However, the entire movie is set up - much to my surprise the first time - to be Ford's story.  We're intended to find out *why* he's invested in the events, and - because this is an American movie - has a deeply personal stake in what is happening.  Which means the first twenty minutes could possibly be lopped off the film and conveyed via two or three lines of dialog.  But, instead, we're shown everything, which sets up the audience to care about and to wish to follow entirely the wrong characters.  

Once we're in 2014, fortunately, the movie fates place Ford just right in the world, in a series of increasingly unlikely events, to be exactly where he needs to be at any given time to be a part of the movie's globetrotting events.  Also, not because he did any work, but happened to overhear something, he's the person with the required knowledge at least once.  And we're told he apparently set up a nuclear weapon, but that happened off-screen?

This is as good a segue as any to talk about how you can cast the best actors, get cool-as-hell FX departments, etc...  but this is, in fact, a very, very badly written movie. 

The scenes that do work are very much written to be teaser trailers and worked backward into the movie.  The halo jumping sequence is absolute, illogical nonsense, but looks cool as hell, and may have been what was pitched to execs.  Godzilla coming onto the beach in Honolulu, same.  But they aren't cohesive as a story, and there's no real characters to get invested in to make you care if the monsters destroy the world or not.

Retro-engineering the movie, given what we know now about Legendary's plans, this is really just all set-up for getting an audience invested in the world that we now refer to as The Monsterverse.  The movie cares more about sequels than itself - a problem with a lot of media in a post-Lost world, and misunderstanding how Marvel was working.  It wants us to understand that there's an expert agency that looks into Godzilla-type happenings, and - working with the military?  sometimes? - takes care of the issues, but is really mostly standing around being very concerned, while also hiding the fact that Godzillas exist.  Which seems like a very tall order, indeed.

I'll be honest, I had no memory of Monarch by the the time I saw the sequel, so excellent job, my dudes.  

From a story perspective, it's the kind of movie where we find out that the people who have spent 15 years, every day, studying the monster who has taken over a nuclear power plant have somehow learned nothing, pondered nothing, done no basic science, and so it is that Ford Brody has all the info they could ever need as person who showed up on the scene 4 hours ago (and you will also wonder why they didn't just hire Cranston).  It's the kind of movie that says "we evacuated a whole small city by pretending there was a nuclear disaster, but we didn't kill the monster in the middle of the evacuated area because we thought that would actually radiate the area everyone already was not living in."  Which... amazing logic.

The most baffling decision by the movie is that it's absolutely, deeply against actually caring about why you bought your ticket (to see Godzilla).  There are multiple battles between Godzilla and the stupid stink-bug looking MUTOs, and fuck you if you would have liked to have seen those, because this movie is convinced that's like putting the camera on the clouds for several minutes in a movie about people surviving a storm.  

But it is not.  Our monsters are the main event.  I don't care if it's the Rockettes performing while firing muskets into the air while the ghost of George Washington tap dances around - my eyes is going to be drawn to the behemoths destroying city blocks by turning around.  

What happened in Hawaii?  We had minutes of build up featuring huge set-pieces and POV characters.  We get our first glimpses of G himself and his incredibly fat ankles.  But when the fight kicks in, it's shown as maybe three shots on a 13" TV in other scenes in Elizabeth Olsen's apartment.  

You want to see the rampage through Vegas?  Eat my butt.  We're showing the aftermath.

You want to see the monsters actually engaging in San Francisco?  You're just a fool for thinking that will happen.  We will show the humans doing their shit, and cut away just as the monsters engage time and time again.  And when we DO finally show it, it will be so dark, you'll be wondering if something went wrong with how you're viewing the movie.

Like, I don't understand how one decides that they're making a movie about gigantic monsters fighting and thinks what we want to see is soldiers planning a parachute jump, not "in addition to" but "instead of" monster fights.  

Consequently, the movie is weirdly boring.  We're just going from place to place, being denied better characters and dialog while gesturing at who they cast.

I've seen, I believe, all but two Godzilla films (three if you count the one that hasn't been released yet), and I can tell you, no matter how goofy or dumb most of these movies are, they know why you paid your dollars for a seat.  So they may be a confusing mess of sub-plots, but they WILL show you Godzilla and an enemy or three mixing it up for long stretches.  And they do not think you only need to see glimpses of the monster fights in the background as someone ties their shoes in the foreground.

