Anscheinend neu bei 'Lo Mejor de Natalie Portman' sind
- ein langer Trailer (MOV - 4,5 MB) zu Everyone says I love you und
- ein kurzer, gutklingender Clip (MP3 - 80Kb) mit Natalies Gesangseinlage.
[Links entfernt, da die Seite nicht mehr existiert. - Aleph]
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Aleph
[ Diese Nachricht wurde geändert von Aleph am 2005-12-04 20:22 ]
ESILY
> [18:50] [Acacia] i figured the web lacked shots from ESILY so I was going to make some
http://phpweb.hig.no/~tar_mand/natportman/esily.htm zu finden auf Acacias Seite, http://www.nat-portman.net/.
--
Aleph
http://phpweb.hig.no/~tar_mand/natportman/esily.htm zu finden auf Acacias Seite, http://www.nat-portman.net/.
--
Aleph
New York Times
December 6, 1996, Friday
WEEKEND DESK
When Everyone Sings, Just for the Joy of It
By JANET MASLIN
IT falls to Edward Norton to get the ball rolling. Mr. Norton, the savvy new
actor who made such a strong impression this year in ''Primal Fear'' and the
soon-to-be released ''The People vs. Larry Flynt,'' is the first person in
Woody Allen's new musical comedy to throw caution to the winds, open his
mouth and let go. As the film begins with enchanting glimpses of Central Park
in springtime, Mr. Norton begins singing ''Just You, Just Me,'' and the moment
comes as a complete shock. The shock is that it works so well.
Not in musical terms: Mr. Norton is no one's idea of a real singer, and he
looks every bit as uncomfortable as he should. But ''Everyone Says I Love
You'' treats its music more fondly than seriously anyhow. The songs, sweetly
romantic chestnuts, are mostly a way to evoke the madcap, impossible world
that Mr. Allen means to conjure. It's a world of both serene privilege and
surreal possibility, and it offers a delightful and witty compendium of the film
maker's favorite things.
Although this film, a particularly sunny example of the protean Allen wizardry,
will be seen in December only for the one-week run that qualifies it for 1996
awards consideration (its full run begins early next year), it's a holiday movie in
every way. The mood is festive and full of surprises, as when Mr. Norton's
song is picked up by people on the street and then by Itzhak and Navah
Perlman at an elegant little soiree. The story glides from New York's Upper
East Side to lovely locations in Venice and Paris, and it manages wonderfully
clever costume events on both Halloween (a singing, trick-or-treating Chiquita
Banana) and Christmas Eve (fabulous French Grouchos). The film, like its
characters, is always ready for stylish urbanity and movie magic.
Mr. Allen has often invited his characters to step through time or speak bluntly
to the audience, and this film's singing is another such device. It brings an extra
element of bravado to a story that is otherwise just funny, lighthearted fluff.
Working on familiar territory, Mr. Allen dreams up an assortment of neurotic
New Yorkers and sets them spinning at a screwball tempo. This suits their
rich, carefree circumstances, which deliberately recall the economic
dreamland of Depression-era movie luxe. A life this rosy really could prompt
the occasional bewitching song.
Fortunately, while reaching out for the quintessential Hollywood escapism of
his boyhood (an impulse also responsible for Martin Scorsese's ''New York,
New York'' and Francis Ford Coppola's ''One From the Heart''), Mr. Allen
never forgets the importance of inspired casting and dependably good gags.
Despite its musical aspect, ''Everyone Says I Love You'' begins very quickly
to feel like one more breezy Allen comedy with the occasional tuneful touch.
Rather than an aberration, it even plays as an extension of some of his recent
work. That Greek chorus in ''Mighty Aphrodite'' was dying to sing and dance,
too.
Goldie Hawn, even more appealing here than she was in ''The First Wives
Club,'' plays the obligatory Allen ex-lover, a role that has more substance than
usual this time. While still hand-holding her former husband, Joe Berlin (Mr.
Allen), Ms. Hawn's Steffi also presides with her new mate, Bob (Alan Alda),
over a big, bustling household. And she finds time for a minor career as a
limousine liberal. Steffi is seen crusading for prison reform, declaring, ''I say
give them an opportunity to participate in decorating their own cells!''
Steffi and Bob's assorted children include the schoolgirls Lane and Laura
(Gaby Hoffmann and Natalie Portman), pert little Lolitas whom the camera
adores; DJ (Natasha Lyonne), the film's worldly teen-age narrator; Scott
(Lukas Haas), the unaccountably conservative son who enjoys talking about
the right to bear arms, and Skylar (Drew Barrymore), a creamy debutante
who is pure calendar girl.
