Oscargewinnerin Julia Robert bereit für Film "Closer"
von Andrew Gans
http://www.playbill.com/news/article/82320.html, 23. Oktober 2003
Oscargewinnerin Julia Roberts wird eine Hauptrolle in der kommenden Leinwandversion von Patrick Marbers 'Closer' spielen.
Liz Smith berichtet, dass Roberts die zuvor angekündigte Cate Blanchett ersetzt hat, die sich letzten Monat aufgrund ihrer Schwangerschaft aus dem Film verabschiedete. Produziert von Scott Rudin und Robert Fox, zeigt der Film in weiteren Rollen Jude Law, Natalie Portman und Clive Owen. Dramatiker Marber hat das Drehbuch für den Film geschrieben, für den im Dezember in Manhattan die Proben stattfinden, bevor nach Weihnachten in London gedreht wird. Mike Nichols führt Regie.
Nominiert für einen Tony Award als Bestes Stück feierte 'Closer' am 25. März 1999 im Music Box Theatre am Broadway nach Aufführungen in Londons Royal National Theatre Premiere. Dramatiker Marber hat beim Theaterstück, das von Anna Friel, Rupert Graves, Ciaran Hinds und Natasha Richardson gespielt wurde, auch Regie geführt.
'Closer' untersucht die wechselhaften Aggregatzustände moderner Beziehungen anhand eines Quartetts von Liebhabern, verstrickt in ein Netz aus Liebe, Lust, Sex und Verrat. Das Stück gewann 1997 den Best Comedy Award des Evening Standard und 1998 den Laurence Olivier Award als Bestes Neues Stück.
Julia Roberts erhielt einen Oscar für ihre Rolle in "Erin Brockovich". Sie wurde ebenfalls für einen Oscar nominiert für "Pretty Woman" und "Magnolien aus Stahl". Die Schauspielerin wird als nächstes in "Das Lächeln der Mona Lisa" auf der Leinwand zu sehen sein, der am 19. Dezember erscheint.
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Aleph (dt. Übersetzung)
Hautnah - c|oser
In der Tat. Ich wünsche mir, dass Natalie es schafft, uns alle sprachlos zurückzulassen. Wenn Gael sie weiter in ihrem Mut bestärkt, wie er das offenbar in den vergangenen Wochen getan hat, erwarte ich Großes.neustadt hat geschrieben:...man dürfte gespannt sein wie die siebte szene inszeniert wird...
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Aleph
Amidoll (http://pub175.ezboard.com/fbase37sdiscu ... lieportman) hat in der letzten GQ ein Zitat von Clive Owen über "Closer" gefunden:
"Es ist eine schmutzige Achterbahn. Aber es ist fantastisch geschrieben und der Film schafft eine noch intimere Atmosphäre als das Drama."
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Aleph
"Es ist eine schmutzige Achterbahn. Aber es ist fantastisch geschrieben und der Film schafft eine noch intimere Atmosphäre als das Drama."
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Aleph
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tha Godfather
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Habe diesen Artikel auf "News.de" gelesen und möchte euch daran teilhaben lassen:
Natalie Portman macht sich gut als Stripperin:
http://www.news.de/646/04talie_Portman_ ... pperin.php
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"Das indische Tuch" von Edgar Wallace wurde im Internet als bestes Einzelhörspiel mit dem Hörspiel-Award ausgezeichnet. Auch die Synchronstimmen von Natalie und Cate Blanchett sind in diesem Krimi zuhören. (Übrigens handelt es sich scheinbar doch um keine Kassette - ich werde meinen Freunden als Informationsquelle nicht mehr trauen können)
Habe dazu heute diese Internetseite rausgefischt:
http://www.leverkusen.com/presse/db/pre ... w=00005052
_________________
I’m Going To Make You An Offer You Can’t Refuse
Natalie Portman macht sich gut als Stripperin:
http://www.news.de/646/04talie_Portman_ ... pperin.php
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"Das indische Tuch" von Edgar Wallace wurde im Internet als bestes Einzelhörspiel mit dem Hörspiel-Award ausgezeichnet. Auch die Synchronstimmen von Natalie und Cate Blanchett sind in diesem Krimi zuhören. (Übrigens handelt es sich scheinbar doch um keine Kassette - ich werde meinen Freunden als Informationsquelle nicht mehr trauen können)
Habe dazu heute diese Internetseite rausgefischt:
http://www.leverkusen.com/presse/db/pre ... w=00005052
_________________
I’m Going To Make You An Offer You Can’t Refuse
Ein schöner Artikel über "Closer" und Nat im Allgemeinen. Wirft die interessante Frage auf, ob sie jemals über die Rolle des Good-Girls hinauskommen wird, vor allem auch in Hauptrollen. Seit Léon waren ja alle ihre Hauptrollen eher etwas "spießig", finde ich. Würde mich interessieren, Eure Meinung darüber zu hören, Leude!
