WEIRDLAND

Sunday, November 05, 2006

Eternal Sunshine

ELOISA TO ABELARD

"In these deep solitudes and awful cells,
Where heav'nly-pensive contemplation dwells,
And ever-musing melancholy reigns;
What means this tumult in a vestal's veins?
Why rove my thoughts beyond this last retreat?
Why feels my heart its long-forgotten heat?
Yet, yet I love! — From Abelard it came,
And Eloisa yet must kiss the name.
Dear fatal name! rest ever unreveal'd,
Nor pass these lips in holy silence seal'd.
Hide it, my heart, within that close disguise,
Where mix'd with God's, his lov'd idea lies:
O write it not, my hand — the name appears
Already written — wash it out, my tears!
In vain lost Eloisa weeps and prays,
Her heart still dictates, and her hand obeys.

Relentless walls! whose darksome round contains
Repentant sighs, and voluntary pains:
Ye rugged rocks! which holy knees have worn;
Ye grots and caverns shagg'd with horrid thorn!
Shrines! where their vigils pale-ey'd virgins keep,
And pitying saints, whose statues learn to weep!
Though cold like you, unmov'd, and silent grown,
I have not yet forgot myself to stone.
All is not Heav'n's while Abelard has part,
Still rebel nature holds out half my heart;
Nor pray'rs nor fasts its stubborn pulse restrain,
Nor tears, for ages, taught to flow in vain.
Soon as thy letters trembling I unclose,
That well-known name awakens all my woes.
Oh name for ever sad! for ever dear!
Still breath'd in sighs, still usher'd with a tear.
I tremble too, where'er my own I find,
Some dire misfortune follows close behind.
Line after line my gushing eyes o'erflow,
Led through a sad variety of woe:
Now warm in love, now with'ring in thy bloom,
Lost in a convent's solitary gloom!
There stern religion quench'd th' unwilling flame,
There died the best of passions, love and fame.

Yet write, oh write me all, that I may join
Griefs to thy griefs, and echo sighs to thine.
Nor foes nor fortune take this pow'r away;
And is my Abelard less kind than they?
Tears still are mine, and those I need not spare,
Love but demands what else were shed in pray'r;
No happier task these faded eyes pursue;
To read and weep is all they now can do.
Then share thy pain, allow that sad relief;
Ah, more than share it! give me all thy grief.
Heav'n first taught letters for some wretch's aid,
Some banish'd lover, or some captive maid;
They live, they speak, they breathe what love inspires,
Warm from the soul, and faithful to its fires,
The virgin's wish without her fears impart,
Excuse the blush, and pour out all the heart,
Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the Pole.

Thou know'st how guiltless first I met thy flame,
When Love approach'd me under Friendship's name;
My fancy form'd thee of angelic kind,
Some emanation of th' all-beauteous Mind.
Those smiling eyes, attemp'ring ev'ry day,
Shone sweetly lambent with celestial day.
Guiltless I gaz'd; heav'n listen'd while you sung;
And truths divine came mended from that tongue.
From lips like those what precept fail'd to move?
Too soon they taught me 'twas no sin to love.
Back through the paths of pleasing sense I ran,
Nor wish'd an Angel whom I lov'd a Man.
Dim and remote the joys of saints I see;
Nor envy them, that heav'n I lose for thee.
How oft, when press'd to marriage, have I said,
Curse on all laws but those which love has made!
Love, free as air, at sight of human ties,
Spreads his light wings, and in a moment flies,
Let wealth, let honour, wait the wedded dame,
August her deed, and sacred be her fame;

Before true passion all those views remove,
Fame, wealth, and honour! what are you to Love?
The jealous God, when we profane his fires,
Those restless passions in revenge inspires;
And bids them make mistaken mortals groan,
Who seek in love for aught but love alone.
Should at my feet the world's great master fall,
Himself, his throne, his world, I'd scorn 'em all:
Not Caesar's empress would I deign to prove;
No, make me mistress to the man I love;
If there be yet another name more free,
More fond than mistress, make me that to thee!
Oh happy state! when souls each other draw,
When love is liberty, and nature, law:
All then is full, possessing, and possess'd,
No craving void left aching in the breast:
Ev'n thought meets thought, ere from the lips it part,
And each warm wish springs mutual from the heart.
This sure is bliss (if bliss on earth there be)
And once the lot of Abelard and me.

