T.I.M.E. de cine: Kitano (de los grandes, vivos aún, actor y director)

Aquí su página en la imdb

***

1. ¿A su cine cabe calificarlo de triste?

2. ¿De violento?

3. ¿De desesperanzado?

4. ¿De realista extremo?

5. ¿De...?

Con el cine japonés no sirven las preguntas de siempre; hay que verlo como si fuera de otro planeta; el disfrute también es como si de otro planeta :-)

T.I.M.E. de cine: los 400 golpes

Aquí en imdb

***

Extraordinaria. Simplemente porque ellos (los chicos) tendrían que ser siempre lo más importante :-)

"Jason Korsner
Updated 28 February 2001
BBC Film Reviews

This film is a landmark in modern cinema, launching the French New Wave and turning François Truffaut from a critic into one of the world's most distinguished film makers.

12-year-old Antoine Doinel lives in a tiny flat with his mother and stepfather, who are poor and generally inattentive. A ruthlessly domineering teacher makes life at school more unbearable than at home. His only escape from the shackles of everyday life is to bunk off school with his one friend, go to the fairground, or visit the cinema. His problems deepen as frustration, desperation, and loneliness lead to his expulsion from school and subsequent running away from home.

There are two outstanding talents in the film. As Antoine Doinel, the young Jean-Pierre Léaud delivers a tremendously deep, sympathetic, and convincing performance in the role which he would reprise four times in the following 20 years. And Truffaut himself, in his first feature, displays the directorial flair that would make him such an influential auteur. Take, for example, a remarkably revealing scene in which Antoine opens up to a psychologist: it's shot from her point of view, with Antoine confessing his feelings directly into the camera.

"The 400 Blows" is more than semi-autobiographical. Both Antoine and the young Truffaut were social outcasts - failures at school, who turned to delinquency, ran away from home, and ended up in custody. But most significantly, as would become apparent throughout Truffaut's career, the one thing that made their lives worth living was their passion for cinema."

T.I.M.E. de cine: una (otra más) de las extraordinarias películas de Federico Fellini: Roma

1. Mucho (pero muchísimo) mejor que "Barcelona" o "Roma" de W.Allen

2. La magia de saber mirar desde arriba, por dentro, atrás, adelante y alrededor

3. La valentía de mirarse mirando, y conseguir así una mirada más

4. Federico F.: ¡nadie miró mejor que tú! (y a Roma se vé que la amabas :-)

T.I.M.E. de cine: American Graffiti (1973)

Aquí su página en imdb

***

1. Una cantidad de "autos" preciosos.
2. Una música maravillosa.
3. Una historia sin pretensiones :-) (a lo George Lucas :-)

Lars von Trier: Melancholia

Aquí en imdb

Extraordinario film de este caballero, príncipe de la humana-imaginación puesta en el OJO:

1. El final: apabullante
2. El comienzo: desafiante
3. Kirsten Dunst: una actuación del "fin del mundo" :-)

T.I.M.E. de cine

Aquí en la imdb

The people vs. Larry Flint; Milos Forman, 1996



1. Como en toda buena película, una historia de amor :-)
2. En la cual se entrelazan el espíritu de las leyes y la brutalidad de "la ley por propia mano"
3. Que tiene como héroes a un particular "trío": al emprendedor, al abogado, a la mujer que amó, y fue amada por, el primero, víctima al final, en esta historia made in USA-siglo XX

Ella:





El abogado:

T.I.M.E. de cine: Antoine Fuqua (el cine de acción)

Aquí su página en la imdb

Una película para no olvidar: The Replacement Killers, 1988; Mira Sorvino, Yun-Fat Chow

T.I.M.E. de cine (películas mágicas): El Mago de Oz

Aquí

La protagonista (la que le da el centro a la historia): Judy Garland

Los demás (los que giran alrededor de Dorothy) son todos personajes excepcionalmente entrañables:

Ray Bolger (el espantapájaros)

Bert Lahr (el león cobarde)

Jack Haley (el hombre de hojalata)

Minibio desde imdb:

"One of the brightest, most tragic movie stars of Hollywood's Golden Era, Judy Garland was a moved-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals.

