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Ñòàòüè íà àíãëèéñêîì è äðóãèõ ÿçûêàõ
Natalie: Ïîñêîëüêó ìû íå âñå ïåðåâîäèì äëÿ ñàéòà, òî ñóäà ìîæíî ñêëàäûâàòü èíòåðåñíûå ìàòåðèàëû íà àíãëèéñêîì ÿçûêå... Åñëè âû õîòèòå ïîëó÷èòü ïåðåâîä êàêîé-òî ñòàòüè, òîæå ïèøèòå ñþäà.
Taro: Âûøëà ñòàòüÿ íà èñïàíñêîì ,ðàññêàçûâàþùàÿ î òîì êàê ñüåìêè "Ïëàíà" áëàãîòâîðíî ïîâëèÿëè íà âíèìàíèå âëàñòåé Àðãåíòèíû ê ïðîáëåìàì Äåëüòû Òèãðû.. À êàê îíè ïîæàð òàì ñðåäè íî÷è ñíèìàëè è ïåðåïóãàëè äî èêîòû ìåñòíóþ ôëîðó è ôàóíó âñåõ ìàñòåé..íè ñëîâà!! Âîò ññûëî÷êà,ìíå ïîêàçàëîñü ëþáîïûòíûì.. http://www.elcomercioonline.com.ar/articulos/50044610-Tigre-epicentro-de-la-Industria-Audiovisual.html
Taro: Íîâàÿ ññûëî÷êà-ñòàòüÿ î Ñàáèíå Øïèëüðåéí www.telegraph.co.uk/culture/culturenews/8718211/Jung-Love-Sabina-Spielrein-a-forgotten-pioneer-of-psychoanalysis.html
Green: Ñïàñèáî, Òaro. Èíòåðåñíàÿ ñòàòüÿ. Íà Wiki òîæå, õîòü è ñóõèå ôàêòû, íî õîðîøî ðàññêàçàíî î ïóòè Ñàáèíû Øïèëüðåéí â ïðîôåññèè, îíà ìîëîäåö. Òàì ññûëêà åñòü íà áîëåå ïîäðîáíóþ áèîãðàôèþ. http://www.psychosophia.ru/pdf/sabshp.pdf
Taro: Ïðîñòèòå çàñðàíêó,íî -ýòà íà èñïàíñêîì. Buenos Aires, 29 de agosto (Reporter). Luego de varias semanas de labor en los estudios Ciudad de la Luz, en Alicante (España), terminó el rodaje de "Todos tenemos un plan", el thriller cuyo elenco encabezan Viggo Mortensen y Soledad Villamil. Con estreno programado para el mes de mayo de 2012, la cinta completa su elenco con Daniel Fanego, Sofía Gala y el español Javier Godino. Se trata de un policial escrito y dirigido por Ana Piterbarg, con producción entre Haddock Films y las compañías españolas Tornasol y Castafiore Films, que cuenta como productor asociado a Telefe. La película se filmó en la provincia de Buenos Aires -con gran cantidad de escenas en el Delta del Tigre- y en estudios de cine de España. "Todos tenemos un plan" narra la historia de Agustín y Pedro, dos hermanos gemelos que se reencuentran tras diez años de distanciamiento. Pedro está muy enfermo y le pide a su hermano que lo ayude a morir, aunque este se niega. Sin embargo, al ver a su hermano desesperado -con un ataque de tos y escupiendo sangre-, Agustín tiene un arranque impulsivo y lo mata. A partir de ahí, el personaje asume la identidad del fallecido e intenta iniciar una nueva vida. Con parte de su infancia vivida en Chaco, Buenos Aires y Córdoba; el astro de "El señor de los Anillos" mantiene estrechos vínculos con el país, aunque este es su primer proyecto cinematográfico local. (Reporter)
Taro: http://festivalinsider.ca/2011/09/01/david-cronenberg-and-viggo-mortensen-all-time-great-director-actor-collaborators/
Taro: Given that Mortensen once accidentally clocked a bunny with his car, then cooked it up for dinner, the star of David Cronenberg's A Dangerous Method would appreciate this new sausage emporium. The daring menu features wild boar, kangaroo and, yes, rabbit, served in a German beer hall setting. . http://ca.shine.yahoo.com/star-stops-tiff-2011-edition-040000335.html
Taro: Are we ready to add David Cronenberg and Viggo Mortensen to list of all-time great director / actor collaborators? The working relationship between lead actor and director of a movie is one of the most special in Hollywood. When it goes well, the results can be magical and truly special films are born. Just think of the output some of these actor – director pairings produced: Deniro and Scorcese. Depp and Burton. DiCaprio and Scorcese. And perhaps the time is coming to add David Cronenberg and Viggo Mortensen to the list of all-time great film collaborators. When A Dangerous Method premieres during the Toronto International Film Festival this year – it will officially be the third collaboration between Cronenberg and Mortensen. They had successfully teamed up in the past, to critical acclaim, in the films A History Of Violence (2005) and Eastern Promises (2008). The Cadillac Festival Insider had the chance to chat with Cronenberg during TIFF last year (when he was in the midst of shooting A Dangerous Method) and asked him why the continued collaborations with Viggo, “It’s a love affair. It’s a marriage.” replied a half-serious Cronenberg. “Viggo and I have similar senses of humour. It helps you get through long production days.” A fourth teaming of the actor – director pair will almost certainly happen as a rumored sequel to Eastern Promises has already been given the go-ahead.
