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Погоня с дьяволом
Вельвет: Соединенные Штаты, 1861 год. Война и хаос. Джейк Роудел и Джек Булл Чайлз появились в банде по одной единственной причине: из-за убийства отца Джека. Объединенные жаждой отмщения, они решают вести кровавую войну с юнионистами. И вскоре неопытные юнцы становятся отчаянными налетчиками. Много раз лишь чудо спасает их. Но однажды судьба совершает смертельный поворот и разлучает их навсегда. Злой рок нависает над Джейком и, кажется, что ему от него не уйти! КОгда смотрела это кино в первый раз я долго смеялась. У мистера Ли богатое воображение. Джонатан в роли ковбоя. Учитывая то, что он так ловко виляет бедрами, обернутыми поясом с кабурами. Ему бы не ковбоя, а какую-нибудь местную шлюшку играть) Было бы оригинально) И вообще то что он НЕ американец сильно бросается в глаза
Ответов - 21, стр:
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Daria: Зато он столько гадостей делает этому слащавому Тоби Магуайру!
Вельвет: Daria пишет: Зато он столько гадостей делает этому слащавому Тоби Магуайру О,да) ЭТО САМОЕ ПРЕКРАСНОЕ ВО ВСЕМ ФИЛДЬМЕ
Вельвет:
Hellaut: Фильм не видела, но образ у Майерса шикарный! Такой сверлящий вгляд!
Вельвет: Hellaut , усё будет) Немного терпения ( и мне свободного времени) и ВСЁ БУДЕТ)
Hellaut: Вельвет пишет: Немного терпения ( и мне свободного времени) Вот только где мне и тебе этого добра взять!
Вельвет: Hellaut пишет: Вот только где мне и тебе этого добра взять Эх, тока на выходных, да и то не на всех(
Hellaut: Хиппи-шик!
Вельвет: Hellaut пишет: Хиппи-шик Ох, как же он в этом фильме бедрами вихляет) НЕВООБРАЗИМО!
Hellaut: Вельвет пишет: Ох, как же он в этом фильме бедрами вихляет) Ну так есть чем вихлять!
Вельвет: Hellaut пишет: Ну так есть чем вихлять А с пистолетами это вообще смотриться - ФЕЕРИЧНО!
Кицунэ: Кстати говоря, режиссер "Погони" – тот самый Энг Ли, который через несколько лет снял "Горбатую гору". Я возмутилась было – почему Джейк Джилленхаал? Вы представляете себе Джоныча в этой роли? Только потом до меня дошло, в чем дело: "Горбатая гора" – это история кровавого сражения человека с собственными табу. А у нашего мальчика просто на лбу написано, что для него никаких табу нет и быть не может. Тем не менее, вопрос о том , кто именно натолкнул Энга Ли на идею истории о влюбленных ковбоях, для меня не вопрос!
Lissena: Кицунэ пишет: А у нашего мальчика просто на лбу написано, что для него никаких табу нет и быть не может. отлично сказано :) да, никаких табу
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Вельвет: An eye for an eye, a tooth for a tooth By David Christy, News Editor This week I’m really going to challenge your perspective. I’m not passionate about a lot of things, but I am about history, and I’m distressed about its inexact portrayal over many years by Hollywood. Boy, did anyone out there ever study history in school, or did they just rely on Classic Comics? Having been a Civil War living history reenactor since the 1970s, that was one of the passions about that period of U.S. history which still motivates tens of thousands of us who re-don the blue and the gray (how about blue and butternut brown, as really was the case) — to portray it accurately, as it happened, not how it happened in some romantic notion of a Hollywood script writer or director. So, while castigating Hollywood for its inexactitude and disregard for facts, I’ll throw them bouquets for movies in which they did get it right — “Glory” and “Ride With the Devil.” “Glory” was very well done and director Ang Lee and the writers got it right in “Ride With the Devil,” starring Tobey Maguire, Jewel, Skeet Ulrich, Jeffrey Wright and Jonathan Rhys Meyers. Anyway, its view of the American Civil War is more from a civilian perspective, as seen from the cauldron of violence on the Kansas-Missouri border. It’s not of large armies in the field or high principles. It’s the ugly side of the war which continues to come to light the farther we get from the conflict, as is the case in much of historical research. It’s said the winners write the history and the losers be damned. The border war which spilled over into Oklahoma was just such a case, since it started long before Fort Sumter was shelled in April 1861. Some of the bloodiest, most cruel and despicable acts were perpetrated by both sides during the Kansas-Missouri border war, which began years before the outbreak of hostilities in the East. Abolitionist forces, led by U.S. Sen. James H. Lane — commonly known as Jayhawkers — raided up and down the border, killing, burning and looting, most times indiscriminately against pro-slavery southerners in Missouri. While the history books tell of the horrible massacre, burning and looting that took place in 1863 when William Clarke Quantrill and his Confederate irregulars swept down from Mount Oread and sacked Lawrence, Kan., the attack must be viewed in the light of the times. While armies in the East fought toe to toe, the border war was hit and run, bushwhack and kill or be killed. While the Civil War was far from civilized in