Showing posts with label Romy Schneider. Show all posts
Showing posts with label Romy Schneider. Show all posts

11 October 2009

Bio-Hazard

Within the past few years, we've gotten varied cinematic portraits of famous people: Édith Piaf, Séraphine de Senlis, Françoise Sagan, Uschi Obermaier, Che Guevara, Coco Chanel, Harvey Milk, Jacques Mesrine, Diane Arbus, George W. Bush, Charles Bronson (the prisoner), Idi Amin, Edie Sedgwick, Charles Darwin, Gustav Klimt, the Bouvier Beales, the Notorious B.I.G., Amelia Earhart, Ian Curtis, Queen Victoria and Jean-Dominique Bauby. Now you can add a few more to add to the list, for better or worse; and I'm sure there are plenty more in the works.

Without anything useful to say about Roman Polanski’s imprisonment in Switzerland, a friend of mine directed me to an unofficial Polanski biopic that was released this year. Already available on DVD, the film, now called Polanski: Unauthorized, is co-written, directed and starring some guy named Damian Chapa, who you may recognize from a small role in Under Seige or as “Ken” in that awful Street Fighter movie (the one that had Kylie Minogue and Jean-Claude Van Damme, not the other awful one). Polanski: Unauthorized looks like a disaster and surprisingly was made and released before all the new developments, though likely capitalizing on the newfound interest in Polanski’s exile after the documentary Roman Polanski: Wanted and Desired came out. Based on the trailer, it appears to cover the director’s life from the taking of his parents to Nazi concentration camps to the infamous court case, likely in flashbacks but I’m only inferring here. The actress playing Sharon Tate looks especially appalling; just listen to her tell Roman over the phone that she’s pregnant. As the cast list includes actors playing both Mia Farrow and Anton LaVey (ha!), the filming of Rosemary’s Baby probably takes up a good portion of the film. If anyone’s actually seen this, let me know… Variety’s review, by Todd McCarthy sounds amazing:

Roman Polanski won't lose any sleep over Polanski Unauthorized, a basement tape-quality slum through the most famously traumatic episodes in a sensation-riddled life. Straight-to-DVD auteur Damian Chapa invested little money, and less talent, in depicting the subject's escape from the Nazis, flirtation with devil worship on "Rosemary's Baby," relationship with Sharon Tate and arrest for raping a 13-year-old girl, moments from all of which are shuffled together almost at random. With production values no better than homemade porn -- most scenes are played in front of drapes -- and dialogue that makes you feel sorry for the actors, this Friday the 13th Los Angeles vanity release isn't even fun in a bad-movie way. Paying customers will feel gypped.

Like Coco Chanel, Romy Schneider, for whom Chanel designed numerous articles of clothing, is the subject of two competing biopics at the moment (though technically Chanel had three released within a year of one another). The first of the two, entitled Romy, will be airing on German television 11 November, followed by the DVD release the next day. Actress Jessica Schwarz (Kammerfilmmern) will play Schneider; the rest of the cast includes Thomas Kretschmann (The Pianist, King Kong, Queen Margot) as her first husband Harry Meyen and Guillaume Delorme as Alain Delon, a good friend and frequent co-star of the actress. The bigger of the two biopics, tentatively titled Eine Frau wie Romy [A Woman Like Romy], was scheduled to have begun shooting in summer 2008, but there isn’t a whole lot of information following that. Directed by Josef Rusnak (The Thirteenth Floor, Quiet Days in Hollywood), Eine Frau wie Romy has actress Yvonne Catterfeld as Schneider (no, not Beyoncé, unfortunately), and the IMDb lists Michel Piccoli, one of Schneider’s close friends, in the cast, as well as Jean-Hughes Anglade and Tchéky Karyo. I’ll let you know if I hear anything further about either version.

Breaking Glass Pictures, a new studio launched by former heads of TLA Releasing Richard Wolff and Richard Ross, has acquired the rights to An Englishman in New York, a sequel-of-sorts to The Naked Civil Servant from 1975, based on the autobiography of Quentin Crisp. John Hurt reprises his role as Crisp and is joined by Cynthia Nixon, Denis O’Hare, Jonathan Tucker and Swoosie Kurtz in the film, which earned Hurt a special Teddy Award from the Berlin International Film Festival for his performance. Breaking Glass will release the film sometime in 2010.

And finally, nothing looks to have changed about the Serge Gainsbourg biopic, Vie héroïque; it’s still set for a French release on 20 January.

22 July 2009

Docs and Midnight Madness at Toronto '09

More titles have been added to the Toronto International Film Festival's line-up. I have them listed below, sorry if I'm repeating any of these. Some of the notable titles below include Diablo Cody's screenwriting follow-up to Juno, Jennifer's Body; the sequel to [REC]; the sequel to Ong Bak; another sure-to-be-terrible addition to George A. Romero's Dead Saga; a documentary about The White Stripes, from one of the directors of, um, Out Cold; and a documentary compiled of found footage from a Henri-Georges Clouzot film with Romy Schneider entitled L'enfer de Henri-Georges Clouzot. Read more about all the films that have already been announced at their official website.