I may think Skull Island is an affront to the legacy of King Kong, but no one is going to call that movie boring or suggest it under delivers on crazy monster stuff.  So someone figured this out.

What I don't get is why they went with *this* design for Godzilla.  Why the stumpy avocado look?  Look, nothing was going to look worse than the 1998 trainwreck, so by that measure, it's an improvement.  My assumption is that Toho doesn't want for US-made Godzilla to look like their Godzilla, but I have no evidence that's true.  What I generally believe is that there is science that talks about how animals would be shaped if they scaled up, and the larger an animal gets, the more it has to be shaped wider rather than taller - ie: you get a pyramid at some point.  And this is that.  But, my guys, this is about an amphibious monster king who shoots atomic rays from his tummy out his mouth, so maybe we go for "cool" instead of "will please my Bio 301 TA".  

I guess kids like it, because those toys do move, but I gotta say, I think the Final Wars Godzilla looked rad as hell and would have been nice to see as a CGI adaptation.  It's not really til they made adjustments to Avocadozilla in Gozilla v Kong that I was onboard with this design.

But, maybe the greatest bit to make you wonder what the hell was going on at Legendary when making this movie occurs in the he final moments. 

After Godzilla has managed to help level Honolulu and most of San Francisco, he needs a nap, and takes one in the middle of the city, waiting a couple of days before he wakes up again, fresh as a daisy.  As he's leaving, the TV screens have "Godzilla, King of the Monsters:  Our Savior?" on the chyron.

That's like.... one day you're at home and two mountain lions and a bear enter your home, destroying pretty much everything you own and killing your family dog.  The bear manages to finish off the mountain lions and then naps for a bit on your couch.  I really don't think you're looking at that bear and thinking "wow, he really did it.  He really helped me out."

I haven't even got into how the 25-story-tall monsters keep sneaking around silently and keep surprising our heroes.  Nor why the answer of the military to 25 story monsters is "send in foot soldiers with machine guns" instead of "pound these things with our gigantic cannons mounted on battleships that can hit a target miles away".  

The movie finally, finally remembers in the last ten minutes that you can do more with a character in a movie than have them either deliver information or look bewildered when we see Ford decide "if Godzilla can go above and beyond, so, too, can I!" using, like, legit film language.  The moment is the only one to convey that anyone would see Godzilla as anything other than a pants-dumping terror instigator, so it does help the point of "our hero?" but it's also entirely singular to the experience of Ford and like 2 other people.

When given an opportunity for real, human moments - like Ford being reunited with his child - we just don't show it.  It happens off screen, and that may be the most telling moment for how this movie sees character, story, emotional beats, etc...  We don't care.  All we care about is making sure the audience has seen Godzilla, knows he's there to fight monsters, monsters don't give a shit about humans, and that Monarch is there to look concerned and wear their IDs on lanyards when the monsters show up.

It's just such a weird movie.  

One could easily say "you dismiss all of the nonsense in the Japanese films" - but, two things.  (1) It's largely arguable that the movies after 1954 are for pre-teens, and not pulling in big-name stars to sell us on the idea that this is a movie is something not dumb.  And (2) Their storylines may be nonsense, but the plots, no matter how insane, have an internal logic that holds.  This movie can't even do that.  Nothing really makes any sense, it all just keeps unfolding and hoping you don't notice "hey, this is dumb as hell".  Unfortunately, that requires actually seeing the monsters, to which this movie stands in violent opposition.

What do I like?  

Well, it's nice to see the talent assembled in front of the camera, I guess.  I wish they'd been given literally anything to do but exposit.  The effects are ok, and the final monster fight - what you can see of it - is nicely framed in bits like a classic Godzilla film, pulling back to let you see how tiny the city is against the creatures.  I don't mind the insertion of Monarch into the movie as a concept - I wish they'd explained in the slightest what they were, why and what they hoped to do.  It's a nice hardware porn movie, with jets, helicopters, battleships, etc...  It's nice to see a pre-super-famous Elizabeth Olsen.  She's as good as one could hope for given her five lines in the movie.  

But for the most part, the movie was pretty much how I remembered.  