many aspects, it took on total barbarity in the West. It was old-time biblical — an eye for an eye and a tooth for a tooth. Missouri, while a border state and not part of the Confederacy, was a vast area of pro-southern sympathy. In fact, only Virginia and Tennessee saw more battles take place on their soil than did Missourians. While Sen. Lane and his Jayhawkers were stirring the pot with their raids, the pro-southern factions, made up of hordes of guerrillas and irregulars, retaliated on the frontier. Two actions most cited in precipitating the attack on Lawrence can be traced to pro-Unionist acts. The first was in September 1861, when Lane’s Jayhawkers shot down at least nine civilians in Osceola, Mo., pillaged and looted the town of 3,000 people, and for all intents and purposes, burned it to the ground. The second occurred Aug. 13, 1863, after a number of female relatives of Missouri irregulars had been rounded up and placed in a makeshift jail in Kansas City, Mo., for harboring and aiding Quantrill’s men. The three-story structure collapsed, killing four of the women, including a sister of Bloody Bill Anderson, a Quantrill lieutenant and notorious bushwhacker. Just over a week later, on Aug. 21, 1863, Quantrill and his irregulars decided they’d had enough, and were determined to swoop down on Lawrence, which had been seen as the staging area for years of attacks on Missourians, and, most importantly, was the town Sen. Lane called home. When Quantrill rode into infamy, leading from 400 to 500 men into the Kansas border town, he was seeking an-eye-for-an-eye vengeance against Lane, Jayhawkers, Redlegs and vigilante groups known for years of attacking and burning farms in Missouri’s western counties. So, hypothetically, what if a United States senator from Texas brought a large band of armed men into Oklahoma this weekend, went to a town the size of Fairview, murdered nine men, stole everything in sight, burned the town to the ground and made refugees of the entire citizenry? How would Oklahomans feel? Would they be justly outraged and want to seek some type of revenge? Thus is history. Unless you delve into its dark recesses and see it from all perspectives, you may never have known the 1863 massacre of 183 men in the east Kansas town of Lawrence simply was border-war payback, historically speaking. Christy is news editor at the News & Eagle. He may be reached at davidc@enidnews.com http://www.enidnews.com/opinion/local_story_281233856.html
Вельвет: Ang Lee’s RIDE WITH THE DEVIL Director’s Cut Comes To Criterion Blu Finally! After a short run in New York last year, Ang Lee’s Director’s Cut of his amazing film RIDE WITH THE DEVIL comes not only to Blu-ray on April 27, but via the discerning folks over at Criterion. This is exciting news, indeed! RIDE WITH THE DEVIL was all but lambasted by critics, dumped by its studio and, as a result, ignored by audiences in its initial 1999 release. But it has found many a fan since then. For the record, I saw RIDE opening weekend and was dumbfounded by the negative critical reviews for a film I thought was as good as anything Lee had directed previously. I have been a diehard fan ever since and have taken every opportunity to show this uniquely engaging film to anyone who would watch. Not having seen the Director’s Cut yet, I cannot speak to its full merits, but I do know that I will be buying the Blu-ray regardless. This cut extends the film from its original running time of 138 minutes to a full 160. Here is Criterion’s synopsis of the film: With this new director’s cut, Ang Lee reconstructs his original vision for his Civil War epic, Ride with the Devil, an intimate, harrowing look at a country torn in half, told from a daringly unorthodox perspective. Set in 1862, during the Kansas-Missouri border war, the film stars Tobey Maguire as Jake and Skeet Ulrich as his friend Jack Bull; they join the Confederate-sympathizing Bushwhackers after Jack’s father is killed by marauding members of the abolitionist Jayhawkers. But Ride with the Devil is also the story of their unusual ally Holt (an astonishing Jeffrey Wright), who’s fighting for the South despite being a former slave. A rumination on identity and loyalty, both political and personal, Ride with the Devil is a provocative challenge to preconceptions about America’s bloodiest conflict. And here are the Disc’s Features: DIRECTOR-APPROVED SPECIAL EDITION: * New director’s cut of Ride with the Devil, featuring thirteen minutes of added footage * New, restored high-definition digital transfer, approved by director Ang Lee and director of photography Frederick Elmes (with DTS-HD Master Audio soundtrack on the Blu-ray edition) * Two audio commentaries, one featuring Lee and producer-screenwriter James Schamus and one featuring Elmes, sound designer Drew Kunin, and production designer Mark Friedberg * New video interview with star Jeffrey Wright * PLUS: A booklet featuring an essay by critic Godfrey Cheshire You can pre-order this DVD or Blu-ray from the kind folks at Criterion http://halmasonberg.wordpress.com/2010/01/16/ang-lees-ride-with-the-devil-directors-cut-comes-to-criterion-blu/