Orianna: A Dangerous Method – review Even the celebrated spanking scene fails to knock much life into David Cronenberg’s lugubrious tale of the tussle between Freud and Jung Xan Brooks guardian.co.uk, Friday 2 September 2011 11.53 BST Comments (38) ‘All that’s missing is a crucial whiff of danger’ There is method a-plenty in David Cronenberg‘s well-upholstered tale of Freud and Jung and the woman in the middle. It contains solid, subtle performances from Viggo Mortensen and Michael Fassbender. The script is intelligent, the tone is tasteful, and Keira Knightley provides the Oscar bait with a fleeting display of stage-managed pyrotechnics. All that’s missing, in fact, is a crucial whiff of danger. A Dangerous Method Production year: 2011 Country: UK Directors: David Cronenberg Cast: Keira Knightley, Michael Fassbender, Viggo Mortensen, Vincent Cassel A Dangerous Method is based on a play by Christopher Hampton, which is itself based on a book by John Kerr and somewhere along this rattling crawl between the base-camps the vim and vigour has bled clean out of it. Fassbender stars as the young Carl Jung, a fledgling psychiatrist, reaching for greatness under the gimlet eye of his mentor, Sigmund Freud (Mortensen). Jung idolises Freud but, increasingly, the two men are pulling in opposite directions. Freud thinks Jung’s line of analysis is too airy-fairy, too in thrall to supposition and coincidence. Jung, for his part, thinks the master has sex on the brain. “Surely there must be more than one hinge into the universe,” he grumbles. The irony, though, is that whereas Freud is presented as a celibate old shaman, Jung is off living the dream, swinging the hinge until it howls out in protest. He is married and siring child after child while simultaneously carrying on an affair with Sabina Spielrein (Knightley), a brilliant hysteric who is an inmate at his hospital. Sabina bares her teeth and juts an extraordinary, elongated chin that should by rights have been shot in 3D. She is, she claims, “vile and filthy and corrupt” and her greatest desire is to be tied up and spanked. Jung, with a pained, frowning diligence, duly obliges. But spanking, as any good psychiatrist should know, has consequences. In this particular case, it winds up exciting Sabina to a worrying degree, making Jung more miserable than he was before and comprehensively torpedoing the friendship with Freud, who initially defends his protege and then feels a fool for doing so. What the spanking can’t do, unfortunately, is knock some life into this heartfelt, well-acted but curiously underwhelming slab of Masterpiece Theatre. A Dangerous Method feels heavy and lugubrious. It is a tale that comes marinated in port and choked on pipe-smoke. You long for it to hop down from the couch, throw open the windows and run about in the garden.