Kids seemed to like it, and everyone has done well selling the toys (which may also be why the Godzilla in this movie looks how it does, so Bandai doesn't get a cut).  But kids don't give a shit who Juliet Binoche and Ken Watanabe are, so.  For the teen to 20-somethings, it did fine, but I was surprised it launched a franchise.  There's a lot about movies and budgets and who gets paid that I don't understand.  But I don't know anyone who *loves* this movie.  It just kind of exists.  

To their credit, these movies do seem to be getting better with each movie, but what a weird way to workshop concepts already sorted out by our friends in Japan.

*I saw the movie twice in theaters at the time - once to see it, and a second time to take my brother so he could see the awfulness with his own eyes

#Chocolat #Juliet Binoche #scene #2000

"I'll come round sometime & get that squeak out your door."

Seven Favorite Films

First Seven 1. Life is Beautiful (1997) - Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini 2. Lawrence of Arabia (1962) - Peter O'Toole, Alec Guinness, Anthony Quinn 3. All About Eve (1950) - Bette Davis, Anne Baxter, George Sanders 4. Hud (1963) - Paul Newman, Melvyn Douglas, Patricia Neal 5. Breakfast at Tiffany’s (1961) - Audrey Hepburn, George Peppard, Patricia Neal 6. A Place in the Sun (1951) - Montgomery Clift , Elizabeth Taylor, Shelley Winters 7. Shane (1953) - Allan Ladd, Jean Arthur, Brandon De Wilde

Second Seven 1. Romeo and Juliet (1968) - Leonard Whiting, Olivia Hussey, John McEnery 2. West Side Story (1961) - Natalie Wood, George Chakiris, Richard Beymer 3. The Bridges of Madison County (1995) - Clint Eastwood, Meryl Streep, Annie Corley 4. The English Patient (1996) - Ralph Fiennes, Juliette Binoche, Kristin Scott Thomas 5. Somewhere in Time (1980) - Christopher Reeve, Jane Seymour, Christopher Plummer 6. Camelot (1967) - Richard Harris, Vanessa Redgrave, Franco Nero 7. The Mirror Has Two Faces (1996) - Barbra Streisand, Jeff Bridges, Lauren Bacall

period drama meme [2/4 literary adaptations]: Wuthering Heights (1992) dir. Peter Kosminsky

WORLD CINEMA’S TOP 236 ACTRESSES OF ALL TIME! (@INDIES)

http://www.imdb.com/list/ls569475215/

Position.  Name.