Вельвет: Ride With the Devil” is Ang Lee’s lost movie. Filmed around Kansas City in the spring and summer of 1998, this unconventional Civil War drama was caught in the fighting between incoming and outgoing regimes at Universal Pictures. It received a cursory release in just a handful of markets (including Kansas City); according to the Internet Movie Database, the $35 million production earned only $670,000 at the box office. But something funny happened. On home video, “Devil” found an audience. “It’s odd, but sometimes your biggest bomb turns out to have the biggest impact,” said James Schamus, the film’s producer and screenwriter. “The volume of e-mails and letters we get about ‘Devil’ has never abated. In fact, it grows. You realize there’s a pulse out there where this movie is concerned. You talk to other filmmakers, and they bring up the movie. You wonder how they ever saw it.” Chances are more people will be seeing the picture. Today, “Ride With the Devil” is being released in Blu-ray and DVD by the Criterion Collection, the gold standard for great home video packages. (Amazon.com is offering it for less than $30.) Schamus said he and Lee were hugely gratified by the honor. “Having your movie done by Criterion is better than winning an Academy Award,” he said. “You feel like you’ve been inducted into an exclusive fraternity. Your film has been anointed as worthy of the utmost in preservation.” Of course, if “Devil” had simply vanished, Lee and Schamus still would have made their mark. They went on to work together on “Crouching Tiger, Hidden Dragon,” “Hulk” and “Brokeback Mountain,” among other projects. Watched again from the perspective of a decade, one may conclude that even with a big studio push, “Ride With the Devil” would have been commercially iffy. Though beautifully made and acted — the cast includes such future stars as Tobey Maguire (“Spider-Man”), Jeffrey Wright, Skeet Ulrich, Simon Baker (“The Mentalist”), Mark Ruffalo, Jim Caviezel (“The Passion of the Christ”), Jonathan Rhys Meyers (“The Tudors”) and singer Jewel in her first (and only) big-screen role — it’s a movie of subtle dramatic and historic distinctions. It’s questionable whether it ever could have played well with a mass audience that knows American history only at its broadest and most simplistic. Based on Daniel Woodrell’s “Woe to Live On,” it’s basically Huckleberry Finn in the Civil War. Maguire’s Jake and Wright’s freed slave, Holt, belong to a band of Confederate bushwackers waging guerrilla war on federal troops in Missouri. The film follows the two unlikely friends from fierce combat to the realization that perhaps this isn’t their fight after all. (Yes, some black men bore arms for the South — that’s just one of the uncomfortable facts audiences for the film must get used to.) While an earlier DVD release of “Devil” had virtually no bells and whistles, the Criterion redo is loaded with them. For starters, there’s the brilliant transfer. I watched the Blu-ray version and was blown away by the visual detail and vivid colors — the vernal greens of Missouri’s woodlands seem to leap off the screen. This cut is 20 minutes longer than the theatrical release (the film now runs for 2 hours 38 minutes), and most of the additions really help advance the story. Quantrill’s raid on Lawrence is nearly twice as long and is filled with never-before-seen visual anecdotes drawn from the memoirs of participants. There’s a new scene with Ruffalo that suggests why his character behaves in such dastardly fashion later in the story; an encounter with a bitter young man who has lost a leg in battle oozes superb dialogue and introduces dark themes that will percolate throughout. This package offers two commentaries — one by Lee and Schamus, the other featuring cinematographer Frederick Elms, production designer Mark Friedberg and sound designer Drew Kunin. The Lee/Schamus track concentrates on the film’s big ideas. Lee speaks eloquently about the cultural battle the film represents — one pitting Yankee ideas of universal education, upward mobility and can-do capitalism against Southern concepts of caste and chivalry. Far beyond ending slavery, he maintains, the Civil War resulted in a new civil order. The mental and emotional progress of the war widow played by Jewel presages the rise of women’s rights, Lee says. Both he and Schamus discuss the film’s flowery, vaguely archaic dialogue, born of a widespread admiration in the early 19th century of Shakespeare and the romantic novels of Sir Walter Scott. Lee also praises the re-enactors who made the film possible and has some interesting things to say about shooting an action picture without digital assistance. Action scenes used to keep audiences on the edges of their seats because viewers were aware that the stunts they were seeing really took place, he maintains. But in this digital age, battles can be assembled in a computer. There’s no risk, Lee says, and as a result even the biggest action scenes fail to grab us in the way