José Ferrer and Zsa Zsa Gabor in Moulin Rouge (John Huston, 1952)
Cast: José Ferrer, Colette Marchand, Zsa Zsa Gabor, Suzanne Flon, Claude Nollier, Katherine Kath, Muriel Smith, Theodore Bikel, Peter Cushing, Christopher Lee. Screenplay: Anthony Veiller, John Huston, based on a novel by Pierre La Mure. Cinematography: Oswald Morris. Production design: Marcel Vertès. Film editing: Ralph Kemplen. Music: Georges Auric.
If Moulin Rouge had a screenplay worthy of its visuals, it would be a classic. As it is, it's still worth seeing, thanks to a stellar effort to bring to life Toulouse-Lautrec's paintings and sketches of Parisian nightlife in the 1890s. The screenplay, by Anthony Veiller and director Huston, is based on a novel by Pierre La Mure, the rights to which José Ferrer had purchased with a view to playing Lautrec. He does so capably, subjecting himself to some real physical pain: Ferrer was 5-foot-10 and Lautrec was at least a foot shorter, owing to a childhood accident that shattered both his legs, so Ferrer performed many scenes on his knees, sometimes with an apparatus that concealed his lower legs from the camera. But that is one of the least interesting things about the movie, as is the rather conventional story of the struggles of a self-hating, alcoholic artist. What distinguishes the film is the extraordinary production design and art direction of Marcel Vertès and Paul Sheriff, and the dazzling Technicolor cinematography of Oswald Morris. Vertès and Sheriff won Oscars for their work, but Morris shockingly went unnominated. The most plausible theory for that oversight is that Sheriff clashed with the Technicolor consultants over his desire for a palette that reproduced the colors of Lautrec's art: The Technicolor corporation was notoriously persnickety about maintaining control over the way its process was used. It's possible that the cinematography branch wanted to avoid future hassles with Technicolor by denying Morris the nomination. (Ironically, one of the more interesting incidents from Lautrec's life depicted in the film involves his clashes with the lithographer over the colors used in posters made from his work.) The extraordinary beauty of the film and some lively dance sequences that bring to life performers such as La Goulue (Katherine Kath) and Chocolat (Rupert John) make it memorable. There are also good performances from Colette Marchand as Marie Charlet and Suzanne Flon as Myriamme Hayam. And less impressive work from Zsa Zsa Gabor, playing herself more than Jane Avril, and lipsynching poorly to Muriel Smith's voice in two songs by Georges Auric.
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Novembre MMXXIII "November Who"
Films
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Ripoux contre ripoux (1990) de Claude Zidi avec Philippe Noiret, Thierry Lhermitte, Guy Marchand, Jean-Pierre Castaldi, Grace de Capitani, Line Renaud, Michel Aumont et Jean Benguigui
Coup de foudre et Conséquences (Fools Rush In) (1997) d'Andy Tennant avec Matthew Perry, Salma Hayek, Jon Tenney, Carlos Gómez, Tomás Milián, Siobhan Fallon et John Bennett Perry
Au-delà des grilles (Le mura di Malapaga) (1949) de René Clément avec Jean Gabin, Isa Miranda, Véra Talchi, Andrea Checchi, Robert Dalban et Ave Ninchi
Clemenceau, la force d'aimer (2023) de Lorraine Lévy avec Pierre Arditi, Emilie Caen, Elizabeth Bourgine, François Marthouret, Serge Riaboukine et Arthur Choisnet
L'Argent des autres (1978) de Christian de Chalonge avec Jean-Louis Trintignant, Catherine Deneuve, Laura et Michèle Kornbluh, Claude Brasseur, Michel Serrault, Gérard Séty et Jean Leuvrais