International Herald Tribune; 10.11.2004 ,
Ever a little princess, even in a strip club
Seite 9
By Melanie Thernstrom In Mike Nichols's forthcoming movie, "Closer," Jude Law, playing a journalist, recounts to Natalie Portman how he first fell for her. After witnessing her character, Alice, being hit by a car - a plot point that baldly illustrates the film's "love is an accident" theme - he had bent over her on the sidewalk. "You came to," he recalls dreamily, "and you said, 'Hello, stranger.'" "What a floozy," Alice retorts, mocking herself with a wide-eyed gaze that makes it clear how far she is from that kind of thing. It's a trademark Portman moment, with the insistent innocence she bestows on all her roles. Alice is supposed to be a floozy, a mentally unstable exotic dancer whose real name we don't know. But Portman - with that daisy-fresh look so difficult to maintain in the wonderland of a smoky nightclub - seems more like an American student abroad than a stripper who has washed up in England without a suitcase. That may not be a problem. The 1999 Patrick Marber play about the empty space between lovers and the emptiness of love itself the way in which the ultimate betrayals reveal a lack of anything to betray - is clearly a tad grim to become a Hollywood hit. In casting the endearing Portman as Alice, the film neatly avoids the dampening truth that professional men, like the physician and the journalist who pursue her in "Closer," rarely cross class lines to make strippers their girlfriends. At 23, Natalie Portman retains the Little Princess enchantment that she had at 12, when she became a star playing a long-legged dark-eyed nymphet, tarty and sweet. She discards her G-string in "Closer" with the same coy charm she had when she tried on lipstick in that breakout role, in Luc Besson's 1994 cult classic "Leon" ("The Professional"). Although "Leon" has a disturbing plotline - an orphan moves in with the hit man next door (Jean Reno) after her family is killed by drug dealers - Portman's performance turns it into an updated Shirley-Temple-plays-Lolita fairy tale. Her character lacks the hardened edge of Jodie Foster's prostitute in "Taxi Driver" or the eerie blankness of Brooke Shields's "Pretty Baby"- the qualities that made you believe they were being sexually exploited. In "Leon," it's easy to delight in the orphan's prepubescent flirtation with the aging killer, because we don't believe anything bad will happen - or ever has happened - to the delightful child. Indeed, Cameron Crowe, reflecting on his casting of Kate Hudson after Natalie Portman auditioned for the role of Penny Lane in "Almost Famous" (1999), explained that Portman's presence would have made it "a totally different movie - one where Penny Lane was a child, and her innocence was so important to all of them that they all protected her." With Kate Hudson, on the other hand, he said "you believe she had a past." In "Closer," the sense conveyed by Portman of Alice's essential purity - the absence within her of anything dangerous, ugly or cruel - creates an emotional center in the movie version of "Closer" and rescues the story from its sordid dreariness. We wish the grown men (Jude Law and Clive Owen) would play out their dangerous liaisons with another master manipulator (the Julia Roberts character) and leave poor Alice alone. We love Alice. We want her to leave them all and be with us. Although playing an explicitly sexual role is new for Portman, she does so in the same way she has always approached her character. "I'm still learning - I learn every time I work," Portman said in a recent interview. "I'm still not awesome." Yet her limitations as a performer have always been part of her success. While some dismiss her as banal, the very ordinariness of her presence seems to lend all her characters a kind of extratextual reassurance. Her Senator Amidala in "Star Wars: Episode I - The Phantom Menace" (1999) may be in jeopardy as the unwitting bride of Darth Vader, but even seven-yearolds sense she's not really - she's really a nice Long Island doctor's daughter having computer-generated adventures in a queen costume. Ann August in "Anywhere but Here" (1999) will clearly outgrow her angst, and although Novalee Nation of "Where the Heart Is" (2000) is in a bit of a pickle - she's a pregnant 17-year-old abandoned by her boyfriend in an Oklahoma Wal-Mart with $5 in her pocket - we know she'll pluckily build a new life with her baby right there in that Wal-Mart. In the past, Portman has said that she tries to pick movies that are "positive." She turned down the title role in Adrian Lyne's "Lolita" (1997) because, she said, it was "sleaze," and the role of Wendy in "The Ice Storm" (1997) because she thought the material "too dark." (The role went to Christina Ricci, who has said she often gets the projects Portman rejects.) She was disappointed when the studio chose Claire Danes for Baz Luhrmann's 1996 "Romeo and Juliet" on the ground that Portman's Juliet seemed so young that Leonardo DiCaprio's Romeo appeared to be molesting her. No one appears to recognize the tiny Portman walking around the Upper East Side of Manhattan on an autumn day. In a shiny