Real to Reel

- The Art of the Steal - d. Don Argott - USA
- Bassidji - d. Mehran Tamadon - Iran/France/Switzerland
- Colony - d. Carter Gunn, Ross McDonnell - Ireland
- L'enfer de Henri-Georges Clouzot - d. Serge Bromberg, Ruxandra Medrea - w. Romt Schneider, Jacques Gamblin, Henri-Georges Clouzot - France
- Google Baby - d. Zippi Brand Frank - Israel
- How to Fold a Flag - d. Michael Tucker, Petra Epperlein (Gunner Palace, The Prisoner; or How I Planned to Kill Tony Blair) - USA
- The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers - d. Judith Ehrlich, Rick Goldsmith - USA
- Presumed Guilty [Presunto culpable] - d. Roberto Hernández, Geoffrey Smith - Mexico
- Schmatta: Rags to Riches to Rags - d. Marc Levin (Slam, Mr. Untouchable) - USA
- Snowblind - Vikran Jayanti (Britney Spears Saved My Life) - USA
- The Topp Twins - d. Leanne Pooley - New Zealand
- Videocracy - d. Erik Gandini (Gitmo) - Sweden

Midnight Madness

- [REC] 2 - d. Jaume Balagueró, Paco Plaza - Spain
- Bitch Slap - d. Rick Jacobson - w. Lucy Lawless - USA
- Daybreakers - d. Michael Spierig, Peter Spierig (Undead) - w. Ethan Hawke, Willem Dafoe, Sam Neill - USA/Australia
- Jennifer's Body - d. Karyn Kusama (Girlfight, Aeon Flux) - w. Megan Fox, Amanda Seyfried, Adam Brody, Amy Sedaris, J.K. Simmons - USA
- The Loved Ones - d. Sean Byrne - Australia
- Ong Bak 2: The Beginning - d. Tony Jaa, Panna Rittikrai - w. Jaa - Thailand
- Survival of the Dead - d. George A. Romero - w. Kenneth Welsh, Devon Bostick - Canada
- Symbol - d. Hitoshi Matsumoto (Big Man Japan) - w. Matsumoto - Japan
- A Town Called Panic [Panique au village] - d. Stéphane Aubier, Vincent Patar - Belgium/Luxembourg/France

27 April 2009

L'important c'est d'aimer in June

Mondo Vision announced L'important c'est d'aimer as the next of their Andrzej Żuławski titles to be released on DVD in the US. Like La femme publique, it will be available in standard and limited signature editions on 16 June. The film stars Romy Schneider (in what she considered her best role), Klaus Kinski and Jacques Dutronc, and it comes highly recommended.

21 April 2009

Good news for Żuławski fans

The studio Mondo Vision looks to follow up their release of Andrzej Żuławski's La femme publique, which they released in limited and standard releases last November, with a number of the director's other films. They had already acquired L'important c'est d'aimer, with Romy Schneider, and L'amour braque, with Sophie Marceau, but they've added six more of Żuławski's films to their roster (unfortunately his last film La fidélité is not one of them). They are La note bleue [The Blue Note], Diabeł [The Devil], Possession, Trzecia część nocy [The Third Part of the Night], Szamanka [Shaman Woman] and Na srebrnym globie [The Silver Globe]. Facets previously released disappointing editions of The Devil and The Silve Globe (with the title Under the Silver Globe), so pristine transfers are something to definitely look forward to. This would also explain why Blue Underground canceled their re-release of Possession last year. As soon as any of these are announced for purchase, I'll be sure to let you know.

04 March 2009

Questionable Amounts of Flesh, Growing Older (Wiser?) and Hysteria

I've been asked by a few people to resume writing analysis of the particular films I've seen, so here's a few. Sorry if they weren't the ones you wanted to hear more of...

Too Much Flesh - dir. Pascal Arnold, Jean-Marc Barr - 2000 - France - N/A - Jean-Marc Barr, Élodie Bouchez, Rosanna Arquette, Ian Brennan, Ian Vogt