Skylar's engagement to Holden (Mr. Norton, who really does suggest Holden
Caulfield on antidepressants) is the closest the film comes to a plot device:
none too close. On the other hand, Holden's buying an engagement ring
signals one song (''My Baby Just Cares for Me,'' featuring dancing diamond
salesmen at Harry Winston). And Skylar's accidentally swallowing it at Le
Cirque brings on another (''Makin' Whoopee,'' sung at the hospital, where the
singers include three pregnant women in bathrobes). And it brings on the film's
best supporting character, Tim Roth's hilariously predatory ex-con. He is
warmly welcomed by Steffi until he sings ''If I Had You'' to Skylar, thus
threatening to break her engagement and ruin her life.
The least successful part of ''Everyone Says I Love You,'' musically and
otherwise, is the subplot that has Joe wooing the beautiful, unhappily married
Von (Julia Roberts). Though these scenes unfold in the film's most ravishing
European settings (e.g., the candlelit courtyard of a Venetian palazzo), they
have a halfhearted, weary tone. These two are the film's most reluctant
singers, with Mr. Allen barely willing to face the camera or raise his voice
above a whisper. And despite Ms. Roberts's radiant presence, there's no
urgency to the drama of Mr. Allen's playing one more lovesick older man.
(''Men age differently than women,'' he jokes spikily to Ms. Hawn's character.
''Two more years, I'm gonna look like your son.'')
But ''Everyone Says I Love You'' will be better remembered for its high notes,
like the dance beside the Seine with Mr. Allen and Ms. Hawn, which seems
to capture the full wistful, hopeful range of this film maker's idea of romance.
Its companion piece (staged at the Frank E. Campbell Funeral Chapel on
Madison Avenue, in a film that's especially specific in mapping the geography
of affluent New York) is no less fanciful in its tuneful contemplation of death.
The film, opening today at the Sony Theaters Lincoln Square, is also
enhanced by Jeffrey Kurland's costumes, which are both posh and playful,
and by the lavish look of Carlo DiPalma's cinematography. The film hasn't
much narrative reason to explore the canals of Venice or the
Champs-Elysees, but Mr. DiPalma's inviting European scenes are worth the
trip.
''Everyone Says I Love You'' is rated R (Under 17 requires accompanying
parent or adult guardian). It includes mild profanity and occasional allusions to
making whoopee.
EVERYONE SAYS I LOVE YOU
Written and directed by Woody Allen; director of photography, Carlo
DiPalma; edited by Susan E. Morse; music arranged and conducted by Dick
Hyman; choreography by Graciela Daniele; production designer, Santo
Loquasto; costumes by Jeffrey Kurland; produced by Robert Greenhut;
released by Miramax Films. At the Sony Theaters Lincoln Square, 1998
Broadway, at 68th Street. Running time: 97 minutes. This film is rated R.
WITH: Edward Norton (Holden), Goldie Hawn (Steffi), Woody Allen (Joe),
Alan Alda (Bob), Gaby Hoffmann (Lane), Natalie Portman (Laura), Drew
Barrymore (Skylar), Natasha Lyonne (DJ), Lukas Haas (Scott), Julia Roberts
(Von) and Tim Roth (Charles Ferry).
Published: 12 - 06 - 1996, Late Edition - Final, Section C, Column 4, Page 1
December 6, 1996, Friday
WEEKEND DESK
When Everyone Sings, Just for the Joy of It
By JANET MASLIN
IT falls to Edward Norton to get the ball rolling. Mr. Norton, the savvy new
actor who made such a strong impression this year in ''Primal Fear'' and the
soon-to-be released ''The People vs. Larry Flynt,'' is the first person in
Woody Allen's new musical comedy to throw caution to the winds, open his
mouth and let go. As the film begins with enchanting glimpses of Central Park
in springtime, Mr. Norton begins singing ''Just You, Just Me,'' and the moment
comes as a complete shock. The shock is that it works so well.
Not in musical terms: Mr. Norton is no one's idea of a real singer, and he
looks every bit as uncomfortable as he should. But ''Everyone Says I Love
You'' treats its music more fondly than seriously anyhow. The songs, sweetly
romantic chestnuts, are mostly a way to evoke the madcap, impossible world
that Mr. Allen means to conjure. It's a world of both serene privilege and
surreal possibility, and it offers a delightful and witty compendium of the film
maker's favorite things.