corall: Âèããî ïàðàëëåëüíî è "Íà äîðîãå" ïèàðèò: http://www.facebook.com/l.php?u=http%3A%2F%2Frobsteners.blogspot.com%2F2011%2F09%2Fviggo-mortensen-old-bull-lee-in-otr.html&h=rAQB3mEMYAQBGM5jnw3oyGt2FW61RL53mophu6_LTc5U7hg
Taro: http://blogs.indiewire.com/thompsononhollywood/2011/09/05/telluride_film_fest_review_cronenbergs_a_dangerous_method/#
Taro: http://www.thisislondon.co.uk/film/review-23983509-a-dangerous-method-venice-film-festival---first-review.do A Dangerous Method, Venice Film Festival - First Review By Derek Malcolm 2 Sep 2011 If truth is often a good deal stranger than fiction, there couldn't be a better example than the quietly fraught relationships between Carl Jung, Sigmund Freud, and Sebina Spielrein, psycho-analytical pioneers of the early 20th century. Spielrein, the least known of the three, was first a patient of the young Jung, then had an enduring affair with him and later influenced both him and Freud's theories. David Cronenberg's film, adapted by Christopher Hampton, from his play The Talking Cure (in turn, based on John Kerr's book A Most Dangerous Method) is, despite its complicated subject matter, one of the most straightforward he has made. It relies substantially on the text and quietly effective performances of Michael Fassbender as Jung and Viggo Mortensen as Freud. Only Keira Knightley as Spielrein has to do much emoting as the story progresses through the years up to the First World War. Though playing against two performers of considerable weight, she more than holds her own from the moment she arrives on the scene, a hysterical patient, to the time when her love for Jung is finally reciprocated. The result is a film which the director calls an intellectual menage-a-trois with sexual overtones, and his first straight biopic. It is a dark, troubling tale, set at the birth of psycho-analysis, that fictionalises reality with a calm appreciation of the passions that lay behind the trio's different views of treatment, cures and what is "normal" behaviour. Cronenberg and his actors do their best to show that there is no such thing as normalcy since Jung, Freud and Spielrein, cannot cure themselves any more than they can guarantee to help their patients. It is this that the film is most successful in emphasising and also the fact that a little neurosis does not harm to anyone.
Taro: Íó,êàê òóò åãî íå ïîõâàëèòü..Óìíè÷êà.. http://www.marketwatch.com/story/made-in-polaroid-exhibit-brings-together-artists-celebrities-and-designers-to-benefit-charity-2011-09-07 press release Sept. 7, 2011, 10:47 a.m. EDT Made in Polaroid Exhibit Brings Together Artists, Celebrities and Designers to Benefit Charity Polaroid Exhibit Features New Works of Over 60 Artists on Display in New York City from September 7 - 14, 2011 NEW YORK, Sept. 7, 2011 /PRNewswire via COMTEX/ -- Polaroid is honoring its founder Dr. Edwin Land's passion for the arts with the launch of the Made in Polaroid exhibit. An art show featuring more than 60 pieces created by a mix of artists, designers, photographers, actors and musicians who are united in their passion for creativity, all pieces will be auctioned with proceeds benefitting Free Arts NYC, a non-profit that provides arts and mentoring programs to under-served children. Participating artists include fashion photographers Patrick Demarchelier and Steven Klein, designers Cynthia Rowley and Phillip Lim and actors James Franco and Viggo Mortensen, among many others. "It's very interesting to me that at this moment in time the new Polaroid G10 printer arrives and re-objectifies the photograph, literally making an object, a paper photograph," said participating photographer Matthew Rolston. "We seem to be headed toward a paperless world of visual communication and yet here we have an exciting new product that re-invigorates the thought of trading imagery - actual photographs that we hold in our hands - with each other."
Natalie: Taro, äåëàé ïåðåïîñò ñòàòåé ñ èñòî÷íèêîâ, óêàçûâàÿ ññûëêó, à íå ïðîñòî âûêëàäûâàé îäèí ëèíê â ñîîáùåíèè.
