Skip to main content

I want one!

The picture never looks fussed-over or flattened — it breathes, as opposed to just looking merely pretty. Pontecorvo approaches the actresses with the same uncalculated respect.

The actors here offer plenty sturdy support for their female counterparts: Bernal’s character is scattered but sympathetic; Egan, deeply unlikable at first, by the end opens himself to the camera in a way you’d never see coming. But the picture really belongs to its two leads. Seyfried gives a wonderfully loose, unstudied performance — nothing she does is forced. And it doesn’t hurt that she has the most gorgeous, enormous eyes in movies today: Not even Disney’s Nine Old Men could have dreamed them up.

[. . .]

Nero makes his entrance here, Lancelot-style, on a white horse. It’s a touch so perfect, so silly-wonderful, that it’s something of a salve after the almost-too-painful moment that comes immediately before. Redgrave is now 73, but it takes zero imagination to see the face of the young Guenevere in this older one. She isn’t merely beautiful; she’s a living assurance that the young people we once were can stay alive inside us, no matter how much we grow and change. (Stephanie Zacharek, “Leading ladies lift lovely ‘Letters to Juliet,’” Movieline, 13 May 2010)

From a guy's perspective, it's not so much the eyes as it is the breasts -- of course the film didn't feel flat: not even Disney's Nine Old Men could have dreamed them up! Egan was too nice: caught in a film where the guy's dragging his gal all about the place is cause for “divorce,” but where "his" driving Daisy everywhere she needs is gentlemanly and appropriate, if he didn't evidence some disgruntlement before the end, slobbering CALIBAN would have climbed that tree, not sweet Percival.

Redgrave is living assurance that true love means a vineyard-owning, warm Italian, with gentle manners: As a grown-up still-15-year-old who's moved on from ponies -- or Tony Stark, in regards to "melons" -- would say –“you just want one.”

- - - - -

Further, I'M a bit disgruntled that this film made losing your mom into a mercilessly effective bargaining-chip -- as if the romancing the self-abnegating knight bit wasn't enough to plot out how your man might be wholly owned.

Link: Leading ladies lift lovely “Letters to Juliet” (Movieline)

Comments

Popular posts from this blog

Superimposing another "fourth-wall" Deadpool

I'd like to superimpose the fourth-wall breaking Deadpool that I'd like to have seen in the movie. In my version, he'd break out of the action at some point to discuss with us the following:
1) He'd point out that all the trouble the movie goes to to ensure that the lead actress is never seen completely naked—no nipples shown—in this R-rated movie was done so that later when we suddenly see enough strippers' completely bared breasts that we feel that someone was making up for lost time, we feel that a special, strenuous effort has been made to keep her from a certain fate—one the R-rating would even seemed to have called for, necessitated, even, to properly feed the audience expecting something extra for the movie being more dependent on their ticket purchases. That is, protecting the lead actress was done to legitimize thinking of those left casually unprotected as different kinds of women—not as worthy, not as human.   


2) When Wade/Deadpool and Vanessa are excha…

"The Zookeeper's Wife" as historical romance

A Polish zoologist and his wife maintain a zoo which is utopia, realized. The people who work there are blissfully satisfied and happy. The caged animals aren't distraught but rather, very satisfied. These animals have been very well attended to, and have developed so healthily for it that they almost seem proud to display what is distinctively excellent about them for viewers to enjoy. But there is a shadow coming--Nazis! The Nazis literally blow apart much of this happy configuration. Many of the animals die. But the zookeeper's wife is a prize any Nazi officer would covet, and the Nazi's chief zoologist is interested in claiming her for his own. So if there can be some pretence that would allow for her and her husband to keep their zoo in piece rather than be destroyed for war supplies, he's willing to concede it.

The zookeeper and his wife want to try and use their zoo to house as many Jews as they can. They approach the stately quarters of Hitler's zoologist …

"Life" as political analogy, coming to you via Breitbart News

Immediately after seeing the film, I worked over whether or not the movie works as something the alt-right would produce to alienate us from the left. Mostly the film does work this way  -- as a sort of, de facto, Breitbart production -- I decided, though it's not entirely slam-dunk. There is no disparagement evident for the crew of the space station being a multicultural mix, for instance. Race is not invisible in the film; it feels conspicuous at times, like when the Japanese crew member is shown looking at his black wife on video conference; but the film maker, wherever he was actually raised, seems like someone who was a longtime habitat of a multicultural milieu, some place like London, and likes things that way. But the film cannot convince only as macabre relating to our current fascination with the possibility of life on Mars -- what it no doubt pretends to be doing -- because the idea of “threat” does not permeate this interest at all, whereas it absolutely saturates our …