She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians Frank and Ethel Gumm. Her mother, an ambitious woman gifted in playing various musical instruments, saw the potential in her daughter at the tender age of just 2-years-old when Baby Frances repeatedly sang "Jingle Bells" until she was dragged from the stage kicking and screaming during one of their Christmas shows and immediately drafted her into a dance act, entitled "The Gumm Sisters", along with her older sisters Mary Jane Gumm and Virginia Gumm. However, knowing that her youngest daughter would eventually become the biggest star, Ethel soon took Frances out of the act and together they traveled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.

Her family life was not a happy one, due largely in part to her mother's drive for her to succeed as a performer and also her father's closeted homosexuality. The Gumm family would regularly be forced to leave town due to her father's illicit affairs with other men and from time to time they would be reduced to living out of their automobile. However in September 1935 the Gumm's, in particular Ethel's, prayers were answered when Frances was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing. It was then that her name was changed from Frances Gumm to Judy Garland, after a popular 30s song "Judy" and film critic Robert Garland.

Tragedy soon followed however in the form of her father's death of meningitis in November 1935 and, having been given no assignments with the exception of singing on radio, the threat of losing her job following the arrival of Deanna Durbin. Knowing that they couldn't keep both of the teenage singers, MGM devised a short entitled Every Sunday (1936) which would be the girls' screen test. However, despite being the outright winner and being kept on by MGM, Judy's career did not officially kick off until she sang one of her most famous songs "You Made Me Love You" at Clark Gable's birthday party in February 1937, during which Louis B. Mayer finally paid attention to the talented songstress.

Prior to this her film debut Locuras de estudiantes (1936), in which she played a teenage hillbilly, had left her career hanging in the balance. However following her rendition of "You Made Me Love You", MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager and she was given numerous pills by the studio doctors in order to combat her tiredness on set. Another problem was her weight fluctuation, but she was soon given amphetamines in order to give her the desired streamlined figure. This proved to be the downward spiral that resulted in her life-long drug addiction.

In 1939, Judy shot immediately to stardom with El mago de Oz (1939), in which she portrayed Dorothy, an orphaned girl living on a farm in the dry plains of Kansas who gets whisked off into the magical world of Oz on the other end of the rainbow. Her poignant performance and sweet delivery of her signature song 'Over The Rainbow' earned Judy a special juvenile Oscar statuette on 29th February 1940 for Best Performance by a Juvenile Actor. Now growing up, Judy began to yearn for more meatier, adult roles instead of the virginal characters she had been playing since she was 14. She was now taking an interest in men and after starring in her final juvenile performance in Las chicas de Ziegfeld (1941) alongside glamorous beauties Lana Turner and Hedy Lamarr, Judy got engaged to band leader David Rose in May 1941, just two months after his divorce from Martha Raye. Despite planning a big wedding, the couple eloped to Las Vegas and married during the early hours of the morning on 28 July 1941 with just her mother Ethel and her stepfather Will Gilmore present. However, their marriage went downhill as, after discovering that she was pregnant in November 1942, David and MGM persuaded her to abort the baby in order to keep her good-girl image up. She did so and, as a result, was haunted for the rest of her life by her 'inhumane actions'. The couple separated in January 1943.

By this time, Judy had starred in her first adult role as a vaudevillian during WWI in Por mi chica y por mí (1942). Within weeks of separation, Judy was soon having an affair with actor Tyrone Power, who was married to French actress Annabella. Their affair ended in May 1943, which was when her affair with producer Joseph L. Mankiewicz kicked off. He introduced her to psychoanalysis and she soon began to make decisions about her career on her own, instead of the influence of the domineering MGM and her mother. Their affair ended in November 1943 and soon afterward, Judy reluctantly began filming Cita en St. Louis (1944), which proved to make her a big success. The director Vincente Minnelli highlighted Judy's beauty for the first time on screen having made the period musical in color, her first color film since El mago de Oz (1939). He showed off her large brandy-brown eyes and her full thick lips and after filming ended in April 1944, a love affair resulted between director and actress and they were soon living together.