Taro: David Cronenberg on How the $20 Million 'Dangerous Method' Got Made 12:55 PM PDT 9/7/2011 by THR Staff In the new issue of The Hollywood Reporter, the controversial filmmaker reveals which stars dropped out, the details behind a Viggo Mortensen casting coupe and how Martin Scorsese was scared to meet him. David Cronenberg's films have a notorious reputation, with graphic sex and violence, outre images and disturbing themes. The Canadian parliament has called his work "disgusting" and one critic said his 1996 film Crash existed "beyond the bounds of depravity." our editor recommendsA Dangerous Method: Venice Film Review Venice Film Festival Day 3: Viggo Mortensen Plays Freud; Kate Winslet Honored The Hollywood Reporter Cover Stories Telluride Film Festival: 12 Movies to Know Venice Film Festival: 10 Movies to Know Canada Rewards David Cronenberg For Not Moving To Hollywood David Cronenberg takes on 'Cosmopolis' However, after visiting with the 68 year old Canadian director near his home in Toronto, The Hollywood Reporter's executive editor, feaures Stephen Galloway found him to be calm, courteous and downright mellow. His latest film, A Dangerous Method, stars Viggo Mortensen as Sigmund Freud, Michael Fassbender as Carl Jung and Keira Knightley as their patient, Sabina Spielrein. The historical drama premiered at the Venice International Film Festival on Sept. 2 and has received strong reviews. It will be released in theaters by Sony Pictures Classics on Nov. 23. STORY: David Cronenberg's 5 Most Intriguing Movies Is this family man -- who works regularly with his wife, sister and grown daughter -- really the same filmmaker who once showed actress Samantha Eggar licking the amniotic fluid off her psychically-controlled killer dwarf offspring in The Brood? Some of the surprising revelations from this week's THR cover story: 1. 'A DANGEROUS METHOD'S' ORIGINAL STARS, CHRISTIAN BALE AND CHRISTOPH WALTZ, DROPPED OUT "Waltz waltzed and Bale bailed," Cronenberg said. Though the director is understanding of Bale's decision to withdraw without ever being formally attached, talk of Waltz' departure shakes the director's mellowness just the tiniest bit. "Christoph [had] pursued the project," he explains. "He came to me to convince me to take him as Freud; his grandfather had been a pupil of Freud. [After] Inglourious Basterds, all the German money was built around him, and when he bailed, a lot of that money went as well." 2. THE FILM COST $20 MILLION -- HIGH FOR AN ART HOUSE MOVIE Financing came from three separate German entities; from presales arranged by producer Jeremy Thomas’ HanWay Films; and from Canada’s Telefilm and Universal Germany, among others — though all deals were still in play when shooting commenced. Cronenberg describes it this way: "It’s like a Frankenstein quilt: 15 entities were involved, and they all had to sign at the same moment." While Thomas notes: "Having the film start when you know you haven’t closed the finance, and greenlighting it when you are still in a nervous state, that is a very difficult, lonely moment for a producer." PHOTOS: The Hollywood Reporter's Cover Stories Gallery 3. CRONENBERG HAD TO CALL IN A FAVOR TO GET MORTENSEN TO PLAY FREUD Viggo Mortensen had worked with Cronenberg to great success on A History of Violence and earned an Oscar nomination for Eastern Promises. But the actor initially turned the director down when he was offered the part of Sigmund Freud. At the time, the actor said he was handling "problems with my parents' health and because I didn't picture myself playing Freud." After Fassbender and Knightley signed on, Cronenberg approached him again. This time he said yes. 4. THE GERMAN SHOOT WAS EASY COMPARED TO CRONENBERG'S EARLY FILM EXPERIENCE With one of his first features, Scanners, Cronenberg had to witness the deaths of two women who had paused to watch filming from a highway. “They slowed down, and the guy behind them didn’t,” he recalls. The man’s car went straight over theirs. “My grip jumped over the fence and pulled the women out of the car, but they were dead, and that was our first day of shooting. I thought if I could survive that, I could survive anything.” STORY: 10 Contenders Gunning for Oscars at Toronto Film Festival 5. MARTIN SCORSESE WAS SCARED TO MEET HIM “He said he was terrified,” remembers Cronenberg. “He was serious. He had seen Shivers and Rabid and thought they were devastating. I said, ‘Marty, you’re the guy who made Taxi Driver!’ ” 6. HE'S ALREADY NEARLY FINISHED WITH HIS NEXT MOVIE A Dangerous Method won't be released domestically until November, but the filmmaker is already at work editing his next movie, an adaptation of Don DeLillo's novel, Cosmopolis. 7. TED TURNER TRIED TO BURY 'CRASH' In the case of Crash, which equates sex with violent car crashes, Ted Turner was so upset, he did everything to kill the movie’s release.The mogul, who owned the picture’s distributor, New Line, “wanted to destroy it,” Cronenberg says. “He and Jane [Fonda, his then-wife] had apparently screened the film and were appalled. But they wouldn’t tell me at New Line. I was planning to come down to do publicity and they said, ‘Don’t get on the plane. We’re going to delay the release.’ I said, ‘Are you kidding me?’ ” Turner would relent. 8. CRONENBERG LOATHES HOLLYWOOD The Toronto-based filmmaker turned down films such as Flashdance, Top Gun and Interview With a Vampire and worked through 12 drafts of Total Recall, adapted from the Phillip K. Dick short story, We Can Remember It For You Wholesale before being told by producer Dino De Laurentiis, "'You know what you've done? You've done the Dick version. We wanted to do Raiders of the Lost Ark Go to Mars.'"