1 Barbara Stanwyck 2 Olivia de Havilland 3 Meena Kumari 4 Geraldine Page 5 Audrey Hepburn 6 Suchitra Sen 7 Vivien Leigh 8 Ginger Rogers 9 Elizabeth Taylor 10 Katharine Hepburn 11 Kate Winslet 12 Julia Roberts 13 Norma Shearer 14 Nathalie Lissenko 15 Hasmik Agopyan 16 Catherine Deneuve 17 Chulpan Khamatova 18 Nataliya Vdovina 19 Elena Solovey 20 Brigitte Bardot 21 Aleksandra Khokhlova 22 Jeanne Moreau 23 Anna Karina 24 Isabelle Adjani 25 Romy Schneider 26 Léa Seydoux 27 Mélanie Laurent 28 Audrey Tautou 29 Ekaterina Chtchelkanova 30 Vanessa Paradis 31 Simone Signoret 32 Emmanuelle Béart 33 Isabelle Huppert 34 Sandrine Bonnaire 35 Carole Bouquet 36 Anne Parillaud 37 Fanny Ardant 38 Sophie Marceau 39 Nathalie Baye 40 Anouk Aimée 41 Alexa Davalos 42 Josiane Balasko 43 Clémence Poésy 44 Natalija Janichkina 45 Laetitia Casta 46 Eva Green 47 Elodie Yung 48 Kristin Scott Thomas 49 Anna Mouglalis 50 Astrid Bergès-Frisbey 51 Charlotte Gainsbourg 52 Capucine 53 Roxane Mesquida 54 Jane Birkin 55 Bérénice Bejo 56 Olga Kurylenko 57 Leslie Caron 58 Josephine Baker 59 Pom Klementieff 60 Noémie Merlant 61 Adèle Haenel 62 Adèle Exarchopoulos 63 Emma Mackey 64 Yael Grobglas 65 Emmanuelle Seigner 66 Juliette Binoche 67 Ellen Burstyn 68 Madhavi Mukherjee 69 Isabelle Weingarten 70 Sarah Adler 71 Christa Théret 72 Karin Viard 73 Déborah François 74 Marie Gillain 75 Juliet Berto 76 Mélanie Doutey 77 Monique Mélinand 78 Stéphane Audran 79 Léa Drucker 80 Dominique Labourier 81 Angélique Litzenburger 82 Françoise Lebrun 83 Valérie Donzelli 84 Bernadette Lafont 85 Sylvie Testud 86 Cécile de France 87 Katia Leclerc O'Wallis 88 Zouzou 89 Françoise Fabian 90 Maria Schneider 91 Agnès Jaoui 92 Valeria Bruni Tedeschi 93 Aurora Cornu 94 Stacy Martin 95 Lola Créton 96 Laurence de Monaghan 97 Dominique Blanc 98 Béatrice Romand 99 Mélanie Thierry 100 Caroline Cellier 101 Michèle Moretti 102 Geneviève Page 103 Elina Labourdette 104 Anne Wiazemsky 105 Marie Dubois 106 Claudine Auger 107 Annie Girardot 108 Juliette Mayniel 109 Brigitte Fossey 110 Martine Carol 111 Dolly Scal 112 Patricia Gozzi 113 Marilou Berry 114 Maria Mauban 115 Janine Darcey 116 Suzanne Flon 117 Colette Marchand 118 Françoise Arnoul 119 Ludivine Sagnier 120 Béatrice Dalle 121 Claude Nollier 122 Josette Day 123 Nicole Stéphane 124 Catherine Salée 125 Dominique Sanda 126 Marina Hands 127 Cécile Aubry 128 Nicole Ladmiral 129 Bulle Ogier 130 Véra Clouzot 131 Simone Renant 132 Sylvia Bataille 133 Suzy Delair 134 Jane Marken 135 Nane Germon 136 Lucienne Bogaert 137 Renée Carl 138 Catherine Frot 139 María Casares 140 Arletty 141 Odette Joyeux 142 Marguerite Moreno 143 Madeleine Robinson 144 Héléna Manson 145 Paulette Dubost 146 Micheline Francey 147 Ginette Leclerc 148 Mady Berry 149 Edwige Feuillère 150 Jacqueline Laurent 151 Mila Parély 152 Florelle 153 Claudette Colbert 154 Danielle Darrieux 155 Rolla France 156 Annabella 157 Anne Chevalier 158 Lya Lys 159 Simone Mareuil 160 Maria Falconetti 161 Yvette Andréyor 162 Musidora 163 Nora Arnezeder 164 Virginie Ledoyen 165 Michèle Morgan 166 Marine Vacth 167 Louise Bourgoin 168 Caridad de Laberdesque 169 Pauline Carton 170 Sévérine Lerczinska 171 Odette Talazac 172 Léora Barbara 173 Simone Simon 174 Marion Cotillard 175 Mireille Darc 176 Edith Scob 177 Chantal Goya 178 Emmanuelle Riva 179 Chiara Mastroianni 180 Claire Maurier 181 Marika Green 182 Delphine Seyrig 183 Mylène Demongeot 184 Marie-France Pisier 185 Françoise Dorléac 186 Marina Vlady 187 Stella Dassas 188 Marpessa Dawn 189 Elsa Zylberstein 190 Bleuette Bernon 191 Sara Forestier 192 Pascale Ogier 193 Amanda Langlet 194 Julie Delpy 195 Linh-Dan Pham 196 Nelly Borgeaud 197 Nicole Garcia 198 Irène Jacob 199 Myriem Roussel 200 Arielle Dombasle 201 Marie Rivière 202 Solveig Dommartin 203 Émilie Dequenne 204 Ariane Labed 205 Zabou Breitman 206 Romane Bohringer 207 Sabine Azéma 208 Hafsia Herzi 209 Andréa Ferréol 210 Jeanne Balibar 211 Isabelle Renauld 212 Mireille Perrier 213 Juliana Samarine 214 Catherine Mouchet 215 Aurora Marion 216 Anaïs Demoustier 217 Judith Chemla 218 Marie Laforêt 219 Michele Valley 220 Hélène Alexandridis 221 Anne Consigny 222 Macha Méril 223 Anne Brochet 224 Miou-Miou 225 Anne Teyssèdre 226 Joséphine Sanz 227 Gabrielle Sanz 228 Fantine Harduin 229 Charlotte Véry 230 Élodie Bouchez 231 Natacha Régnier 232 Pili Groyne 233 Yolande Moreau 234 Emmanuelle Devos 235 Nina Meurisse 236 Florence Darel

Have you read Cyrano? Do you think there are aspects in common between him and Heathcliff? of course the stories are very different but idk, I just thought there were some simikar thematics: unrequieted love, love triangles, revenge against society, being discriminated for physical attribuite (of course for Heathcliff there is also racial discrimination), a woman who think herself in love with an "acceptable" man but she her soul is actually in love with the other...