Mort sur la piste (2023) de Philippe Dajoux avec Jason Priestley, Eléonore Bernheim, Olivier Marchal, Roby Schinasi, Adèle Galloy et Olivia Courbis
Sylvia Scarlett (1935) de George Cukor avec Katharine Hepburn, Cary Grant, Brian Aherne, Edmund Gwenn, Nathalie Paley et Dennie Moore
La Cité sous la mer (City Beneath the Sea) (1953) de Budd Boetticher avec Robert Ryan, Mala Powers, Anthony Quinn, Suzan Ball, George Mathews, Karel Stepanek, Hilo Hattie et Lalo Rios
Second Tour (2023) de Albert Dupontel avec Cécile de France, Albert Dupontel, Nicolas Marié, Scali Delpeyrat, Jackie Berroyer, Christiane Millet, Philippe Uchan, Renaud Van Ruymbeke et Bouli Lanners
Seuls les anges ont des ailes (Only Angels Have Wings) (1939) de Howard Hawks avec Cary Grant, Jean Arthur, Richard Barthelmess, Rita Hayworth, Thomas Mitchell, Allyn Joslyn, Sig Ruman et Victor Kilian
Un pyjama pour deux (Lover Come Back) (1961) de Delbert Mann avec Rock Hudson, Doris Day, Tony Randall, Edie Adams, Jack Oakie, Jack Kruschen, Ann B. Davis : Millie et Joe Flynn
Le Couteau dans la plaie (1962) d'Anatole Litvak avec Sophia Loren, Anthony Perkins, Gig Young, Jean-Pierre Aumont, Régine, Yolande Turner, Tommy Norden, Mathilde Casadesus et Elina Labourdette
Garde à vue (1981) de Claude Miller avec Lino Ventura, Michel Serrault, Romy Schneider, Guy Marchand, Pierre Maguelon, Jean-Claude Penchenat et Elsa Lunghini
La Sanction (The Eiger Sanction) (1975) de Clint Eastwood avec Clint Eastwood, George Kennedy, Vonetta McGee, Jack Cassidy, Heidi Brühl, Thayer David, Reiner Schöne, Michael Grimm et Jean-Pierre Bernard
Deux Hommes dans la ville (1973) de José Giovanni avec Jean Gabin, Alain Delon, Michel Bouquet, Mimsy Farmer, Victor Lanoux, Ilaria Occhini, Guido Alberti, Cécile Vassort, Bernard Giraudeau et Christine Fabréga
JFK (1991) de Oliver Stone avec Kevin Costner, Tommy Lee Jones, Gary Oldman, Kevin Bacon, Laurie Metcalf, Jay O. Sanders, Michael Rooker, Sissy Spacek, Joe Pesci et Jack Lemmon
Le Juge et l'Assassin (1976) de Bertrand Tavernier avec Michel Galabru, Philippe Noiret, Isabelle Huppert, Jean-Claude Brialy, Renée Faure, Cécile Vassort, Yves Robert, Jean-Roger Caussimon et Jean Bretonnière
Le Fugitif (The Fugitive) (1993) d'Andrew Davis avec Harrison Ford, Tommy Lee Jones, Sela Ward, Julianne Moore, Joe Pantoliano, Andreas Katsulas, Jeroen Krabbé et L. Scott Caldwell
Un singe en hiver (1962) de Henri Verneuil avec Jean Gabin, Jean-Paul Belmondo, Suzanne Flon : Suzanne Quentin, Gabrielle Dorziat, Hella Petri, Marcelle Arnold, Charles Bouillaud et Anne-Marie Coffinet
Doctor Who (1996) de Geoffrey Sax avec Sylvester McCoy, Paul McGann, Eric Roberts, Daphne Ashbrook, Yee Jee Tso, John Novak et Michael David Simms
Séries
Doctor Who Saison 19, 20 Series 1, 3, 11, 5, 4
Castrovalva - Four to Doomsday - Kinda - The Visitation - Black Orchid - Rose - La fin du monde - Des morts inassouvis - Earthshock - Time-Flight - Destination: Skaro - Ark of Infinity - La Famille de sang - Smith, la Montre et le Docteur - The Day of the Doctor - Snakedance - The Star Beast - The Ghost Monument - Le Colocataire - La Chute de Pompéi
Top Gear Saison 20
A l'abordage ! - Ils ont roulé sur l'eau - Mission Camping-Car
Brokenwood Saison 8, 5, 4, 3
Quatre incendies et un enterrement - Dix petits héritiers - Tu ne tueras point - Un Noël rouge
Affaires sensibles
Les étonnantes enquêtes du bureau des ovnis - 1975, l'année de la femme - Caravelle Ajaccio-Nice : un crash secret Défense ?
Coffre à Catch
#140 : "Elles répondaient au nom de Bella" (avec Max MK) - #141 : Qui sera le futur Mr Money in the Bank? - #142 : Y'a R les amis!! Y'a R ! - #143 : Tiffany prend les rennes et Finlay prend la Trique !
