#ole bratt birkeland

[junior-stargazer-goke91]

American Animals (2018)

Director: Bart Layton

Cinematographer: Ole Bratt Birkeland

[byneddiedingo]

Listen to Me Marlon (Stevan Riley, 2015)

Screenplay: Stevan Riley, Peter Ettedgui. Cinematography: Ole Bratt Birkeland. Production design: Kristian Milsted. Film editing: Stevan Riley.

It's a truism that Marlon Brando revolutionized film acting (with a little help from Montgomery Clift and James Dean, and some pioneering by John Garfield). And it seems that Brando believed the truism himself: At one point in this fascinating documentary he disses such older film stars as Gary Cooper, Clark Gable, and Humphrey Bogart, asserting that they were always the same in their movies. This misses the point about film stardom, I think, which is that everyone who gets established as a film actor carries their image from movie to movie. How much variety, really, is there in Brando's most memorable film performances? Stanley Kowalski in A Streetcar Named Desire (Elia Kazan, 1951), Johnny Strabler in The Wild One (Laslo Benedek, 1953), Terry Malloy in On the Waterfront (Elia Kazan, 1954), and even Vito Corleone in The Godfather (Francis Ford Coppola, 1972) and Paul in Last Tango in Paris (Bernardo Bertolucci, 1972) are all troubled urban Americans with a rebellious streak. And when Brando tried to break away from that type -- as Emiliano Zapata in Viva Zapata! (1952), Mark Antony in Julius Caesar (Joseph L. Mankiewicz, 1953), Napoleon in Désirée (Henry Koster, 1954), or Fletcher Christian in Mutiny on the Bounty (Lewis Milestone, 1962) -- the performances leave a lot to be desired. Mind you, I still think Brando was one of the greatest actors in film history, but only when he let himself play roles that suited him -- as Cooper, Gable, and Bogart did. This film, which uses Brando's own tape recordings as its principal source, shows him as a kind of tragic naïf in search of something that would heal the wounds he carried from childhood. He found it in acting when he fell under the spell of Stella Adler, although the Adler shown in this film is given to talking pretentious nonsense about how acting isn't about the words, it's about the soul. Brando also sought healing in sex, in psychoanalysis, in political activism, but the picture that emerges in the film is of a man who never succeeded in escaping his own tormented ego.

[somebaconlover]

American Animals (2018)

Directed by Bart Layton

Cinematography by Ole Bratt Birkeland

Starring Evan Peters, Barry Keoghan, Blake Jenner, Jared Abrahamson and Udo Kier

"You're taught your entire life that what you do matters and that you're special. And that, there are things you can point towards that would... which'll show that you're special, that show you're different, when, in all reality, those things... don't matter. And you're not special."

[tv-moments]

The Crown

Season 1, “Gelignite”

Director: Julian Jarrold

DoP: Ole Bratt Birkeland

[sesiondemadrugada]

Tales from the Loop: Home (Jodie Foster, 2020).

[stillsmybeatingheart]

[choquejuergas]

[scenesandscreens]

American Animals (2018)

Director - Bart Layton, Cinematography - Ole Bratt Birkeland

"You're taught your entire life that what you do matters and that you're special. And that, there are things you can point towards that would...which will show that you're special, that show you're different, when, in all reality, those things... don't matter. And you're not special."

[grimmicks]

“This is your red pill or blue pill moment, my friend.”

American Animals (2018) dir. Bart Layton cine. Ole Bratt Birkeland

[pause-the-movie]

[filmframesforlife]

American Animals (2018)

[ruthmedia2]

 Ali & Ava (15)

 Ali & Ava (15)

Ali & Ava (15) Director: Clio Barnard Runtime: 94mins Cast: Adeel Akhtar, Claire Rushbrook, Shaun Thomas, Ellora Torchia, Natalie Given Synopsis: Sparks fly after ALI and AVA meet through their shared affection for Sofia, the child of Ali’s tenants whom Ava teaches. Ali finds comfort in Ava’s warmth and kindness while Ava finds Ali’s complexity and humour irresistible. As the pair begin to form a…

[byneddiedingo]

Manjinder Virk in The Arbor (Clio Barnard, 2010). 

Cast: Manjinder Virk, Christine Bottomley, Natalie Gavin, Parvani Lingiah, Danny Webb, Kate Rutter, Jimi Mistry, Robert Emms, Kathryn Pogson, George Costigan, Monica Dolan, Neil Dudgeon, Matthew McNulty, Lizzie Roper. Screenplay: Clio Barnard. Cinematography: Ole Bratt Birkeland. Production design: Matthew Button. Film editing: Nick Fenton, Daniel Goddard. Music: Harry Escott, Molly Nyman.

The Arbor is a heartfelt, scathing docudrama about promise without fulfillment, centered on the playwright Andrea Dunbar and her children, particularly the eldest, Lorraine, who is played on screen by the actress Manjinder Virk, lip-synching the actual Lorraine's voice from recorded interviews. Director Clio Barnard uses this technique throughout the film, with the voices of Lorraine's siblings, her foster parents, and other members of the Dunbar family dubbed in place of the voices of the on-screen actors. It's an arresting device that runs the risk of having a film full of monologues, which Barnard avoids by staging the scenes in the actual locations, particularly the drab, run-down council estate (i.e. "public housing"), where the Dunbars lived. She also includes scenes from Dunbar's plays, and the film, Rita, Sue and Bob Too (Alan Clarke, 1987), that was made from one of them. The Arbor culminates in the story of Lorraine's descent into drug addiction and the consequent death of her small son. It's not a film designed to lift your spirits, but the effectiveness of Barnard's way of telling the story makes it well worth seeing.

[tv-moments]

The Crown

Season 1, “Gelignite”

Director: Julian Jarrold

DoP: Ole Bratt Birkeland

[sesiondemadrugada]

Judy (Rupert Goold, 2019).

[stillsmybeatingheart]