The fact that Pascal Arnold and Jean-Marc Barr's Too Much Flesh was released with said title, the temptation to discuss at length the film's fleshiness and sexual content is unavoidable, and perhaps the only thing worth spending time on in the first place. Conceived as the second part of a trilogy dealing with the heart, the body and the soul, Too Much Flesh deals with, yes, the carnal desires of man, specifically one named Lyle (Barr) who's still a virgin at 35. He seems to be driving his wife (Rosanna Arquette) mad with this, and things don't get any better when he decides to lose his V-card to another woman, played by Élodie Bouchez, who not only starred with Barr in J'aimerais pas crever un dimanche but is the only actor to be in all three of Arnold and Barr's trilogy (Lovers and Being Light are the other two). Once the deed is done, we're given a series of lusty, dreamy sexual encounters between the two, one even involving Bouchez wanting Barr to seduce a young farmboy. There's plenty of issue to be taken about the fact Too Much Flesh isn't half the film Dogville is (which Barr co-starred in), but the film's display of sexuality is considerably more provoking than its notion of small-town, small-minded America. For the abundance of flesh on display, it's hard not to notice the way in which the camera or the body is always cropped in order to avoid Barr's penis. There's a suggestion in the film that there might be something "wrong" with it, but when Bouchez's body, which is not given the same treatment, becomes the concealer of choice (placing her hands and legs, among other things, strategically in front of Barr's member), any attempts at a European elitism over prudish American views of sex become futile. Too Much Flesh begins to perpetrate taboos it so snobbishly opposes in regards to full-frontal male nudity (Bouchez's hand also hides the farmboy's dick), which I'm sure most people would attribute to American cinema. The sex itself, while certainly more erotic than most films about blossoming sexuality, also stops short of penetration, and I'm referring to the simulated act. Ultimately, Too Much Flesh seems satisfied with not-really-enough flesh and becomes about as prudish as it thinks us Americans are.

Party Girl - dir. Daisy von Scherler Mayer - 1995 - USA - First Look - with Parker Posey, Guillermo Díaz, Sasha von Scherler, Omar Townsend, Anthony DeSando, Donna Mitchell, Liev Schreiber

God, I'm getting old. More than ten years ago, Party Girl was one of my touchstones of hipness. Yeah, it probably always was a shitty movie, but what I'm realizing now is that, outside of the multi-character Gen-X films she co-starred in (Dazed and Confused, Kicking and Screaming, Sleep with Me), Parker Posey was probably the only actress who constantly rose above her shitty films. I rewatched The House of Yes a few weeks ago and could barely get through it. It's probably the greatest compliment one can give an actress to be so wonderful as to distract the viewer from recognizing the lousiness of the film at hand. While I'll always admire Mary's ice-cold hauteur (which was the exact phrase a critic used to describe her while condemning the film), I don't know that I'll be taking many more trips down memory lane with Party Girl. Talk to me when you get a last name, honey.

L'important c'est d'aimer [The Main Thing Is to Love] - dir. Andrzej Żuławski - 1975 - Mondo Vision - France/Italy/West Germany - with Romy Schneider, Fabio Testi, Jacques Dutronc, Claude Dauphin, Klaus Kinski, Roger Blin, Gabrielle Doulcet

It's rather fitting that I'm watching Andrzej Żuławski's films around the same time Jeremiah Kipp's been interviewing Daniel Bird about Central New Wave Cinema at The House Next Door. I should confess that although I included Żuławski's Possession in the revisited section of my 2009 Notebook, I'm not 100% certain that I saw the full film prior to this year, after renting a crappy VHS of it from an independent video store years ago which, more than likely, was the US edit. In the interview, Kipp states that "[Żuławski's highly emotional and aggressive films] are frequently criticized for their 'hysteria.'" These are similar criticisms that have been given to Ken Russell's films with "mania" as the substitute for "hysteria." However, in looking back at both directors' films, there's something terribly admirable about this "hysteria/mania." When you're hard-pressed to come up with a contemporary filmmaker to match either (Baz Luhrmann be damned!), there's a sad sense that perhaps such cinematic mannerisms have become relics. L'important c'est d'aimer (which is a difficult title to translate into English) was Żuławski's first big success, in France of course as it was his first to be made in the country and starred two cultural icons, Romy Schneider and Jacques Dutronc. Though it lacks the alarming-ness of his later Possession, L'important c'est d'aimer is wonderful still, particularly for Schneider, who considered this to be her best work and whose performance here was one of the dedications at the end of Almodóvar's Todo sobre mi madre. As Nadine Chevalier, an actress specializing in films de cul, Schneider devastates within her first moments onscreen, unable to find it within her to fuck the dying body of her onscreen lover. Żuławski has a flair with actors, eliciting the frightening best of out of both Schneider and Isabelle Adjani in Possession and wonderful turns from Dutronc and Klaus Kinski as well. Was I wrong in absolutely hating Mes nuits sont plus belles que vos jours, particularly Dutronc's performance? I'll have to give it another go. Best line in the film: when asked if he's crazy after planting a kiss on the film's dull protagonist Servais (Fabio Testi), Kinski responds, "no, just rich."

06 July 2008

Mondo Vision?

A studio I've never heard of, Mondo Vision, has announced a 2-disc set for Andrzej Żuławski's La femme publique, starring Valérie Kaprisky, Lambert Wilson and Patrick Bauchau, for 30 September. Mondo Vision also owns the rights to two other Żuławski films: L'amour braque, with Sophie Marceau and Tchéky Karyo, and L'important c'est d'aimer, with Romy Schneider and Klaus Kinski. I will let you know when those two are announced. Stay tuned!