Happy Days Saison 4
De l'huile sur le feu - Remise des prix : première partie - Remise des prix : deuxième partie - Le Jour J est arrivé - Les Mauvais Garçons - Howard inventeur - Le Chien de Fonzie - Ralphy a de sacrés ennuis - Le Baptême de Fonzie
Downton Abbey Saison 4
La Succession - Lettre posthume - Faste et Renaissance - Le Prétendant - Rien n'est terminé - Une vraie surprise - Dernières Festivités
Professeur T Saison 1
Anatomie d'un souvenir - Un poisson nommé Walter - Règles d'or - L'amour d'une mère - Sophie sait tout - Le fils dévoué
The Crown Saison 6
Persona Non Grata - Deux photographies - Dis-Moi Oui - Onde de choc
Spectacles
Prom 10 : Doctor Who at the Proms (2010) avec Karen Gillan, Arthur Darvill et Matt Smith
Taratata 30 (2023)
La symphonie des jeux vidéos aux Chorégies d'Orange (2021)
Doctor Who at the Proms (2013) avec Neve McIntosh, Dan Starkey, Matt Smith, Jenna Coleman, Carole Ann Ford, Peter Davison, Nicholas Briggs, Ben Foster et Murray Gold
Le vison voyageur (2023) de John Chapman et Ray Cooney avec Michel Fau, Sébastien Castro, Armelle, Nicole Calfan, Anne-Sophie Germanaz, Alexis Driollet, Delphine Beaulieu et Arnaud Pfeiffer
Doctor Who: A Celebration (2006) avec David Tennant, Murray Gold et Russell T Davies
Drôle De Genre (2023) de Jade-Rose Parker avec Victoria Abril, Lionnel Astier, Axel Huet et Jade-Rose Parker
Prom 13: Doctor Who Prom (2008) avec Freema Agyeman, Noel Clarke, Camille Coduri et Catherine Tate
Livres
Doctor Who le dixième docteur, Tome 1 : Les révolutions de la terreur de Elena Casagrande, Nick Abadzis et Arianna Florean
Les contes du vortex de Pepperpot x Friends (Pauline Cadart Serizel, Marie Valerio, Rémi Germain, Robin Brou, Manon Segur, Julien Cadart Serizel, Flavia Valerio et Gökan Martin)
Le docteur Who entre en scène de Terrance Dicks
Doctor Who le dixième docteur, Tome 3 : Les fontaines de l'éternité de Elena Casagrande et Nick Abadzis
Les Daleks de David Whitaker
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CINE
La fortuna de vivir (1999)
Título original: Les enfants du Marais
Francia
Dirección: Jean Becker
Idioma: Francés con Subtítulos en Español
Atención: Solo para ver en PC o Notebook
Para ver el Film pulsa el Link:
https://artecafejcp.wixsite.com/escenario-cafejcp/post/la-fortuna-de-vivir-1999
Reparto: Jacques Villeret, Jacques Gamblin, André Dussollier,
Michel Serrault, Isabelle Carré, Éric Cantona, Suzanne Flon
Género: Comedia. Romance. Drama | Años 30. Vida rural
Sinopsis: Francia, años 30. Garris y Riton viven en las marismas, a orillas del río Loira, trabajan juntos y comparten su vida con dos amigos más: Tane, conductor de tren, y Amedée, soñador y devorador de clásicos literarios. Los cuatro conocen a Pépé, un anciano millonario que proviene también de las marismas, pero que no reniega de su humilde pasado. Garris se enamora en secreto de Marie. Por su parte, Riton provoca la ira de Jo Sardi, un boxeador que acaba en la cárcel, donde urdirá un plan de venganza que trastocará la tranquila existencia del grupo de amigos.