Although this film, a particularly sunny example of the protean Allen wizardry,
will be seen in December only for the one-week run that qualifies it for 1996
awards consideration (its full run begins early next year), it's a holiday movie in
every way. The mood is festive and full of surprises, as when Mr. Norton's
song is picked up by people on the street and then by Itzhak and Navah
Perlman at an elegant little soiree. The story glides from New York's Upper
East Side to lovely locations in Venice and Paris, and it manages wonderfully
clever costume events on both Halloween (a singing, trick-or-treating Chiquita
Banana) and Christmas Eve (fabulous French Grouchos). The film, like its
characters, is always ready for stylish urbanity and movie magic.
Mr. Allen has often invited his characters to step through time or speak bluntly
to the audience, and this film's singing is another such device. It brings an extra
element of bravado to a story that is otherwise just funny, lighthearted fluff.
Working on familiar territory, Mr. Allen dreams up an assortment of neurotic
New Yorkers and sets them spinning at a screwball tempo. This suits their
rich, carefree circumstances, which deliberately recall the economic
dreamland of Depression-era movie luxe. A life this rosy really could prompt
the occasional bewitching song.
Fortunately, while reaching out for the quintessential Hollywood escapism of
his boyhood (an impulse also responsible for Martin Scorsese's ''New York,
New York'' and Francis Ford Coppola's ''One From the Heart''), Mr. Allen
never forgets the importance of inspired casting and dependably good gags.
Despite its musical aspect, ''Everyone Says I Love You'' begins very quickly
to feel like one more breezy Allen comedy with the occasional tuneful touch.
Rather than an aberration, it even plays as an extension of some of his recent
work. That Greek chorus in ''Mighty Aphrodite'' was dying to sing and dance,
too.
Goldie Hawn, even more appealing here than she was in ''The First Wives
Club,'' plays the obligatory Allen ex-lover, a role that has more substance than
usual this time. While still hand-holding her former husband, Joe Berlin (Mr.
Allen), Ms. Hawn's Steffi also presides with her new mate, Bob (Alan Alda),
over a big, bustling household. And she finds time for a minor career as a
limousine liberal. Steffi is seen crusading for prison reform, declaring, ''I say
give them an opportunity to participate in decorating their own cells!''
Steffi and Bob's assorted children include the schoolgirls Lane and Laura
(Gaby Hoffmann and Natalie Portman), pert little Lolitas whom the camera
adores; DJ (Natasha Lyonne), the film's worldly teen-age narrator; Scott
(Lukas Haas), the unaccountably conservative son who enjoys talking about
the right to bear arms, and Skylar (Drew Barrymore), a creamy debutante
who is pure calendar girl.
Skylar's engagement to Holden (Mr. Norton, who really does suggest Holden
Caulfield on antidepressants) is the closest the film comes to a plot device:
none too close. On the other hand, Holden's buying an engagement ring
signals one song (''My Baby Just Cares for Me,'' featuring dancing diamond
salesmen at Harry Winston). And Skylar's accidentally swallowing it at Le
Cirque brings on another (''Makin' Whoopee,'' sung at the hospital, where the
singers include three pregnant women in bathrobes). And it brings on the film's
best supporting character, Tim Roth's hilariously predatory ex-con. He is
warmly welcomed by Steffi until he sings ''If I Had You'' to Skylar, thus
threatening to break her engagement and ruin her life.
The least successful part of ''Everyone Says I Love You,'' musically and
otherwise, is the subplot that has Joe wooing the beautiful, unhappily married
Von (Julia Roberts). Though these scenes unfold in the film's most ravishing
European settings (e.g., the candlelit courtyard of a Venetian palazzo), they
have a halfhearted, weary tone. These two are the film's most reluctant
singers, with Mr. Allen barely willing to face the camera or raise his voice
above a whisper. And despite Ms. Roberts's radiant presence, there's no
urgency to the drama of Mr. Allen's playing one more lovesick older man.
(''Men age differently than women,'' he jokes spikily to Ms. Hawn's character.
''Two more years, I'm gonna look like your son.'')
But ''Everyone Says I Love You'' will be better remembered for its high notes,
like the dance beside the Seine with Mr. Allen and Ms. Hawn, which seems
to capture the full wistful, hopeful range of this film maker's idea of romance.
Its companion piece (staged at the Frank E. Campbell Funeral Chapel on
Madison Avenue, in a film that's especially specific in mapping the geography
of affluent New York) is no less fanciful in its tuneful contemplation of death.
The film, opening today at the Sony Theaters Lincoln Square, is also
enhanced by Jeffrey Kurland's costumes, which are both posh and playful,
and by the lavish look of Carlo DiPalma's cinematography. The film hasn't
much narrative reason to explore the canals of Venice or the
Champs-Elysees, but Mr. DiPalma's inviting European scenes are worth the
trip.