Taro: Yesterday, I finally got the chance to watch Terrence Malick's THE TREE OF LIFE. As soon as it was over I watched it again. I'll probably see it a third time before long. Our time on this earth is short, but some stories do bear repeated viewing. More often than not, I feel that prizes given to movies, directors, and performers in Cannes (where Malick's movie won the Palme D'or this year) and at other film festivals, not to mention at just about any award show in the world, result from wrong-headed choices based more on political, personal or public relations-driven factors than on the purely creative merits of those anointed as winners. Once the promotional fairy dust settles and eventually vanishes, usually 6 months to a year after such awards are given, one wonders how candidates that obviously were more-deserving could have so frequently been overlooked in favour of adroitly-hyped mediocrities. On further reflection, time usually tells us some of the truth about who might have been the more just candidates or winners, but the damage will have been done and there is nothing movie fans can do but move on. Move on, that is, to a new season likely to see critics, jurors and regular moviegoers all letting ourselves be hoodwinked at some point, followed by seemingly endless debates over the many poor conclusions we consequently drew in the heat of the marketing moment. I personally feel that THE TREE OF LIFE has deserved the official recognition and rewards for its extraordinary qualities. It is the kind of cinematic accomplishment that stands apart from other movies, if not necessarily above all of them. Stands apart from aspects of other works that can reasonably be compared. Seems part of another genre, another medium. Some critics have complained in so many words that this movie, though beautifully filmed, is all over the place and tries too hard to be profound. Sean Penn, one of the principal players in this story, has recently spoken out publicly against the editing choices made by Malick, lamenting in particular the way his character ends up coming across (or not coming across) in the final cut of the movie. I found no fault with Sean's or any other actor's performance, no fault with the photography, music, story-telling. All was just as it needed to be, just so and so true. All elements appeared to have melded, to have been carefully synchronised by Malick in a work of art that stands miraculously and effortlessly alone. It is, in my opinion, a movie story even more profoundly moving than the promotional trailer and early word led us to hope it might be, well beside the negative critiques that some have attempted against it. A sincere and well-enacted study of compassion with endless mercy and love of life in every frame. What's there to rail against here? Who other than Malick could have told a story with such meticulous attention to detail and musical timing, such graceful boldness, unpretentious dignity and undiluted affection for people and things? Difficult times have helped me to understand better than before how infinitely rich and beautiful life is in every way, and that so many things that one goes worrying about are of no importance whatsoever. —Karen Blixen Needless to say, I strongly recommend this movie to anyone who has not seen it, and also to anyone who has seen it but perhaps did not take much inspiration from it on first viewing - or was swayed by the more negative reviews it received from some journalists. V.M. http://www.percevalpress.com/index.html
Taro: By Ariel Dorfman - at Stadttheater Walfischgasse Vienna (Stadttheater) - Roman Polanski made the film adaptation in 1994 with Sigourney Weaver, Ben Kingsley and Stuart Wilson, the theater play was translated into more than 50 languages and performed in more than 30 countries - "Death and the Maiden" written by Chilean dramatist Ariel Dorfman is one of the most successful plays in recent years. Dorfman also was co-author of the screenplay for the movie which made him world famous. Soon his play "Purgatorio" will premiere in Madrid with Viggo Mortensen (who speaks Spanish perfectly) in the lead role and also in October a new production of "Death and the Maiden" will start at London's West End with Thandie Newton as Paulina. In the Stadttheater Walfischgasse's own new production artistic director Anita Ammersfeld will play that role, Hannes Gastinger and Willy Höller will be supporting and Thomas Schendel will again be directing. http://www.oe-journal.at/index_up.htm?http://www.oe-journal.at/Aktuelles/%212011/0911/W2/51309stadttheater.htm ïåðåâîä Carolina200
