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Building on the release of the film ‘Carol’ by Todd Haynes, also talk about others like her deal better or worse stories of lesbian love.
the works of art, like any other manifestation of human thought, are children of their time, so that if their authors are not so particular as to go against and challenge the conventions and social taboos, they played censorship of the time. href=”http://hipertextual.com/2016/01/robert-spitzer” female homosexuality has been a taboo for too many years , not only href=”http://hipertextual.com/2015/09/cine-lgtb-peliculas-2015″ target=”_blank”> but, even today, is still more minority treatment. there are many more films about gay men than on women
there are many more films about gay men than on women
and as to capture any kind of attraction or romance, with ingredients that are there are writers and directors who possess enough wit to understand their characteristics and complexities; others, unfortunately, no. And both cases occur in films about the known or have more to talk about female homosexuality.
Stories of lesbian love on the big screen
The great veteran that addressed, with the inevitable subtlety far, attracting a woman by someone of the same sex and, above all, the grotesque intolerance that can generate was the movie the Children’s Hour (William Wyler, 1961) based on valentísima play by Lillian Hellman, 1934, with scenes of exciting and electric confrontation, a stunning work of its cast, made up Audrey Hepburn, Shirley MacLaine, James Garner, Miriam Hopkins and Fay Bainter and one of the I remember most odious characters, the small Karen Balkin as Mary Tilford.
the Wyler himself had already adapted the work of Hellman twenty-five years ago, in 1936, with the title of These Three , but decided to redo because in its first version was to eliminate the lesbian component capital in the plot, because of the censorship of the time, something very eloquent to show that to which I referred in my introduction, and for the world to miss his second approach to history.
in the first adaptation of ‘the Children’s Hour’, shot in 1936, William Wyler removed lesbian component by the censorship of the time
Among others, much later, we Bound ( 1996) , which improves when the mess started, but it is rough in building the romance and even interpretations of Gina Gershon and Jennifer Tilly, who are very obvious because they have never been what you say good actresses and if this were mild, his characters seem taken from a porn film for its absolute diligence in the initial seduction, without hesitation, depth and internal conflicts.
with other dangerous romance of two women has deliberately incomprehensible Mulholland Drive ( target=”_blank”> David Lynch, 2001) , a tease of acclaimed mountaineer principal. And infinitely superior is The Hours (Stephen Daldry, 2002) , adapted from the novel by Michael Cunningham, a true symphony in which moving images merge with unpayable soundtrack by Philip Glass exquisite assembly three times when it is nameless lesbian with greater tolerance for right now, offering a sincere and high-caliber female emotion and showing various worlds drowned in vital distress mix.
Nicole Kidman was the Oscar for Best Actress for dressing the great Virginia Woolf in the film, but both Julianne Moore and Meryl Streep are infallible applause, like Ed Harris. And for all that, it’s probably for the best, at least how many I myself have seen.
‘The Hours’ by Stephen Daldry, probably the best film about female homosexuality
the correct Monster (Patty Jenkins, 2003) , as well as tell us what happened to the real killer Aileen Wuornos, a role that also earned him Oscar Charlize Theron, shows his love affair with the young Selby Wall, one Christina Ricci more lucid than usual, change in every way for legal issues of true Tyria Moore. Wall parents had sent her to live with an aunt with the intention that “will cure homosexuality” in full eighties of the last century, and his meeting promotes a desperate dependency ratio well prepared.
the case of acceptable the kids are All Right (Lisa Cholodenko, 2010) is a paradox: on the one hand, it shows a family with children headed by two lesbians, Annette Bening and again, Julianne Moore, with great ease, assuming that there must be something accepted without problems; and secondly,
and everything feels frivolous, childish and fascia seeing the failed Room in Rome (Julio Medem, 2010) , without a single line of credible dialogue and a failure to provide a true and deep feeling between two lovers women, embodied by Elena Anaya and Natasha Yarovenko, pushing her with a grimace of disgust, impatience and even irritation that does not abandon us at any moment, and a pompous soundtrack that contributes to trivialize even more.
