LMAO I can't believe this is real! I really must see this soon!
"He's inside me, and he wants to take me again!"
I'm pretty sure that was one of my drinking game moments: every time Tveit and Redmayne make gay googly eyes at each other, take a shot.
Not to mention Crowe and Jackman's S&M relationship, which would certainly explain why Javert follows Valjean all over France.
"He knows his way in the dark..."
"I have only know one other who can do what you have done"
"How can now I allow this man, to hold dominion over me?"
Ugh, I need to rewatch this immediately.
Now that I've gotten all the hate I have for it out of my system, I'm sure it will be fun.
You can do it, Naomi! You're...
ONLY 10 EASY STEPS AWAY FROM OSCAR!
1.) Bankrupt small, independent distributor via massive Oscar campaign. Failing that, proceed to...
2.) Cash in King Kong residual checks to pay for FYC advertisements from Kinko's.
3.) To avoid getting sent straight to VOD, attach entire film as a "trailer" to another film people actually want to see. And then...
4.) Try to do it Lahti-style and win Academy Award for Best Short Film.
5.) Avoid telling a story that everyone already knows by adding exciting details and/or gratuitous editing.
6. Carefully and patiently weather the wrath of film critics/the royal family/the tabloids/Diana-maniacs for trying to add said details. (Good luck!)
7. Find all of the boxes with "August: Osage County" screeners and slip in self-made cam bootleg from premiere screening at Lowes...the hardware store.
(Not Loews, the movie theater -- too expensive!)
8. Trick octogenarian Oscar voters into thinking that you are, in fact, a real princess. (Hey, it worked on Eva Marie Saint!)
9. On Oscar night, have camera crews come to Nicole's house, Joan Crawford-style, so you can win and keep your day job.
From a piece in the NY times about Les Miz:
http://opinionator.blogs.nytimes.com...-and-irony/?hp“Les Misérables” defeats irony by not allowing the distance it requires. If you’re looking right down the throats of the characters, there is no space between them and you; their perspective is your perspective; their emotions are your emotions; you can’t frame what you are literally inside of. Moreover, the effect — and it is an effect even if its intention is to trade effect for immediacy — is enhanced by the fact that the faces you are pushed up against fill the screen; there is no dimension to the side of them or behind them; it is all very big and very flat, without depth. The camera almost never pulls back, and when it does so, it is only for an instant.
* * * *
Endless high passion and basic human emotions indulged in without respite are what “Les Misérables” offers in its refusal to afford the distance that enables irony. Those who call the movie flat, shallow, sentimental and emotionally manipulative are not wrong; they just fail to see that what appear to them to be bad cinematic choices (in addition to prosaic lyrics that repel aesthetic appreciation, and multiple reprises of simple musical themes) are designed to achieve exactly the result they lament — an almost unbearable proximity to raw, un-ironized experience. They just can’t go with it. And why should they? After all, the critic, and especially the critic who perches in high journalistic places, needs to have a space in which he can insert himself and do the explicatory work he offers to a world presumed to be in need of it. “Les Misérables,” taken on its own terms, leaves critics with nothing to do except join the rhythms of rapt silence, crying and applause, and it is understandable that they want nothing to do with it.
I don't necessarily agree with what he says, but I still think it's an interesting read.
I wish I had written that.
But OMG, that piece, and I have found Armond White's review:
http://cityarts.info/2012/12/26/working-class-heroism/Nothing could be less ironic or “smart,” but that’s what makes audiences inevitably weep by the time Hugo’s tale reaches its apogee.
It’s not that they’ve experienced the highest form of art—only art’s basic, often forgotten and essential purpose: Les Misérables’ yearning melodies and rising, rising recitative connect with primal emotional virtues. That is, if—and it’s a major IF—they touch our basic humanity. Most movies, TV shows, video games and blog sites have coarsened the human response. Les Misérables is fascinating due to its overstated tribute to mankind’s nature.
If this movie is the huge hit it deserves to be, it will contravene the bogus sophistication and vain smugness that have overtaken the pop arts for at least the past two decades and soured millennial film culture. (...)
By Jackman’s finale–his intense Rembrandtian visage accumulates real force–the film stays powerfully true to Hugo’s prologue: “So long as ignorance and poverty exist on Earth…Les Miserables cannot fail.” (...)
Hooper’s blunt faux opera is as moving as real opera. To deny this is to prefer the culture’s sarcasm and nihilism.
OMG, the rehabilitation is starting. Finally some common sense.
And can someone find/post the USA Today piece the guy in the NY Times references in the beginning of his article?
Last edited by steve4922; 01-29-2013 at 10:32 AM.
McThenardier, this movie opens tomorrow in Italy. I don't know why, but I feel it's my duty to tell you this.
I'm a huge fan of the show, not on your levels (but then again, who reaches your level of mizinsanity?), but I won't lie, I've been waiting for this movie for 15 years.
It's my name day in a couple of days, and since we celebrate that as a second birthday here, my family is treating me to the movie in its subtitled version, because yes, they actually dubbed the 3 minutes of dialogue here Hopefully by the end of the weekend my heart will be full of love.
I'm dragging them all to see it too, and since the show has never been performed here, this will be their first exposure to it. Hopefully their hearts will be full of love too. If not, get a guestroom ready for me at your house, McT.