OCR Text |
Show Monday, June 4, 2007 Bed ux CANNES DO continued from Page 4 crowd-pleaser of the festival. It was, of course, former Palme d'Or winner Quentin Tarantino's extended version of "Death Proof," which stands brilliantly on its own, especially in this version— which is about 25 minutes longer than the "Grindhouse" version. There's not much I can really say—you all saw "Grindhouse." Or if you didn't, you should have. This is QT's half, but bigger and better. The great Martin Storsese, left, dlwusses his career and film history during the annual Cannes Master Class session at thtfSalle Debussy theater. Chris Bellamy, not pictured, wet himself upon seeing his Idol from Ihree rows away. DAYSEVEN A few surprising discoveries: —"Persepolis," an adaptation of the popular graphic novel series. The film is animated with exceptionally realized black-and-white art direction. It recounts the life story of Marjane Satrapi, who grew up in Tehran during the Islamic Republic. The film was a refreshing shift from the heaviness of most of the competition entries, as it examined alienation, rebellion and oppression in vivid detail. —"Mister Lonely," Harmony Korine's surprisingly affecting tale of, once again, loneliness and alienation. The film follows a Michael Jackson impersonator (Diego Luna) as he finds a connection in the heart of a Marilyn Monroe impersonator (Samantha Morton) and tries to find himself among others like him—including a Pope impersonator, a Chaplin impersonator, the Three Stooges, etc. Korine captures the character's identity crisis with charm, grace and poignancy. —Found out I can still fall asleep in a movie. Hadn't done that in a while. It was called "The Man from London," it was exquisitely shot and I have no idea what happened in the last 45 minutes. I was a goner. It was boring as hell. Sue me. DAY EIGHT We'd had another busy day at the theater, watching Fatih Akin's trendy attempt at the Socially Relevant, Jumbled, Interconnected, Three-Part Narrative (SRJITPN), "The Edge of Heaven," among others. It wasn't a bad day, but it wasn't the most memorable day, either. The best part was the end of the night—a simple dinner with friends in a nice, somewhat expensive French restaurant/pizzeria. Even if I had to get into a couple separate arguments defending the merits of "Paranoid Park" and "Magnolia." Everyone at the table agreed it had been a pretty good festival thus far, but that we were growing a tad weary of the dreariness. Online critic James Rocchi put it best: "I just want to go home, sit on the couch and watch 'The Rundown.'" Indeed. There's no better cure for dreariness than The Rock kicking some ass. being one of the best of the entire festival. An absurdist, deadpan comedy about human grief, "Du Levande (You the Living)" is an extraordinarily funny, existential masterpiece examining the follies of human suffering and apocalyptic dread. It would be impossible to illustrate exactly what makes it what it is—because there's nothing else quite like it. And "We Own the Night" got 11 million bucks. Damn you, Capitalism! DAY NINE You must understand something: Martin Scorsese has been my hero since high school, DAY TEN I've learned more through 8:30 a.m.: Watched yet anhis films—by choice—than in any class I've taken in high other bad movie starring Asia school or college. It's my na- Argento, the third of thq festival. This time, it was Catherine ture. I have tunnel vision. So, the thing I was most Breillat's "An Old Mistress,", a looking forward to at this en- lavish, sexually charged petire festival was Scorsese's riod piece that goes nowhere. "Master Class"—a chance Observation: Asia Argento to basically listen to Scors- mumbles through every perese talk about movies, from a formance she gives. filmmaker's point of view, for 11 a.m.: Saw one of the best an hour and a half. films of the festival, Denys For anyone who's ever heard Arcand's "The Age of Ignothe man talk, you know he's a rance," a delicious satire on government joy to listen to. His passion bureaucracy, for movies spills out of every (OK, that was redundant) and sentence. Only this time, I was modern adult life. in the third row of a crowded 2:30 p.m. to 5 p.m.: Decided theater and I got to see it up to take a break from movies. close and personal. Surfed Internet. Realized fanHe spoke of the influence tasy baseball team had comfilmmakers such as Elia Kazan pletely tanked while I was and Robert Bresson had on his gone. work; we watched clips of his Cried. films and he explained his ar7 p.m.: Got back in movie tistic choices and processes; mode for "The Mourning Forhe admitted that he has no idea est." Didn't realize what it was how to film a sex scene, but about until the closing credits enthusiastically said that he's took the time to explain what very much looking forward to it all meant—the sure sign of giving it a shot some day. a mediocre movie. Otherwise, There's something Scors- no comment. 10:15 P-m.: Got in my seat for ese said that a lot of people spending tons of money on a restored print of the classic film school should probably "Rio Bravo." listen to: You don't need film 10:20 p.m.: Excitedly lisschool, You need to watch tened as Quentin Tarantino movies, and study them. Sure, introduced the film, going on Scorsese was part of the Film for about six or seven minutes School Generation, but it was about how it was one of the much different then from great "hang-out" movies of all what it is now. The best thing time. Applauded. to do, he says, is simply to 10:28 p.m.: Watched as Tarwatch movies. antino walked up the aisle and Or, you know, listen to the sat in the seat directly behind legends talk about how to do me. it. That might help, too. 10:30 p.m.: As the lights But it wasn't all fun and went down, made a conscious effort not to do anything disgames. I had "work" to do. I witnessed—finally!—the tracting or embarrassing that infamous chorus of boos • would make Tarantino hate and whistles that the Cannes me forever. crowd has become so well 12:52 a.m.: Applauded for the known for. movie, one of Howard Hawks' ,. This year, it was well de- best. ^ served for the Joaquin Phoe12:53 a - m - : Turned around to nix/Mark Wahlberg crime see Tarantino, minding that I thriller, "We Own the Night." appeared casual, The film garnered a ton of 12:54 a - m - : Met Tarantino. hype in the days leading up Shook Tarantino's hand. Probto its premiere because it sold ably mumbled something for $11.5 million, but the prod- unintelligible about Hawks. uct itself was a disjointed, in- Tarantino probably thought I complete, aimless mess. was Asia Argento's brother or But on the bright side, I fol- something. lowed that disappointment 12:55 a - m - : Crapped self. up with Roy Andersson's "Du c.bellamy@ Levande," which ended up chronicle.utah.edu All photos courtesy of Chris Bellamy f Danger? Danger Is my middle name." Chris Bellamy stares death In the face and laughs In Antibes, France. The French drivers and passers-by were not amused. Former reps have gone on to have sucessful careers working for thefoilowing firms: * Reagan Advertising * Newspaper Agency Corporation * Love Communications * City Weekly *KSL * New Day Financial * UBS Paine Webber Get ahead of the rest., Editors wanted! $7.00 per hour Bounuses 20 hours a week excellent resume building experience for students Contact Do you love to edit papers? The Chronicle needs you. Apply to be a copy editor today. Tom Hurtado Director of Advertising @ 581-7751 or Cynthia Robidoux Student Advertising Manager @ 585-7381 E-mail resumes to: t.hurtado@chronicle.utah.edu |