that old-fashioned epic cinema could. The commentary by Elms, Friedberg and Kunin, on the other had, leans heavily on their artistic decisions and extensive research into the period. Friedberg discusses the film’s use of real historic buildings (such as those in Watkins Mill State Park) and make-believe movie sets (the film company took over the abandoned town of Pattonsburg, Mo., dressed it to look like Lawrence and actually set fire to it). Kunin talks about recording the blasts of dozens of period firearms, not only to capture their distinctive “voices” but to recreate the sound of bullets whizzing by and thunking into trees and buildings. All this is a feast for Civil War fans. Finally, there’s an interview with Wright, who describes “Devil” as his best film experience ever. He speaks eloquently about the progression of his character, former slave Daniel Holt, who grows from an unspeaking face in the crowd to the very soul of the motion picture. In short, this is a terrific repackaging of a film that deserves far better than it has received. Maybe now “Ride With the Devil” will get the attention it deserves. Read more: http://www.kansascity.com/2010/04/26/1904719/another-chance-for-ride-with-the.html#ixzz0mWIMuVg8
Вельвет: James Schamus is my new hero. The Berkeley graduate was fast, funny, and almost shamefully intelligent during his endlessly entertaining conversation with distinguished author and UC Santa Cruz professor B. Ruby Rich, accompanied by a screening of the newly restored director’s cut of Ang Lee’s Schamus-scripted Ride with the Devil. If you’re not familiar with Schamus, you’re almost certainly familiar with his body of work: in addition to founding Focus Films ten years ago, he was also a seminal figure in the early ’90s NYC independent film scene, working alongside such luminaries as Christine Vachon and Ted Hope to finance films like Poison, Swoon, In the Soup, Safe, and Happiness, among others. He has also been the screenwriter for nine of Ang Lee’s films, including The Ice Storm Storm, Crouching Tiger, Hidden Dragon, and Lust, Caution (for which he was nominated for an Adapted Screenplay Oscar). However, Schamus is perhaps best-known as the would-be Best Picture-wining producer of Brokeback Mountain (fuck you, Crash), a topic he is perhaps not especially fond of discussing. When an audience member made the ill-advised decision to (over)share about how Brokeback changed her life during the audience Q&A (sidebar: WHY DO PROGRAMMERS THINK AN AUDIENCE Q&A IS A GOOD IDEA??? BECAUSE IT NEVER IS!!!), Schamus dismissed her testimony with a wave of his hand and a justifiably weary, “I tend to dissociate from all that stuff.” But he still favored the audience with the story of how he’d unsuccessfully tried to get Brokeback made for many years as a producer, but it wasn’t until he’d started Focus Features that he realized, “Hey, I’m on this side of the desk now! Let’s get this made.” Which: what an amazing thing to be able to say. After Schamus and Rich’s delightful conversation came to an end, we settled in for a screening of Ang Lee’s original director’s cut of Ride with the Devil, which had been edited for length by Universal when they botched its release back in 1999 (also, Schamus noted that every film Focus Features has released has been the “director’s cut,” because they’ve never asked a director to make a cut, which: awesome). It’s recently been released in its unexpurgated version on Criterion Blu-ray and DVD, but it was especially amazing to watch this staggering Civil War epic unfold on the big screen as Lee originally intended it. Seeing it now, I would say without hesitation that it stands toe-to-toe with the greatest of Civil War films. While the film drew mixed reactions upon its initial release, it is genuinely improved by the restored footage. The film moves quite quickly for a nearly three-hour war drama, and is never less than riveting. It is also violent in a way few films are anymore; each act of murderous violence genuinely pierces the viewer, weighted by the mortality of the character whose life has just been senselessly stolen. The acting is top-notch across the board. This is truly one of Tobey Maguire’s finest, most underrated performances. He is joined by the likes of Skeet Ulrich (in perhaps his last hurrah before his recent career rejuvenation via Jericho), Jeffrey Wright (brilliant as ever), James Caviezel, Jonathan Rhys Meyers (terrifying), Simon Baker, Jonathan Brandis (R.I.P.), Celia Weston, Mark Ruffalo, Margo Martindale, Tom Wilkinson, and perhaps most notoriously, Jewel Kilcher. Jewel, in her only big-screen role, plays Sue Lee Shelley, a flirtatious yet cynical and war-numbed young widow. And she’s perfectly fine, thank you very much. Ride with the Devil exemplifies the same meticulous attention to emotional and visual detail as all Lee’s best films. Do yourself a favor and check out the Criterion edition. http://spinningplatters.com/2010/05/07/sfiff-in-review-roger-ebert-james-schamus-and-other-highlights/
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