Vincente began to mold Judy and her career, making her more beautiful and more popular with audiences worldwide. He directed her in El reloj (1945) and it was during the filming of this movie that the couple announced their engagement on set on 9 January 1945. Judy's divorce from David Rose had been finalized on 8 June 1944 after almost 3 years of marriage and, despite her brief fling with Orson Welles who, at the time, was married to screen sex goddess Rita Hayworth, on 15 June 1945, Judy made Vincente her second husband after tying the knot with him that afternoon at her mother's home with her boss Louis B. Mayer giving her away and her best friend Betty Asher serving as bridesmaid. They spent three months on honeymoon in New York and afterwards, Judy discovered that she was pregnant.

On 12 March 1946 in Los Angeles, California, Judy gave birth to their daughter Liza Minnelli via Caesarean section. It was a joyous time for the couple, but Judy was out of commission for weeks due to the Caesarean and her postnatal depression, so she spent much of her time re-cooperating in bed. She soon returned to work, but married life was never the same for Vincente and Judy after they filmed El pirata (1948) together in 1947. Judy's mental health was fast deteriorating and she began hallucinating things and making false accusations of people, especially of her husband, making the filming a nightmare. She also began an affair with aspiring Russian actor Yul Brynner, but after the affair ended, Judy soon regained health and tried to salvage her failing marriage. She then teamed up with dancing legend Fred Astaire for the delightful musical Desfile de Pascua (1948), which proved a successful comeback, despite having Vincente fired from directing the musical. Afterwards, Judy's health deteriorated and she began the first of several suicide attempts. In May 1949, she was checked into a rehabilitation center, which caused her much distress.

She soon regained strength and was visited frequently by her lover Frank Sinatra, but never saw much of Vincente or Liza. On returning, Judy made In the Good Old Summertime (1949), which was also her daughter's film debut, albeit Liza had an uncredited cameo. She had already been suspended by MGM for her lack of cooperation on the set of Vuelve a mí (1949), which also resulted in her getting replaced by Ginger Rogers. After being replaced by Betty Hutton on La reina del oeste (1950), Judy was suspended yet again, before making her final film for MGM entitled Repertorio de verano (1950). At 28, Judy received her third suspension and was fired by MGM and her second marriage was soon dissolved.

Having taken up with Sidney Luft, Judy traveled to London to star at the legendary Palladium. She was an instant success and after her divorce to Vincente Minnelli was finalized on 29th March 1951 after almost 6 years of marriage, Judy traveled with Sid to New York to make an appearance on Broadway. With her newfound fame on stage, Judy was stopped in her tracks in February 1952 when she fell pregnant by her new lover Sid. She made him her third husband on 8 June 1952 at the age of 30 after tying the knot with him at a friend's ranch in Pasadena. Her relationship with her mother had long since been dissolved by this point and after the birth of her second daughter Lorna Luft on 21 November 1952, she refused her mother Ethel to see her granddaughter. Ethel then died in January 1953 of a heart attack, leaving Judy devastated and guilty about not reconciling with her mother before her untimely demise.

After the funeral, Judy signed a film contract with Warner Bros. to star in the musical remake of Ha nacido una estrella (1937), which had starred Janet Gaynor, who had won the first ever Academy Award for Best Actress in 1929. Filming soon began and as a result, set off an affair between Judy and her leading man, British star James Mason. She also picked up on her affair with Frank Sinatra and after filming was complete, Judy was yet again immortalized for being a great film star. She won a Golden Globe for her brilliant and truly outstanding performance as Esther Blodgett, nightclub singer turned movie star, but when it came to the Academy Awards, a distraught Judy lost out to Grace Kelly for the Best Actress Oscar for her portrayal of the wife of an alcoholic star in La angustia de vivir (1954). It is still argued today that Judy should have won the Oscar over Grace Kelly. Continuing her work on stage, Judy gave birth to her beloved son Joey Luft on 29 March 1955. She soon began to lose her millions of dollars due to her husband's strong gambling addiction and with hundreds of debts to pay, Judy and Sid began a volatile, on-off relationship which resulted in numerous attempts to file for divorce.

