Nonetheless, the film is peculiarly moral and deliberately provocative!Īs a young man, director Brian De Palma’s mother asked him to follow his father with recording equipment, to try and catch him with another woman. Feminist organizations blamed the film for distorting the image of all sexual minorities. Often called “the first great American movie of the ’80s”, Dressed to Kill, is not without controversies. Peter and Liz team up to find the real culprit, who has an unexpected means of hiding her identity and an even more surprising motivation to kill. Only Kate’s son, Peter (Keith Gordon), believes Liz. While the police think Liz is the murderer, the real killer wants to silence the crime’s only witness. When Liz Blake (Nancy Allen), a prostitute, sees a mysterious woman brutally slay homemaker Kate Miller (Angie Dickinson), she finds herself trapped in a dangerous situation. It is one of the most erotically charged vampire films, actively trying to achieve surrealism through its visuals. It garnered much buzz (read controversy) around the film. Thirs t was the first Korean film to have male full-frontal nudity, and that too by an A-list star. As their relationship develops, Sang-hyun is left struggling to hang on to his old morality. As a hospital visitor, he can quench his thirst for blood, and an intense affair with unhappily married Tae-ju provides him with a sexual outlet. He’s left with an intense craving for blood and sex. Sang-hyun, is a Christian priest who, in order to help find a cure, volunteers to be infected with a virus that’s devastating Africa. So, the source material for Thirst was over 130 years old! Then, he stumbled upon the novel Thérèse Raquin by Émile Zola and got inspired enough to finish the script. He wrote two scenes of the film and then got busy skyrocketing his career to universal acclaim, including Oldboy (2003), Lady Vengeance (2005), I’m a Cyborg, But That’s OK (2006), and many many more. So she did.ĭirector Park Chan-wook first conceived Thirst, ten years before its release. And, McQueen told her if she gets the tattoo, she will get the role. During their discussion, she told him that she is planning to get a seagull tattoo to always remind her of Nina, a character she played in Anton Chekhov’s play, The Seagull. She practically begged him for an audition. And when she was in London, she heard McQueen was meeting actresses for the same script. She got the script from someone and loved it. Fassbender was the one & only choice for the role since Steve had worked with him in Hunger earlier, but how Carey Mulligan got the part, is a rather cheeky story. But, when Sissy (Carey Mulligan), Brandon’s needy sister, unexpectedly blows into town, crashes at his apartment, and invades his privacy, Brandon is finally forced to confront his addiction head-on.įassbender’s astonishing, ferocious force meets Mulligan’s glaring brilliance. His constant need for gratification numbs him to just about everything else. Shame, follows a successful and handsome New Yorker, Brandon (Michael Fassbender), who seems to live an ordinary life, but he hides a terrible secret behind his mask of normalcy: Brandon is a sex addict. Whether he picks up historical moments, like Hunger (2008), and 12 Years A Slave (2013), or an action flick like Widows (2018), or a more personal, inward, submerging experiences like Shame, Steve’s precision, and emotional possession penetrates deeper. The Page Turner is an immensely satisfying watch, to say the least.Įven though his resume is rather concise (four feature films), director Steve McQueen’s legacy is monumental. And, for a thriller, it has only one brief moment of violence. It’s moody, sneaky, slow, intense, and sexual. Dercour’s perfect composition never lets you get the ending ahead of time. We know from the offset that the film would end with the catharsis of vengeance, but nobody knows how much Mélanie has planned, or if Ariane would be able to figure things out. Its colossal strength lies in what it conceals. Director Denis Dercour began his career as a musician, and he choreographed The Page Turner, like an orchestra, with many false crescendos, ultimately leading to the roof-shattering note. Mélanie is the enigma, as well as the disruption of the film. As a grown woman, Mélanie (Déborah François), sets in motion a long-awaited and elaborate plan for revenge, beginning with obtaining a position as Ariane’s assistant. Mélanie locks her piano and does not play again. As she auditions for a music scholarship, one of the judges, Ariane (Catherine Frot), causes a disruption that throws off the girl’s playing. As a child, Mélanie shows great promise as a pianist.
0 Comments
Leave a Reply. |