Taro: Öèòàòà èç ñòàòüè-÷òî êàñàåòñÿ "Ïîðîêà-2 The calm, relaxed working environment also helped for a film that could have become a staid period piece. “When he shoots there’s a time constraint, but he’s so well prepared that he makes it seem effortless,” Mortensen says. “This kind of dialogue, this kind of period piece, these kinds of people, these historical personalities, a director could easily get lost living in the forest for the trees and feel like they have to show off all the time to the camera and make for lots of complicated sequences visually. David was so comfortable with the knowledge he had about the period and so well prepared that you realized that the perfect contrast was to shoot it as simply as possible.” Shooting with Cronenberg was such a good experience that Mortensen is sure that the two will continue to work together, possibly even on the promised “Eastern Promises” sequel. When we asked the actor about that film, he responded “I think that’s still a possibility, but something we’ll definitely do [together] I’m sure and I’m looking forward to it already, whatever it is.” http://blogs.indiewire.com/theplaylist/archives/2011/09/14/viggo_mortensen_says_hell_work_with_david_cronenberg_again_possibly_on_east/#
Taro: The 2012 Superman movie from Christopher Nolan and Zack Snyder heats up as casting rumors abound! Kevin Costner is up for the role of Jonathan Kent, while Viggo Mortensen is up for the role of General Zod…or Lex Luthor? Are Henry Cavill, Kevin Costner and Viggo Mortensen Zack Snyder’s dream team? And who will be cast as Lois Lane or Ursa? Movie Bytes is the latest movie news from Beyond The Trailer, distributed by Indy Mogul and Next New Networks! Video Rating: 4 /5 http://2012universetoday.com/movie-bytes-superman-2012-casting-kevin-costner-viggo-mortensen-movie-byte/
Taro: NYFF: 'A Dangerous Method' with Keira Unleashed Tuesday, September 27, 2011 at 6:23PM Kurt here. I'll admit I'm not as well-versed in the work of David Cronenberg as a 27-year-old cinephile should be, but I know enough to confidently conclude that A Dangerous Method, while every bit worth seeing, won't go down as a definitive entry in the Canadian maestro's oeuvre. A bubbling marriage of the sexual and the cerebral, the material surely speaks to Cronenberg's penchant for exploring the curious links between mind and body, but the resulting film doesn't haunt, nor does it even consistently provoke, short of whatever reactions are elicited from the recurring spanking of Keira Knightley's bum. A prestige piece through and through, A Dangerous Method is the intersection of a handful of prior collaborators, teaming Cronenberg with muse Viggo Mortensen, Dangerous Liaisons and Atonement screenwriter Christopher Hampton (who here adapts his own 2002 play, The Talking Cure), and Atonement leading lady Keira Knightley. It seems an almost experimental assemblage of talent, with Cronenberg's newfound Oscar-friendliness put into the mix with some very Oscary playmates. It could be grander, it could be harder, it could be better But damn, is it watchable, especially in regard to Knightley's performance as Sabina Spielrein, the unhinged, yet shrewd, Russian fetishist who ultimately comes between psych titans Sigmund Freud (Mortensen) and Carl Jung (Michael Fassbender). A violently screaming Sabina is the first thing you see after some ink-on-paper credits, and it's immediately arresting, if only because you've never seen Knightley so...loud. This is easily Knightley's most impassioned and most transformative performance, one that's sure to have Oscar calling in whatever category she lands in (note to voters: it's a leading role). For a long while, I was having a hard time deciding if her turn was too shrill or dead-on, but I'm leaning toward the latter, despite the lingering sense that she's operating on a wild plane independent of the film. Ably tackling a convincing accent, and looking even more gorgeously gaunt than usual, Knightley plays the sexually-scarred Sabina like a slinky Linda Blair, her deep, dark and gyrating confessions to Jung trickling out as if part of a deep-seated, slow-motion seizure that's long been brewing in her groin. It's uncomfortably compelling, and it gains interest as the film proceeds, as Sabina proves to be much more than her demons.Mortensen also slips deep into his character, in a performance that's also likely to have at least some amount of gold thrown at it. Behind dark contacts and a good bit of facial hair, he steps into uncommon character-actor territory, to which his handsomely-aging face lends itself well (he's also best with the movie's easy, unassuming humor, which finds a mature, yet playful, way to fool with so much clinical sex talk). Faces, I'd say, are Cronenberg's greatest collective asset here, and one he exploits like a pro. I'm avoiding a great deal of plot, because I don't feel that gripping storytelling is the movie's strong suit. But the not-quite-million-dollar mugs of Knightley, Mortensen and Fassbender, all of whom have enough uncannily symmetrical beauty to ensnare you, but enough slightly-offbeat features to keep things interesting, are what hold you from