In 1961, Judy returned to her ailing film career, this time to star in ¿Vencedores o vencidos? (1961) at the age of 39, for which she received an Oscar nomination for Best Supporting Actress, but this time lost out to Rita Moreno for the coveted Academy Award, due to her performance in West Side Story (1961). Her battles with alcoholism and drugs led to Judy making thousands of headlines in newspapers, but she soldiered on, forming a close friendship with President John F. Kennedy. In 1963, Judy and Sid finally separated permanently and on 19 May 1965, their divorce was finalized after almost 13 years of marriage. By this time, Judy had made her final performance on film alongside Dirk Bogarde in I Could Go on Singing (1963) at the age of 41. She married her fourth husband Mark Herron on 14 November 1965 in Las Vegas, but they separated in April 1966 after 5 months of marriage due to his homosexuality. It was also that year that she began an affair with young journalist Tom Green. She then settled down in London after their affair ended and she began dating disk jockey Mickey Deans in December 1968, before getting engaged once her divorce from Mark Herron was finalized on 9 January 1969 after three years of marriage. She married Mickey, her fifth and final husband, in a register office in Chelsea, London on 15 March 1969.

She continued working on stage, appearing several times with her daughter Liza. It was during a concert in Chelsea, London that Judy stumbled into her bathroom late one night and died of an overdose of barbiturates, the drug that had dominated her her whole life, on the 22nd of June 1969 at the age of 47. Her daughter Liza Minnelli paid for her funeral and her former lover James Mason delivered her touching eulogy. She is still an icon to this day with her famous performances in El mago de Oz (1939), Cita en St. Louis (1944), Desfile de Pascua (1948) and Ha nacido una estrella (1954)."

T.I.M.E. de cine

Las películas de submarinos tienen algo especial; y U-571, aquí en IMBD, está además entre las extraordinarias.
1. Tal vez por la participación de Harvey Keitel.
2. Tal vez por la sinrazón de la historia cuando ya escrita la historia sabemos en qué paró la historia (ver "máquina enigma").
3. Tal vez por el despliegue de coraje y liderazgo de un oficial inesperado.
4. Tal vez por el final de un rescate imposible que es testimonio de todos los otros rescates que no fueron.
5. Tal vez simplemente por la tensión máxima que vemos hay: en hacer la guerra desde una jaula... en medio de la nada... sabiendo que la muerte a esperar será por ahogo, en el agua, o en la falta de aire :-/ Director, historia y guión: Jonathan Mostow

Frozen planet (from BBC and Sir David Attenborough)

Aquí

Las imágenes en alta definición, la cámara lenta, la música en crescendo de coros estremecidos, ¿el hombre asombrándose una vez más, una última vez?



"Frozen Planet takes you on the ultimate polar expedition. This landmark series brings to the screen the frozen wildernesses of the Arctic and Antarctic as you have never seen them before, and may never see them again..."

T.I.M.E. de cine y música

The Good The Bad and The Ugly - Soundtrack - Track 1



The Good The Bad and The Ugly. Soundtrack "The trio"




The Good, the Bad & the Ugly Finale

Ennio Morricone



"Ennio Morricone (Roma, Italia; 10 de noviembre de 1928), es un compositor italiano de música de cine y bandas sonoras.Su carrera cinematográfica empezó en los años 60; está aún activo, por lo que es uno de los compositores actuales más prolíficos, con unos 500 trabajos en su haber. Es uno de los más conocidos compositores cinematográficos, gracias sobre todo a la música de los "spaghetti western", pero también gracias a las bellas melodías de Días del cielo, La misión o Cinema Paradiso. Ha sido muy criticado por unos y muy aclamado por otros, debido a su atípica música, pero ante todo ha sido valiente integrando instrumentos poco comunes entre las grandes orquestas."