‘The vie d’Adèle ‘also shows the intolerance that still harbor to teens towards homosexuality
Nothing to do with La vie d’Adèle (Abdellatif Kechiche, 2013) , winner of the Palme d’Or at Cannes and vivid, exciting and painful story of an overwhelming passion among the young women who play Adèle Exarchopoulos and the now famous Léa Seydoux, the discovery of unknown facets of Adèle sex, everlasting intolerance that still harbor to teens towards homosexuality and, above all, the joys and miseries of love relationships, the most worthy purpose of the best films on romances .
the last shiver of ‘Carol’
it’s obvious that the filmmaker Todd Haynes takes great interest in showing homosexual acts from different prisms ; and it is because it has tried to do since his first film, the short film Assassins: A Film Concerning Rimbaud (1985) and up to four of the eight feature films to date; specifically in Poison (1991), Velvet Goldmine (1998), Far from Heaven (2002) and, of course, Carol (2015); and even he made a documentary about the filming of My Own Private Idaho (Gus van Sant, 1991), a film that itself also faces homosexuality.
one might be tempted to point out that there is no reason to be so, that it is not that Haynes has that interest, but that homosexual relationships have as a component, among others, their cinematic narratives, its contextualized world. But apart from that the issue touches personally, social rejection they face gay lovers decisive in his films , so the interest exists an incontestable way.
Patricia Highsmith’s novel published in 1952 under the pseudonym Claire Morgan by what people say or do against
But it is not all you want to teach; as a result of the foregoing, the vicissitudes of love affairs and emotional intimacy are another of his favorite themes, such as women who reveal themselves corsets that society wants them to impose , which you have seen Far from Heaven , the TV miniseries Mildred Pierce (2011) and again in Carol , which adapts a novel atypical writer Texas, known for his works of suspense, Patricia Highsmith.
Note that the published in 1952 under the title the Price of Salt and under the pseudonym Claire Morgan the what say or do against him, and reprinted with its own name as Carol more than three decades later. And it Highsmith, not only shared with Haynes interest in the background, but she was also homosexual, so he knew very well what he was talking about in his novel.
Both it and tell Haynes film prickly love story of two women, Therese and Carol Aird Belivet in New York in the early fifties of the twentieth century, and actresses that give life are Rooney Mara and Cate Blanchett, who had worked under the orders of Haynes I’m Not there (2007) as a surprise Bob Dylan.
Haynes takes time to build up the drama that breaks out later
from the slow plane uninterrupted titles, Carol shows that what we will see is a stylized cinematic exercise and serene , with a huge flashback, and Haynes will take the time necessary to build the drama unleashed later, with an effective visual planning that never loses sight of his goal or presumed, ethereal but absolutely precise, insistent approaches through car windows fogged, appropriate soundtrack Carter Burwell to Philip Glass in the aforementioned the Hours , but not bound, and two actresses who give their best at any time.
Haynes is paving his film with an ability whose greatest virtue is that viewers do not percatemos us that does so, and when they reach the algid scenes, we are surprised to understand we have been catching a robust emotional network and then hits us before we can or want help , with Cate Blanchett powerful that sometimes obscures we look glassy and return it to us with tears that blunt and a closure that makes us an ineffable thrill of pleasant emotion. that was our destination
The closing of ‘Carol’ leads us to an ineffable thrill of pleasant emotion that was our destination
Patricia Highsmith ended epilogue to his novel, which explains why used a pseudonym to the first edition of the same, with the following: “I am glad to think that this book gave thousands of lonely and scared something to lean “people. And I tell you that to begin with, shall see Carol , not only because going to enjoy thanks to the good offices of Todd Haynes, but also because can serve you as a reminder that all lovers deserve respect , and we must never again allow anyone to suffer social violence because of who’s sleeping with who or love.
February 7, 2016
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