"Não me lembro de ter tido o sonho de fazer cinema em minha vida nem delirado com essa idéia. Para mim, viver já parecia estar dentro de um filme estranho, sem diretor, cujo script eu desconhecia. Essa sensação me acompanhou toda a vida e ainda me acompanha. Só que agora o filme tem diretor e ao script já tenho acesso: o escrevo e reescrevo diariamente".
Um filme que não tem escândalo (xô, Anticristo) nem "relevância social". Condenado a passar despercebido, portanto.
Mas como filma, James Gray!
Filma seu protagonista como ninguém. Filma as mulheres ao seu redor como ninguém.
Gray ousa reinventar o "mito" da loura e da morena no cinema. Hitchcock onde não caberia Hitchcock. Cada aparição de Gwineth Paltrow é cercada de mistério. A gente entende aquele amor "irracional" pelos enquadramentos, pelos movimentos da câmera, pela fotografia. Vertigem.
Nos filmes de James Gray, a família é um ninho de segurança e de amor, mas também uma teia de captura cruel. É só ver o personagem de Joaquim Phoenix em "Donos da noite", tragado pelo amor familiar, condenado a duplicar o pai e o irmão. Em "Two Lovers", essa visão ganha contornos mais sutis, mais complexos.
O gesto final, dar para a morena o anel que era destinado à loura, é um gesto para si mesmo, uma escolha por ser amado, a escolha que a loura foi incapaz de fazer.
The drama's done. Why then here does any one step forth? - Because one did survive the wreck.
It so chanced, that after the Parsee's disappearence, I was the whom the Fates ordained to take the place of Ahab's bowsman, when that bowsman assumed the vacant post; the same, who, when on the last day the three men were tossed from out the rocking boat, was dropped astern. So, floating on the margin of the ensuing scene, and in full sight of it, when the half-spent suction of the sunk ship reached me, I was then, but slowly, drawn towards the closing vortex. When I reached it, it had subsided to a creamy pool. Round and round, then, and ever contracting towards the button-like black bubble at the axis of that slowly wheeling circle, like another Ixion I did revolve. Till, gaining that vital center, the black bubble upward burst; and now, liberated by reason of its cunning spring, and owing to its great buoyancy, rising with great force, the coffin life-buoy shot lengthwise from the sea, fell over, and floated by my side. Buoyed up by that coffin, for almost one whole day and night, I floated on a soft and dirge-like main. The unharming sharks, they glided by as if with padlocks on their mouths; the savage sea-hawks sailed with sheathed beaks. On the second day, a sail drew near, nearer, and picked me up at last. It was a devious-cruising Rachel, that in her retracing search after her missing children, only found another orphan.
JOHN LANDIS: When we made THRILLER, working with Michael was like The Beatles. You know, when John Lennon said that thing about "we're more popular than Christ", I totally understand what he was talking about because being with Michael at that moment was incredible. People would see him, and they would faint, or women would have orgasms - I'm not kidding - people would be overcome. It was amazing. The only time in my entire life when I've ever been truly terrified. It sounds funny, but you're rarely scared in your life, and the only time I was really terrified... right after THRILLER came out, Michael and my wife, and baby daughter... we went to Disney World in Florida, and I have this picture in my library of Michael and I and Mickey Mouse - and we went to take this picture by the castle, and there was this lawn that was about 20'x20' and had this little rope chain around it like a bank, and the photographer was there and Michael and I and Mickey came through these underground tunnels where you come "up", and within minutes there were 5,000 people there around us. They were screaming and I thought, "they're going to eat us." I was just terrified, and Mickey was like "Get me outta here!" We were scared to death, and it was like "Oh my God, someone is going to die." And Michael was just like (waving) "Hi, how are you?" and it didn't phase him at all. Miraculously, this Cadillac Limousine just appeared out of nowhere, and I still don't know where it came from. They took us and threw us in there and then the people went on the car - it was really scary.
I find it interesting, as I've worked with Paul McCartney, and Michael Jackson, and The Blues Brothers, and David Bowie, and a lot of people that have gone through that experience, and man I think it's difficult to remain sane under those circumstances. When you see what happened to Elvis - I mean, I understand it, but with that level of stardom, and that level of celebrity, it's a miracle if you can make it through it with any sense of sanity after that.
Escrito por Pedro Butcher às 19h22
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