T.I.M.E. de cine

Siempre me gustó este "anti-héroe" que no se amilana, no pierde el entusiasmo, no gana nunca, y contra todo, no cesa de dar la pelea :-) Es sencillo; lo que pasa es que "Carlitos" es el epítome en el cine de quien no se queja, no pregunta por qué, no amenaza, y no se jacta :-)

T.I.M.E. de cine

¿Recuerdan a este personaje?

1. De sonrisa inatajable
2. De mirada penetrante
3. De porte tenebroso :-)

¡Sabata!

Aquí la película de donde se tomaron estas dos fotos

"Biography for Lee Van Cleef

Date of Birth
9 January 1925, Somerville, New Jersey, USA

Date of Death
16 December 1989, Oxnard, California, USA (heart attack)

Birth Name
Clarence Leroy Van Cleef Jr.

Height
6' 2" (1.88 m)

Mini Biography

One of the great movie villains, Lee Van Cleef started out as an accountant. He served in the U.S. Navy aboard minesweepers and subchasers during World War II. After the war he worked as an office administrator, becoming involved in amateur theatrics in his spare time. An audition for a professional role led to a touring company job in "Mr. Roberts". His performance was seen by Stanley Kramer, who cast him as henchman Jack Colby in Solo ante el peligro (1952), a role that brought him great recognition despite the fact that he had no dialogue. For the next decade he played a string of memorably villainous characters, primarily in westerns but also in crime dramas such as Agente especial (1955). His hawk nose and steely, slit eyes seemed destined to keep him always in the realm of heavies, but in the mid-'60s Sergio Leone cast him as the tough but decent Col. Mortimer opposite Clint Eastwood in La muerte tenía un precio (1965). A new career as a western hero (or at least anti-hero) opened up, and Van Cleef became an international star, though in films of decreasing quality. In the 1980s he moved easily into action and martial-arts movies, and starred in "Master" (1984), a TV series featuring almost non-stop martial arts action. He died of a heart attack in December 1989, and was buried at Forest Lawn in the Hollywood Hills."

T.I.M.E. de cine. Casablanca: el guión perfecto

Aquí su sitio en imdb

¡Quisiera un remake de la película! Esta vez con Natalie Portman en el papel de Ilsa y Cliv Owen en el de 'Rick'. Dirigida por Clint Eastwood; que creo sería el único que valdría la pena se atreviera; y que de cierto se atrevería :-)

Momento definitivo de la historia: cuando estando a solas tras el reencuentro, Ilsa le dice a Rick que ahora él tendrá que pensar por todos, que ella no sabe qué hacer; Rick, sonriendo, se echa el destino de todos a sus espaldas :-)

T.I.M.E. de cine: Toro Salvaje (1980). De Martin Scorcese

Aquí su página en imdb

1. Película extraordinaria entre las muchas de M.Scorcese

2. Robert de Niro (Jake LaMotta): indescriptible en su magia actoral

3. Joe Pesci (el hermano de Jake LaMotta): el 'enano' más grande de Holywood :-)

4. El 'blanco y negro' de la filmación: ¡qué acierto!

5. La última escena: memorable; esto es, posiblemente inolvidable :-)

Innovación en la predicción (en el pronóstico)

Aquí el sitio web de la compañía: Epagogix

De su sitio Web:

""EPAGOGUE is the path that leads from experience to knowledge. Examples are particular experiences. Aristotle's 'epagogic' pedagogy is a form of teaching which proceeds from examples to an understanding of causes, as in science, which is always a knowledge of the universal"
Charles Hummel: "Aristotle (384-322 B.C.).""

¿Qué hacen?

