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|Entertainment - Movies|
|Friday, 17 August 2012 23:00|
The Master, Paul Thomas Anderson, one of the biggest releases of the year, is coming to our screens. While some have already enjoyed your footage, as in a theater in Santa Barbara, California, was screened in full for spectators were attending a meeting of The Shining (The Shining), Stanley Kubrick. Surely, this improvised double session, mimicking those mythical passes first projected a work of series A and then a low-budget film, series B, the filmmaker is a tribute to one of the geniuses of cinema. Although at that show images , The Master has nothing of B, and we can check in a new clip from this work:
The Master tells the birth of a religious sect (many suggest that this is a veiled account of the history of Scientology, although producers deny) in the U.S. of the fifties, the period of greatest economic progress, time when his leadership was unquestioned in the capitalist world and in Europe itself was undergoing its fashions and behaviors.
So, be interesting to see the cracks in this makeshift utopia built in the nation, such as social exclusion (leading the protagonist to start dealing with the new religion), the anxiety generated by the horizontality of life expectancy or simply boredom, a great reason to join the group uniform. It is the flip side of American life the idyllic life of the time, and I hope, in this sense, a critical approach to the early style of the magnificent subplot Julianne Moore in The Hours (The Hours), Stephen Daldry: a tragedy silent face of repression that fosters social homogeneity.
The staging is impeccable, with those planes traveling slowly approaching the faces of the characters, widely used by Paul Thomas Anderson, and showing a double moral character or lack of adaptability to the environment, isolating them from the surrounding context. Or that cut into the ship, with a sea which tour is left behind, a great chart showing, visually, the feeling insecure embarking on a new venture. Although, of course, the interpreter is either: this is Joaquin Phoenix, for me, one of the great values of contemporary Hollywood.
And to be convinced of this, you only need to watch the dance scenes in the nightclub of Two Lovers, James Gray. A miracle of naturalistic interpretation fused with a mark of identity. And all this accompanied by Philip Seymour Hoffman, Amy Adams and Laura Dern (who I admire after his visceral portrayal of a woman split in David Lynch's INLAND EMPIRE): a real estate deal.
Also, the clip reveals that expertise in assembly characterized by their works, with great energy but leaving air performances: never fragmented character's emotion. It also uses a counterpoint between stories, creating that sense of fluidity that always arouses the viewing of works by Paul Thomas Anderson. And the level of love in the fire door (minute 0:49 of the clip), under the artificial light of the porch, the work reminds me of Summer Evening, the great artist Edward Hopper. In both, the eye of the beholder, which starts from the darkness, from outside the warm light of the relationship, so blatantly intrudes into the private sphere of the family, without asking permission from the protagonists. Hopper's work is from 1947, so there is a correspondence between seasons, and can reveal the inability of human beings to remain in an intimacy not raped by society.
On the other hand, has released a new poster with a kaleidoscopic, and that perfectly encapsulates the experience in community religious sect: an experience in hive where there is a transfer of private goods subjectivity and intersubjectivity for group, individual sacrifice for the common worship.
But news abound also have posted new images, I leave at the end of the post, and the official soundtrack to accompany the film these powerful images. The music is composed by Jonny Greenwood, guitarist of Radiohead, working with Paul Thomas Anderson, and while most of the songs are originals, taken some hits of the time to promote the atmosphere of the film in the fifties. Among them, Get Thee Behind Me Satan, sung by Ella Fitzgerald, No Other Love in version of Jo Stafford, Changing Partners of Helen Forrest and Do not Sit Under the Apple Tree. I leave you with the tracklist and the sound of some of these unforgettable hits, it's worth listening to:
All these publications serve as a preview of its theatrical release, on 12 October in the U.S.. But first, go through two festivals. First, the Venice Film Festival, after many doubts of his production company, The Weinstein Company, who wanted to delay the release of the film to not alienate the Oscars too. But the prestige of the event has made them reconsider the premiere and has finally been selected to the main competition, becoming strong candidate to Golden Lion And that because the assembly could not be completed before the Cannes Film Festival this year. On the other hand, will be screened at the Toronto Film Festival from 6 to 16 September.