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Post by RhodoraO on Feb 17, 2017 6:11:46 GMT
Discussions, reviews, news, pics, etc.
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Post by RhodoraO on Mar 10, 2017 23:46:20 GMT
Promotion interview with Werner Herzog: ON improvising during filmmaking: Q. You’ve been known for improvising parts of your movies in the past. Was this done with “Rescue Dawn?”
A. We need a definition of improvisation. It is not like in free jazz where some musicians meet and they start improvising in a jam session. Improvisations and modifications are possible, but always within a very clear framework of perspective regarding the content of a sequence. For example, there’s a scene with Jeremy Davies [who plays the P.O.W. Eugene DeBruin] and Christian Bale where I tell him, “You need to silence Christian down,” but I don’t give him a dialogue line of how to do it. He’s so lively because he doesn’t have the strictures of written dialogue.On working with Bale: Q. How would you compare your working relationship with Christian Bale to the one with Klaus Kinski?
A. It’s hard to even try to compare. With Kinski it was always: How can I domesticate the wild beast, and how do I survive his next tantrum where he destroys the whole set? How do I make his utter madness and irresponsibility productive onscreen? This was not so with Christian. He was the most disciplined, wonderful man. And he has great emotion of depth. Christian was so dedicated to this film. He did things that an actor of his caliber normally would not do, like eating maggots or catching a live snake. You just name it. It’s unbelievable.
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Post by RhodoraO on Mar 10, 2017 23:58:55 GMT
From The New York Times review by MATT ZOLLER SEITZ: The Navy airman Dieter Dengler (Christian Bale), the hero of Werner Herzog’s Vietnam-era P.O.W. escape film, “Rescue Dawn,” at first seems a conventional action-movie hero: handsome, resourceful, brave and optimistic. But the more time spent with him, the more eccentricities he reveals. He has a geeky laugh. His sunny-side-up speechifying suggests an elementary school gym coach with a Vince Lombardi fixation. He only seems typical.
So does Mr. Herzog’s movie-
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In early shipboard scenes, the film’s cinematographer, Peter Zeitlinger, lights Mr. Bale like Tom Cruise in “Top Gun,” and Mr. Bale’s gung-ho grin seals the comparison.
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The film’s most daring aspect is its portrait of the love that blossoms between men in bleak circumstances. While platonic, Dengler and Duane’s relationship has the depth and detail of a great marriage — one in which the spouses understand each other so well that they can have a silent conversation with their eyes. Dengler’s commitment to helping Duane escape — despite choking vines, whizzing bullets, pounding rain and leech-infested waters — is as reflexive as the integrity he displays when he refuses to sign that confession.
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The film is not without flaws. The story’s basis in fact doesn’t inoculate it against charges of predictability. Klaus Badelt’s score can be intrusively emphatic. And the triumphant ending — in which Dengler is welcomed back to his carrier with applause and speeches — is disappointingly conventional. For the most part, though, “Rescue Dawn” is a marvel: a satisfying genre picture that challenges the viewer’s expectations.* _____________________ Isn't the last quote from the review quite contradictory?
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Post by RhodoraO on Dec 21, 2020 15:29:33 GMT
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