magenta Lacoste sweater, pink nail polish and a pony tail, she looks like many pretty, perky, well-groomed uptown girls. Yet her face has the perfect delicacy of an antique bisque doll - and something of its curious concaveness. Portman seems appealingly younger than her years now, as she talks about how she "adores" her parents, her friends and her dog, for whom she has a dog bed in every room other house. She has been a vegetarian since the age of 8, she says, and she is active in charities, including one that provides small-business loans for women in developing countries. She helped raise funds for the Kerry campaign. The image she has long cultivated in the press as a Good Girl ("I'm pretty much a boring Goody Two-Shoes," is a typical remark) seems credible. Last spring, she graduated from Harvard, where she had concentrated in psychology, and promptly bought a house on the water in a small town on Long Island, near her parents, who have been very involved in her career. An only child, she was born in Jerusalem (her father is Israeli); but the family moved to the States when she was 3. At 11, Portman was with her mother, getting pizza after dance class, when she was spotted by a Revlon model scout. She was "a hammy little girl," who dreamed of being onstage, she says. After six months of auditioning, she was cast in "Leon," taking as a stage name her grandmother's maiden name. Although a Broadway turn as Anne Frank has been her only Jewish role so far, she says: "I get like 400 Holocaust scripts. That's what you get for being the openly Jewish actress." Portman is admired by her peers for having handled her career particularly well, but she does not like talking about career as such. "Your life story, you have to make up afterwards," she says. "Luckily I got to do really cool things and work with really cool people." She frowns at the suggestion that changing her image by playing an explicitly sexual part had anything to do with her decision to be in "Closer." "It wasn't calculated," she says. "I just wanted to work with Mike because I adore him, and I was so excited to have the chance to work with him again." She does confess that she's "more comfortable doing sexual roles now," because "it doesn't affect me the way people think. I know who I am, and I know what level of sexiness I feel." The New York Times
International Herald Tribune; 10.11.2004 ,
Ever a little princess, even in a strip club
Seite 9
By Melanie Thernstrom In Mike Nichols's forthcoming movie, "Closer," Jude Law, playing a journalist, recounts to Natalie Portman how he first fell for her. After witnessing her character, Alice, being hit by a car - a plot point that baldly illustrates the film's "love is an accident" theme - he had bent over her on the sidewalk. "You came to," he recalls dreamily, "and you said, 'Hello, stranger.'" "What a floozy," Alice retorts, mocking herself with a wide-eyed gaze that makes it clear how far she is from that kind of thing. It's a trademark Portman moment, with the insistent innocence she bestows on all her roles. Alice is supposed to be a floozy, a mentally unstable exotic dancer whose real name we don't know. But Portman - with that daisy-fresh look so difficult to maintain in the wonderland of a smoky nightclub - seems more like an American student abroad than a stripper who has washed up in England without a suitcase. That may not be a problem. The 1999 Patrick Marber play about the empty space between lovers and the emptiness of love itself the way in which the ultimate betrayals reveal a lack of anything to betray - is clearly a tad grim to become a Hollywood hit. In casting the endearing Portman as Alice, the film neatly avoids the dampening truth that professional men, like the physician and the journalist who pursue her in "Closer," rarely cross class lines to make strippers their girlfriends. At 23, Natalie Portman retains the Little Princess enchantment that she had at 12, when she became a star playing a long-legged dark-eyed nymphet, tarty and sweet. She discards her G-string in "Closer" with the same coy charm she had when she tried on lipstick in that breakout role, in Luc Besson's 1994 cult classic "Leon" ("The Professional"). Although "Leon" has a disturbing plotline - an orphan moves in with the hit man next door (Jean Reno) after her family is killed by drug dealers - Portman's performance turns it into an updated Shirley-Temple-plays-Lolita fairy tale. Her character lacks the hardened edge of Jodie Foster's prostitute in "Taxi Driver" or the eerie blankness of Brooke Shields's "Pretty Baby"- the qualities that made you believe they were being sexually exploited. In "Leon," it's easy to delight in the orphan's prepubescent flirtation with the aging killer, because we don't believe anything bad will happen - or ever has happened - to the delightful child. Indeed, Cameron Crowe, reflecting on his casting of Kate Hudson after Natalie Portman auditioned for the role of Penny Lane in "Almost Famous" (1999), explained that Portman's presence would have made it "a totally different movie - one where Penny Lane was a child, and her innocence was so important to all of them that they all protected her." With