I haven’t read it. Helen Small in the Introduction for the Oxford edition however likens Heathcliff to Cyrano, not in his relationship with Catherine, but in assisting Linton Heathcliff in writing Younger Cathy love letters:

“Perhaps the subtlest element in the structuring of this strand of the narrative (brilliantly picked up in Peter Kosminsky’s not always brilliant 1992 film with Ralph Fiennes and Juliet Binoche) is the way in which the logic of revenge requires Heathcliff to play the lover, behind the scenes, to the Younger Catherine. The letters that she receives illicitly from Linton in the first stage of their travesty of a romance are scripted not by Linton but by his father, who must become for these occasions a kind of cynical Cyrano de Bergerac”.

This is doubly interesting considering Heathcliff proclaimed that he never deceived Isabella and made fun of her for picturing in him “a hero of romance”. It seems like he changed his ways in the intervening years.

Trailer of the fantastic crime thriller PARADISE HIGHWAY starring Morgan Freeman, Juliette Binoche and Frank Grillo

Trailer of the fantastic crime thriller PARADISE HIGHWAY starring Morgan Freeman, Juliette Binoche and Frank Grillo

Lionsgate has released a trailer for an upcoming detective thriller titled Road to Heaven, and it looks like a great movie! Of course, it doesn’t hurt that the film has a fantastic cast it includes Juliet Binoche (Chocolat, The English Patient, Danno) as a truck driver, Morgan Freeman as an FBI agent, Cameron Monaghan (Jedi: order fallen), Franco Grillo, Hala FinleyAnd Christiane Seidel. The film…

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Three Colours Trilogy - 30th Anniversary 4K Restoration

Blue (1993), White (1994), Red (1994)

Juliet Binoche, Benoit Regent, Zbigniew Zamachowski, Julie Delpy, Janusz Gajos, Irene Jacob, Jean-Louis Trintignant. dir. Krzyysztof Kieslowski. (France)

Juliete Binoche-The English patient

Johnny Depp

Johnny Depp. O nome que lembra o mais hilário dos piratas. Nâo o mais temido mas o mais querido, Jack Sparrow. 

Jack é o personagem que sempre vamos querer rever nas telonas ou nas telinhas. Sempre vamos aguardar uma próxima sequência ou até uma série inteira. E nada disso seria possível com outro ator, com outro Johnny.

Johnny Depp tem o olhar único e as expressões ímpares que ninguém mais consegue criar para personificar Jack. Um e outro são a mesma pessoa. Pelo menos quando a câmera é acionada e os oceanos e monstros marinhos estão em cena.

 Mas Johnny é mais do que esse personagem inesquecível. Ele é também o parceiro romântico de Juliete Binoche, em Chocolate. É ainda o loser na vida, em Ed Wood, com quem também nos identificamos de vez em quando.

Depp é também o vampiro que acorda fora do tempo na década de setenta e, vendo o logo gigante do McDonalds na noite, conclui que Mephisto está presente e maligno até ali. Hilário e imperdivel.

E você deve estar acompanhando a vida atual dele. Deve saber que na vida real, as coisas para ele estão tão turbulentas quanto as tempestades no Caribe. Seu processo contra a ex esposa está na fase final e tudo indica que ele soube enfrentar mais um monstro. Desta vez, um monstro lindo por fora mas mega cruel na essência.

Nesse texto, vamos acompanhar a vida de Johnny Depp e fazer um paralelo entre quem é o que já viveu o ator e seus personagens.

Quais as relações que rolam entre o trabalho criativo e vibrante do profissional e suas experiências, batalhas e momentos saborosos? Entender o criador para entender sua criação.  “Feche os olhos e finja que é só um sonho bom” -- esse é Johnny Depp.