Críticas:
"Comedia costumbrista. Hermoso canto a la libertad, agridulce, lleno de fuerza y emoción. Ay de quien no llore con el hermoso final, uno de los más agridulces que este cronista recuerda"
-M. Torreiro: Diario El País
"Un reparto que te roba el alma. No se la pierda"
-Jordi Batlle Caminal: Fotogramas
"Con una dirección de actores sobresaliente, narra con brillantez las relaciones de un grupo de amigos"
-Manolo Marinero: Diario El Mundo
Premios:
nom.Mejor película
nom.Mejor dirección (Jean Becker)
nom.Mejor actor secundario (André Dussollier)
nom.Mejor banda sonora original (Pierre Bachelet)
nom.Mejor sonido (Guillaume Sciama, William Flageollet)
Posición en rankings FA:
52 Mejores películas francesas de todos los tiempos
81 Mejores películas de los años 90
122 Mejores películas románticas de la historia del cine
137 Mejores películas de comedia
Café Mientras Tanto
jcp
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Day 87- Film: Moulin Rouge
Release date: December 23rd, 1952.
Studio: Romulus Films
Genre: Drama
Director: John Huston
Producer: John and James Woolf
Actors: Jose Ferrer, Zsa Zsa Gabor, Suzanne Flon, Colette Marchand
Plot Summary: This is a snapshot of the life of famous French artist Toulouse-Lautrec. We see him grow up crippled, hang around Paris’ seedy nighttime haunts, work as an artist, and drink to numb the pain of being disabled.
My Rating (out of five stars): *** ½
This is another film that falls into the “mixed” category for me. There are some things I really liked about it, and some things that just didn’t work. I don’t know that I would wholeheartedly recommend seeing it, but it’s worth seeing if you have some interest in Toulouse-Lautrec or Paris of the 1890s.
The Good:
The art. We see a lot of Toulouse-Lautrec's artworks- finished works, things in progress, and lots of shots of him looking at things that inspired him. We even get moments of the people in some of his paintings and drawings coming to life. That was my favorite part of the film.
The color. Supposedly Housten wanted the film to look like Toulouse-Lautrec directed it, and he was very specific in his use of color. This is technically Technicolor, but you might easily not guess it. The brightness of the normal colors was dimmed down and there was often almost a watercolor feel to it. I prefer the more vivid bright Technicolor, but I really liked this in the context of this film.
The effects to make Ferrer look much shorter generally worked. Obviously there was no CGI back then, but the film did pretty well, considering all the constraints of the era.
The overhanging sense of tragedy and despair. This wasn’t a film that tried to romanticize his life- for the most part (we’ll get to that!). The despair contrasted well with the life and vivacity in his work.
There was some glimpse of the reality of his lifestyle. We never directly hear that one of the women he is around is a prostitute, but it’s hard not to infer it.
Some witticisms in the script. There were lots of good quips and snappy comebacks that I found enjoyable.
It looked more modern than nearly any film I’ve seen so far from 1952. If you had showed me a clip out of context, I would probably guess it was from the mid to late 1960s. The color looked a lot like later versions, and the subject matter was more adult in a lot of ways as well.
The Bad:
Zsa Zsa and lip synching! I’ve never really understood Gabor’s appeal at all, and I found her annoying in this. Then add in the atrocious and obvious lip-synching, and I hated it. I wanted to fast forward through all her singing scenes.
I didn’t always like Ferrer’s portrayal. He played it really guarded and kind of emotionally blank at times. Sometimes this worked, given Toulouse-Lautrec's need for self-protection, but sometimes I wished he showed more emotion. This was true for a lot of his line delivery as well.
His mother in the film was younger than he was! It was crazy. They also didn’t seem to know how to properly age the actress who played her. Instead of going for wrinkles, they seemed to decide, “Let’s make her skin more and more grey! Put more circles under her eyes! She should look like a zombie!” It didn’t work, and it was distracting.
The way they tried to make it all about women. Most films- especially of this era- base everything around a love story. Toulouse-Lautrec didn’t have a “normal” romantic life, given his deformity, and it felt like the film was just shoving women at him to try and make his love life more traditional in the biography sense. Couldn’t they make the film more about other areas of his life?
The romance? I’m not sure if Myriamme Hyam really existed, but I’m pretty sure she didn’t. It just wasn’t believable. I didn’t buy it in the movie, and I wouldn’t buy it in real life either. The actors also didn’t have much chemistry, I felt.
Some of the fictionalizing tried to put too nice of a bow on things. Of course, there were no obvious prostitutes, and we never hear about the syphilis he had that contributed to his death. Did he really find out just before he died that his art was going to hang in the Louvre? And did his father openly admit he was wrong about his son’s work? Some of it seemed a little too rosy.
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