Kate Hudson, on the other hand, he said "you believe she had a past." In "Closer," the sense conveyed by Portman of Alice's essential purity - the absence within her of anything dangerous, ugly or cruel - creates an emotional center in the movie version of "Closer" and rescues the story from its sordid dreariness. We wish the grown men (Jude Law and Clive Owen) would play out their dangerous liaisons with another master manipulator (the Julia Roberts character) and leave poor Alice alone. We love Alice. We want her to leave them all and be with us. Although playing an explicitly sexual role is new for Portman, she does so in the same way she has always approached her character. "I'm still learning - I learn every time I work," Portman said in a recent interview. "I'm still not awesome." Yet her limitations as a performer have always been part of her success. While some dismiss her as banal, the very ordinariness of her presence seems to lend all her characters a kind of extratextual reassurance. Her Senator Amidala in "Star Wars: Episode I - The Phantom Menace" (1999) may be in jeopardy as the unwitting bride of Darth Vader, but even seven-yearolds sense she's not really - she's really a nice Long Island doctor's daughter having computer-generated adventures in a queen costume. Ann August in "Anywhere but Here" (1999) will clearly outgrow her angst, and although Novalee Nation of "Where the Heart Is" (2000) is in a bit of a pickle - she's a pregnant 17-year-old abandoned by her boyfriend in an Oklahoma Wal-Mart with $5 in her pocket - we know she'll pluckily build a new life with her baby right there in that Wal-Mart. In the past, Portman has said that she tries to pick movies that are "positive." She turned down the title role in Adrian Lyne's "Lolita" (1997) because, she said, it was "sleaze," and the role of Wendy in "The Ice Storm" (1997) because she thought the material "too dark." (The role went to Christina Ricci, who has said she often gets the projects Portman rejects.) She was disappointed when the studio chose Claire Danes for Baz Luhrmann's 1996 "Romeo and Juliet" on the ground that Portman's Juliet seemed so young that Leonardo DiCaprio's Romeo appeared to be molesting her. No one appears to recognize the tiny Portman walking around the Upper East Side of Manhattan on an autumn day. In a shiny magenta Lacoste sweater, pink nail polish and a pony tail, she looks like many pretty, perky, well-groomed uptown girls. Yet her face has the perfect delicacy of an antique bisque doll - and something of its curious concaveness. Portman seems appealingly younger than her years now, as she talks about how she "adores" her parents, her friends and her dog, for whom she has a dog bed in every room other house. She has been a vegetarian since the age of 8, she says, and she is active in charities, including one that provides small-business loans for women in developing countries. She helped raise funds for the Kerry campaign. The image she has long cultivated in the press as a Good Girl ("I'm pretty much a boring Goody Two-Shoes," is a typical remark) seems credible. Last spring, she graduated from Harvard, where she had concentrated in psychology, and promptly bought a house on the water in a small town on Long Island, near her parents, who have been very involved in her career. An only child, she was born in Jerusalem (her father is Israeli); but the family moved to the States when she was 3. At 11, Portman was with her mother, getting pizza after dance class, when she was spotted by a Revlon model scout. She was "a hammy little girl," who dreamed of being onstage, she says. After six months of auditioning, she was cast in "Leon," taking as a stage name her grandmother's maiden name. Although a Broadway turn as Anne Frank has been her only Jewish role so far, she says: "I get like 400 Holocaust scripts. That's what you get for being the openly Jewish actress." Portman is admired by her peers for having handled her career particularly well, but she does not like talking about career as such. "Your life story, you have to make up afterwards," she says. "Luckily I got to do really cool things and work with really cool people." She frowns at the suggestion that changing her image by playing an explicitly sexual part had anything to do with her decision to be in "Closer." "It wasn't calculated," she says. "I just wanted to work with Mike because I adore him, and I was so excited to have the chance to work with him again." She does confess that she's "more comfortable doing sexual roles now," because "it doesn't affect me the way people think. I know who I am, and I know what level of sexiness I feel." The New York Times
Um die Diskussionsgrundlage zu erweitern, hier der http://www.natalieportman.de/artikel/20 ... 107-de.htm des Artikels.
Ich finde an Nat bemerkenswert, dass sie nie versucht hat, eine Rolle zu spielen, die ihrem inneren Entwicklungsstand enthoben war. Das Ergebnis mag man "spießig" finden, peinlich - weil unpassend - war es jedenfalls nie. In "Garden State" zeigt sie ihre - vermutlich sehr ihrem Wesen entsprechende - alberne aber auch tief gefühlte Seite. Besser konnte man die Rolle der Sam nicht spielen.