Ni más ni menos que explicar (y sugerir porqué) un guión tendrá más éxito que otro de cara a la producción de una película; o si la música de una canción será un 'hit' o no, o cómo 'ajustarla' para que lo sea. Todo ésto desde el análisis matemático y estadístico del pasado: de los éxitos pasados en la sala de cine o en la venta de los CD's (o lo que sea que se venda ahora)

De su sitio Web:

"Epagogix helps studios to identify, enhance and deliver on-screen success, and guides investors in the creation of winning film-related investments.

Epagogix works confidentially with the senior management of major film studios and large independents, assisting with the selection and development of scripts, helping to transform scripts with low Box Office revenue potential into properties that can be profitably produced and distributed, and identifying scripts with a low probability of commercial success.

Epagogix's approach helps management of this most critical financial risk by delivering accurate predictive analysis of the Box Office value of individual film scripts, and by identifying and quantifying how and where to improve their commercial value. If requested, Epagogix sensitively bridges the gap between the financial and creative aspects of film production by providing quantified insights and advice to those responsible for script development.

Hedge Fund and Investment Managers work with Epagogix, determining highly targeted, non market-correlated risk/reward strategies for asset allocation, and developing fund-raising vehicles."

*****

Aquí Malcolm Gladwell reporta y hace la crónica en The New Yorker sobre estos genios.




(más o menos) i m p r e s i o n a n t e (¿no?) :-)

*****

Mi pregunta es: ¿Qué 'tipo de' (linaje de) gerente contrata tales servicios, y qué otro tipo prefiere no hacerlo?

T.I.M.E. de cine: Plata Quemada

Aquí su sitio in imdb

De Marcelo Piñeyro. De 2000

El néne, el ángel y el cuervo: no son tres mosqueteros, sino tres fuerzas telúricas centrífugas, que así, sólo las fuerzas del amor y el desafiar a la muerte podían unir

1. El recurso del narrador: impecablemente desplegado

2. La actuación del 'cuervo': argentinísima

3. Los años 60: los mismos, pero como en otro mundo, para otras gentes

4. El amor (y la historia) del néne y ángel: como para creerle a Aristófanes su mito de la antigua naturaleza humana separada en dos mitades por Zeus para debilitarnos, reparada luego por Apolo alrededor del ombligo, y ansiosa desde entonces por reunirse: hombre con hombre, mujer con mujer y hombre con mujer (éstos, los antiguos andróginos)

5. Extraordinaria película argentina: como el rock de Soda Stéreo :-)

My strategy has always been: be wrong as fast as we can, which basically means we're gonna screw up, let's just admit that Let's not be afraid of that

Las palabras son de Andrew Stanton, Director of Finding Nemo and WALL-E, y están citadas, aquí, en una entrada del Innoblog de Innosight que describe cómo la 'estrategia emergente'es la mejor vía para la innovación exitosa de grandes ligas: equivocarse pronto, equivocarse en pequeño, aprender mucho de cada equivocación :-)

En semanas (junio 24 de 2011, fecha del estreno) PIXAR tiene el reto de revalidar su éxito tras la 'bobadita' de 11 películas exitosas seguidas: Car 2; estamos seguros que tal será el caso :-)

T.I.M.E. de cine: Los colores de la montaña

Extraordinaria película colombiana en doble sentido: por ser obra del realizador colombiano Carlos César Arbeláez, y por retratar simultáneamente lo más terrible y lo más hermoso de nuestro país

¿Qué puede esperar quien se decida a verla?

1.- Nada de sensiblerías baratas estilo Holywood y similares

2.- Nada de finales felices, pero tampoco tragedias gratuitas

3.- Un respeto inmenso hacia todo el dolor sufrido en las últimas décadas en la patria

4.- Un ojo maestro para narrar con imágenes la historia más silenciosa (y silenciada)

5.- Una esperanza que acierta y se convierte así en verdadera esperanza: aquella que sabe que sólo gracias al amor se engendran y crecen hijos que rechazarán el odio: abrigando, otra vez, el amor

T.I.M.E. de Cine

Las películas del 2010 (dramas) que hay que ver según la crítica made in USA (las películas y la crítica :-)

BLACK SWAN


The King's Speech


True Grit


Inception

The Fighter