moment-to-moment and stick with you when you leave. Fassbender, bless him, is clean-cut and awkwardly dashing, yet he shares Knightley's cadaverous look, his well-formed bones exceptionally pronounced. And Mortensen gets a lot of mileage out of those wrinkles, swapping out smolder for aloof wisdom. Of the milieu on display, I found it most interesting to consider a group of characters evaluating their behaviors while Freudian explanations were still being established. Can we imagine a world without them now? Where motivations and actions aren't looked upon with some degree of id assessment? Such thoughts make A Dangerous Method feel important, at the very least in relation to the whole of 2011's output. What burrowed into my head, though, were those faces and that feral performance from Knightley. Getting in the spirit, I kept wondering what she drew from to get into character, what conscious and unconscious Knightley demons brought Sabina to life. Whatever the answer, it worked, as Knightley's method, pardon the pun, is a dangerous one indeed. http://thefilmexperience.net/blog/2011/9/27/nyff-a-dangerous-method-with-keira-unleashed.html
Taro: David Cronenberg Says ‘A Dangerous Method’ Is An “Intellectual Ménage à Trois” Still Hoping To Make ‘Eastern Promises 2’ With Viggo Mortensen It has been a very busy fall so far for David Cronenberg. His latest film “A Dangerous Method” has been traveling the globe, premiering at the end of August at the Venice Film Festival, going to Telluride and then TIFF last month for its North American debut and now, hitting the New York Film Festival. For a director whose filmography generally displays a tendency towards the freakier end of the spectrum, his new movie is bit straighter than we’re used to from Cronenberg. Starring Michael Fassbender, Viggo Mortensen and Keira Knightley, the film centers on the relationship between Carl Jung (Fassbender) and Russian-Jewish patient Sabina Spielrein (Knightley), which turns sexual, ultimately causing a rift between Jung and his mentor Sigmund Freud (Mortensen), but also catalyzing strong findings in regards to Jungian psychoanalysis. We recently had a chance to speak with David Cronenberg at the New York Film Festival and he revealed that it was Christopher Hampton‘s play, which serves as the foundation, which opened the door into the story the director had long wanted to tell. “I’ve always wanted to do a movie about Freud and the birth of psychoanalysis, but to say that is of course to say nothing, because there’s no structure in that,” he explained. “But [with this play], suddenly there is a structure. And this was my first introduction to Sabina and she is part of what I call an ‘intellectual menage a trois,’ and that structure was terrific—the span of it, the relationship between Freud and Jung that went over six or seven years.” “So here’s this wonderful structure with this incredible character Sabina who I had never heard of and that’s really what drew me to the story,” Cronenberg added. Indeed, the dimension that Sabina brings to the relationship between Freud and Jung provides a fascinating entry into the common and conflicting mindsets between the two great psychoanalysts. But if you think Cronenberg will get a chance to rest after these press rounds are over, guess again. The ever busy helmer is already in post-production on his next film, “Cosmopolis,” starring Robert Pattinson and while he’s not yet decided on his next film after that, the long talked about “Eastern Promises 2” still remains on the table. When we spoke with Viggo Mortensen at TIFF he said about the project, “I think that’s still a possibility, but something we’ll definitely do [together] I’m sure and I’m looking forward to it already, whatever it is.” And when we asked Cronenberg directly, he revealed that it’s very much in development. “We’re trying,” Cronenberg said when asked if he and Viggo would return for a sequel. “Steven Knight has written one draft, he’s working on another one. Focus Features is interested and Viggo is interested so, we’ll see.” But either way, Cronenberg and Mortensen will find a way to keep their working relationship going. “Oh yeah,” Cronenberg said emphatically when asked if they’d collaborate again regardless of whether “Eastern Promises 2” gets made. “We figure we will reunite [on something eventually].” We’ll have more from this interview soon, but for now, if you’re in New York, “A Dangerous Method” plays NYFF this week and hits theaters in limited release starting November 23rd. Kevin Jagernauth posted to Directors, David Cronenberg, Film Festivals, New York Film Festival, Films, A Dangerous Method, Interview at 1:07 pm on October 3, 2011 http://blogs.indiewire.com/theplaylist/archives/david_cronenberg_says_a_dangerous_method_is_an_intellectual_menage_a_trois/#.Ton0Ry6NX8c.twitter
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