Auf "Closer" bin ich sehr gespannt, um zu sehen, wie sie die Rolle anlegt. Ein männermordender Vamp oder eine "abgefeimte Schlampe", so wie der New York Times-Artikel das aus dem Umstand herleiten will, dass sie als Stripperin ihr Geld verdient, ist Alice auch in der Theatervorlage nicht, so dass mich interessiert, ob Natalies Deutung weichgespült und bieder daherkommt oder Mike Nichols Grenzwertigeres aus ihr herausgeholt hat. Wenn sie etwas verloren rüberkommt und wie jemand, der sich auf der Suche nach der wahren Liebe etwas zu bereitwillig ausnutzen lässt, ohne dabei dumm zu sein, dann wurde nach meiner Lesart des Stücks alles richtig gemacht.
"Garden State" bleibt aber mein Lieblingsfilm des Jahres.
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Aleph
Ich finde an Nat bemerkenswert, dass sie nie versucht hat, eine Rolle zu spielen, die ihrem inneren Entwicklungsstand enthoben war. Das Ergebnis mag man "spießig" finden, peinlich - weil unpassend - war es jedenfalls nie. In "Garden State" zeigt sie ihre - vermutlich sehr ihrem Wesen entsprechende - alberne aber auch tief gefühlte Seite. Besser konnte man die Rolle der Sam nicht spielen.
Auf "Closer" bin ich sehr gespannt, um zu sehen, wie sie die Rolle anlegt. Ein männermordender Vamp oder eine "abgefeimte Schlampe", so wie der New York Times-Artikel das aus dem Umstand herleiten will, dass sie als Stripperin ihr Geld verdient, ist Alice auch in der Theatervorlage nicht, so dass mich interessiert, ob Natalies Deutung weichgespült und bieder daherkommt oder Mike Nichols Grenzwertigeres aus ihr herausgeholt hat. Wenn sie etwas verloren rüberkommt und wie jemand, der sich auf der Suche nach der wahren Liebe etwas zu bereitwillig ausnutzen lässt, ohne dabei dumm zu sein, dann wurde nach meiner Lesart des Stücks alles richtig gemacht.
"Garden State" bleibt aber mein Lieblingsfilm des Jahres.
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Aleph
Danke für Deinen wie üblich wohldurchdachten Beitrag.
Das mit den spießigen Rollen meine ich gar nicht böse. Nur, dass Nat eben zur Zeit ein sehr angepasstes, ja fast schon überangepasstes Image hat. Und ihre Rollen, besonders Novalee und Ann, waren eben auch reichlich angepasst. Ehrgeizige junge Mädels, die ihr Leben anpacken und auf Vordermann bringen, Karriere machen, begabt sind usw.
Es würde mich einfach mal interessieren, Nat in der Rolle einer etwas weniger "glatten" Figur zu sehen. Vielleicht eine Drogenabhängige, oder überhauüt einfach jemand, die mit dem Leben nicht so ohne alle Schwierigkeiten klarkommt.
Damit meine ich allerdingd auch keine übersexualisierte dämonische Verführerin. Von derartig banalen Männerfantasien sollte sie die Finger lassen, und wird sie sicher auch.
Das mit den spießigen Rollen meine ich gar nicht böse. Nur, dass Nat eben zur Zeit ein sehr angepasstes, ja fast schon überangepasstes Image hat. Und ihre Rollen, besonders Novalee und Ann, waren eben auch reichlich angepasst. Ehrgeizige junge Mädels, die ihr Leben anpacken und auf Vordermann bringen, Karriere machen, begabt sind usw.
Es würde mich einfach mal interessieren, Nat in der Rolle einer etwas weniger "glatten" Figur zu sehen. Vielleicht eine Drogenabhängige, oder überhauüt einfach jemand, die mit dem Leben nicht so ohne alle Schwierigkeiten klarkommt.
Damit meine ich allerdingd auch keine übersexualisierte dämonische Verführerin. Von derartig banalen Männerfantasien sollte sie die Finger lassen, und wird sie sicher auch.
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SilentWarrior
- Moderator
- Beiträge: 682
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Damien Rice heisst der gute Mensch. Was ich persönlich an der Szene viel faszinierender fand war Natalie selbst, die so gut aussah wie noch nie - ich bin dahingeschmolzen. Hab mir den Trailer immer und immer wieder angesehen, nur diese eine Szene. Oh, Moment, der müsste doch noch irgendwo auf meiner Festplatte rumliegen. 