''Everyone Says I Love You'' is rated R (Under 17 requires accompanying
parent or adult guardian). It includes mild profanity and occasional allusions to
making whoopee.
EVERYONE SAYS I LOVE YOU
Written and directed by Woody Allen; director of photography, Carlo
DiPalma; edited by Susan E. Morse; music arranged and conducted by Dick
Hyman; choreography by Graciela Daniele; production designer, Santo
Loquasto; costumes by Jeffrey Kurland; produced by Robert Greenhut;
released by Miramax Films. At the Sony Theaters Lincoln Square, 1998
Broadway, at 68th Street. Running time: 97 minutes. This film is rated R.
WITH: Edward Norton (Holden), Goldie Hawn (Steffi), Woody Allen (Joe),
Alan Alda (Bob), Gaby Hoffmann (Lane), Natalie Portman (Laura), Drew
Barrymore (Skylar), Natasha Lyonne (DJ), Lukas Haas (Scott), Julia Roberts
(Von) and Tim Roth (Charles Ferry).
Published: 12 - 06 - 1996, Late Edition - Final, Section C, Column 4, Page 1
-
Master Windu
- Moderator
- Beiträge: 773
- Registriert: 01.05.2005, 1:00
Was für ein fabelhafter Streifen, der gefiel mir äußerst gut, herrliche Story über die Irrwege der Liebe erzählt mit tollem Humor.
Die Musicaleinlagen dämpfen jedoch meine Begeisterung ein wenig, einige sind jedoch recht gut gemacht. So gefiel mir besonders die Szene an der Seine mit Woody und Goldy Hawn, welche zugleich eine hervorragende Gesangsleistung darbrachte.
Sehr spaßig die Geschichten mit den Charakteren Mr. Ferry (Ex-Sträfling) und Opa.
Was Natalie betrifft, war halt die nebensächlichste Rolle unter den Familienmitgliedern, einzig ihr heulender Gesangsauftritt verlangte ihr etwas Arbeit ab. Der wurde übrigens im Gegensatz zu denen der anderen Darstellern synchronisiert, hierbei find ich Manjas Gesang aber auch angenehmer als Natalies Gekrächze.
Die Musicaleinlagen dämpfen jedoch meine Begeisterung ein wenig, einige sind jedoch recht gut gemacht. So gefiel mir besonders die Szene an der Seine mit Woody und Goldy Hawn, welche zugleich eine hervorragende Gesangsleistung darbrachte.
Sehr spaßig die Geschichten mit den Charakteren Mr. Ferry (Ex-Sträfling) und Opa.
Was Natalie betrifft, war halt die nebensächlichste Rolle unter den Familienmitgliedern, einzig ihr heulender Gesangsauftritt verlangte ihr etwas Arbeit ab. Der wurde übrigens im Gegensatz zu denen der anderen Darstellern synchronisiert, hierbei find ich Manjas Gesang aber auch angenehmer als Natalies Gekrächze.
Master Windu schrieb:
Die Musicaleinlagen dämpfen jedoch meine Begeisterung ein wenig, einige sind jedoch recht gut gemacht.
Dämpfen die Musical-Einlagen Deine Begeisterung, weil der Film besser ohne sie ausgekommen wäre oder sie nicht so gut sind, wie erhofft?
Ich kann dazu nur sagen, daß es sehr traurig ist, daß die heutige Filmlandschaft fast keine Musicals mehr zu Tage fördert. Der kleine Horrorladen, Grease oder The Blues Brothers sind IMHO Unterhaltung vom Feinsten.
--
AvE
Die Musicaleinlagen dämpfen jedoch meine Begeisterung ein wenig, einige sind jedoch recht gut gemacht.
Dämpfen die Musical-Einlagen Deine Begeisterung, weil der Film besser ohne sie ausgekommen wäre oder sie nicht so gut sind, wie erhofft?
Ich kann dazu nur sagen, daß es sehr traurig ist, daß die heutige Filmlandschaft fast keine Musicals mehr zu Tage fördert. Der kleine Horrorladen, Grease oder The Blues Brothers sind IMHO Unterhaltung vom Feinsten.
--
AvE
-
Master Windu
- Moderator
- Beiträge: 773
- Registriert: 01.05.2005, 1:00
Musical-Filme sind grundsätzlich nicht mein Fall, besonders Grease nicht und deshalb hab ich mir erst gar nichts erhofft. Bei ESILY wurden die Musical-Elemente aber schön umgesetzt und sind recht unterhaltsam, nur die Krankenhaus- u. Marx-Brothers-Szene haben meinen Geschmack absolut nicht getroffen.