Faber College has one frat house so disreputable it will take anyone. It has a second one full of white, anglo-saxon, rich young men who are so sanctimonious no one can stand them except Dean Wormer. The dean enlists the help of the second frat to get the boys of Delta House off campus. The dean’s plan comes into play just before the homecoming parade to end all parades for all time.
In London, the sideshow troupe of Doctor Parnassus promises the audience a journey to the “Imaginarium”, an imaginary world commanded by the mind of Doctor Parnassus, where dreams come true. In the stories that Doctor Parnassus tells to his daughter Valentina, the midget Percy, and his assistant Anton, he claims to have lived for more than one thousand years; However, when he fell in love with a mortal woman, he made a deal with the devil (Mr. Nick), trading his immortality for youth. As part of the bargain, he promised his son or daughter to Mr. Nick on their sixteenth birthday. Valentina is now almost to the doomed age and Doctor Parnassus makes a new bet with Mr. Nick, whoever seduces five souls in the Imaginarium will have Valentina as a prize. Meanwhile the troupe rescues Tony, a young man that was hanged on a bridge by the Russians. Tony was chased until he finds and joins the group. Tony and Valentina fall in love with each other and the jealous Anton discovers that his competition may be a liar.
Effects of Heath Ledger’s death
Production was disrupted by the death of Heath Ledger in New York City on 22 January 2008. Ledger’s involvement had been a “key factor” in the film’s financing. Gilliam was presiding over concept art when he was informed by a phone call that Ledger had died. His initial thought about the production was: “The film’s over, it’s as simple as that.” Although production was suspended indefinitely by 24 January, Gilliam initially wanted to “salvage” the film by using computer-generated imagery to make Ledger’s character magically change his appearance, perhaps into another character. He also wanted to dedicate the film to Ledger. The imagery would have been similar to transformation techniques seen on Brad Pitt in The Curious Case of Benjamin Button and those employed on Roy Scheider’s performance in his posthumous release Iron Cross. Continue reading “‘The Imaginarium of Doctor Parnassus’ 2009”
A man and woman meet by chance at a romantic inn over dinner. Although both are married to others, they find themselves in the same bed the next morning questioning how this could have happened. They agree to meet on the same weekend each year. Originally a stage play, the two are seen changing, years apart, always in the same room in different scenes. Each of them always appears on schedule, but as time goes on each has some personal crisis that the other helps them through, often without both of them understanding what is going on.
A young American woman (Sydne Rome) traveling through Italy finds herself in a strange Mediterranean villa where nothing seems right. Her visit becomes an absurd, decadent, oversexed version of “Alice in Wonderland”, with Marcello Mastroianni as the maddest of mad hatters and Roman Polanski a kinky March hare.
What? (Che?, also variously titled Quoi?, Was?, and Diary of Forbidden Dreams) is a 1972 comedy film written and directed by Roman Polanski, starring Marcello Mastroianni, Sydne Rome and Hugh Griffith. Set in an unnamed coastal city in Italy, the film tells a story of an American girl, Nancy (Sydne Rome) who,takes shelter in a villa filled with strange guests. There, she gets into a relationship with a retired pimp, Alex (Marcello Mastroianni). The film was shot on location in Amalfi, Italy, in a villa owned by the producer, Carlo Ponti. Some of the action was improvised.
According to Roger Ebert’s adroit half-star review, What?’s title came from Ponti’s enraged response to being shown the film for the first time. It’s easy to see where Ponti was coming from. “What?” is the only sane reaction to Polanski’s film. It’s the rare title that doubles as a review. Ebert goes on to note that in spite of Mastroianni, Polanski’s presence as director and actor, and gratuitous nudity of considerable quantity and quality, it took years for the film to find a distributor in the United States. A big drawback: distributors’ maddening insistence on actually seeing the film before agreeing to release it.
Joanna (Keira Knightley) and Michael Reed (Sam Worthington) are a happily married couple. However, the fate of their marriage rests on how each responds to temptation during a night apart. Michael goes away on a business trip with an attractive colleague named Laura (Eva Mendes), whose outer beauty masks a deep loneliness. Slightly jealous, Joanna encounters a former flame (Guillaume Canet) and agrees to meet him for drinks, but the innocent date may become something more.
Benjamin Braddock (Dustin Hoffman) has just finished college and, back at his parents’ house, he’s trying to avoid the one question everyone keeps asking: What does he want to do with his life? An unexpected diversion crops up when he is seduced by Mrs. Robinson (Anne Bancroft), a bored housewife and friend of his parents. But what begins as a fun tryst turns complicated when Benjamin falls for the one woman Mrs. Robinson demanded he stay away from, her daughter, Elaine (Katharine Ross).
In New York City, Brandon’s carefully cultivated private life – which allows him to indulge his sexual addiction – is disrupted when his sister arrives unannounced for an indefinite stay. Shame examines the nature of need, how we live our lives and the experiences that shape us.
Fassbender offers a powerful performance as a dark, sinister man with strong interplay with Mulligan as he becomes threatening towards her. Compare him to Mulligan, a much more brittle character, on the edge for different reason. She gives a heartbreaking performance as a woman who does not know how to do deal with problems and has a sadness in her eyes. Their scenes were enhanced by McQueen’s direction, using hand held cameras to follows Fassbender and the conversations stick to one point, making you feel like you are really watching them in a voyeuristic matter. This makes the movie more tense as the tone changes in an instant.
McQueen employs a grainy filter, giving Shame a dark, grim look which is perfectly fitting considering the atmosphere of the movie. The visuals have a similar feel and tone as other gritty and grim New York set films such as Taxi Driver, Midnight Cowboy and American Psycho, all of which follow the horrible underbelly of the city. He has shown that he is a great actors’ director, but McQueen also had some great visuals, such as a long tracking shot of Brandon jogging and Brandon watching two people having sex in their apartment.