Alas, how chang'd! what sudden horrors rise!
A naked lover bound and bleeding lies!
Where, where was Eloise? her voice, her hand,
Her poniard, had oppos'd the dire command.
Barbarian, stay! that bloody stroke restrain;
The crime was common, common be the pain.
I can no more; by shame, by rage suppress'd,
Let tears, and burning blushes speak the rest.
Canst thou forget that sad, that solemn day,
When victims at yon altar's foot we lay?
Canst thou forget what tears that moment fell,
When, warm in youth, I bade the world farewell?
As with cold lips I kiss'd the sacred veil,
The shrines all trembl'd, and the lamps grew pale:
Heav'n scarce believ'd the conquest it survey'd,
And saints with wonder heard the vows I made.
Yet then, to those dread altars as I drew,
Not on the Cross my eyes were fix'd, but you:
Not grace, or zeal, love only was my call,
And if I lose thy love, I lose my all.
Come! with thy looks, thy words, relieve my woe;
Those still at least are left thee to bestow.
Still on that breast enamour'd let me lie,
Still drink delicious poison from thy eye,
Pant on thy lip, and to thy heart be press'd;
Give all thou canst — and let me dream the rest.
Ah no! instruct me other joys to prize,
With other beauties charm my partial eyes,
Full in my view set all the bright abode,
And make my soul quit Abelard for God.

Ah, think at least thy flock deserves thy care,
Plants of thy hand, and children of thy pray'r.
From the false world in early youth they fled,
By thee to mountains, wilds, and deserts led.
You rais'd these hallow'd walls; the desert smil'd,
And Paradise was open'd in the wild.
No weeping orphan saw his father's stores
Our shrines irradiate, or emblaze the floors;
No silver saints, by dying misers giv'n,
Here brib'd the rage of ill-requited heav'n:
But such plain roofs as piety could raise,
And only vocal with the Maker's praise.
In these lone walls (their days eternal bound)
These moss-grown domes with spiry turrets crown'd,
Where awful arches make a noonday night,
And the dim windows shed a solemn light;

Thy eyes diffus'd a reconciling ray,
And gleams of glory brighten'd all the day.
But now no face divine contentment wears,
'Tis all blank sadness, or continual tears.
See how the force of others' pray'rs I try,
(O pious fraud of am'rous charity!)
But why should I on others' pray'rs depend?
Come thou, my father, brother, husband, friend!
Ah let thy handmaid, sister, daughter move,
And all those tender names in one, thy love!
The darksome pines that o'er yon rocks reclin'd
Wave high, and murmur to the hollow wind,
The wand'ring streams that shine between the hills,
The grots that echo to the tinkling rills,
The dying gales that pant upon the trees,
The lakes that quiver to the curling breeze;
No more these scenes my meditation aid,
Or lull to rest the visionary maid.
But o'er the twilight groves and dusky caves,
Long-sounding aisles, and intermingled graves,
Black Melancholy sits, and round her throws
A death-like silence, and a dread repose:
Her gloomy presence saddens all the scene,
Shades ev'ry flow'r, and darkens ev'ry green,
Deepens the murmur of the falling floods,
And breathes a browner horror on the woods.

Yet here for ever, ever must I stay;
Sad proof how well a lover can obey!
Death, only death, can break the lasting chain;
And here, ev'n then, shall my cold dust remain,
Here all its frailties, all its flames resign,
And wait till 'tis no sin to mix with thine.

Ah wretch! believ'd the spouse of God in vain,
Confess'd within the slave of love and man.
Assist me, Heav'n! but whence arose that pray'r?
Sprung it from piety, or from despair?
Ev'n here, where frozen chastity retires,
Love finds an altar for forbidden fires.
I ought to grieve, but cannot what I ought;
I mourn the lover, not lament the fault;
I view my crime, but kindle at the view,
Repent old pleasures, and solicit new;
Now turn'd to Heav'n, I weep my past offence,
Now think of thee, and curse my innocence.
Of all affliction taught a lover yet,
'Tis sure the hardest science to forget!
How shall I lose the sin, yet keep the sense,
And love th' offender, yet detest th' offence?
How the dear object from the crime remove,
Or how distinguish penitence from love?
Unequal task! a passion to resign,
For hearts so touch'd, so pierc'd, so lost as mine.
Ere such a soul regains its peaceful state,
How often must it love, how often hate!
How often hope, despair, resent, regret,
Conceal, disdain — do all things but forget.
But let Heav'n seize it, all at once 'tis fir'd;
Not touch'd, but rapt; not waken'd, but inspir'd!
Oh come! oh teach me nature to subdue,
Renounce my love, my life, myself — and you.
Fill my fond heart with God alone, for he
Alone can rival, can succeed to thee.
How happy is the blameless vestal's lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray'r accepted, and each wish resign'd;
Labour and rest, that equal periods keep;
"Obedient slumbers that can wake and weep;"
Desires compos'd, affections ever ev'n,
Tears that delight, and sighs that waft to Heav'n.
Grace shines around her with serenest beams,
And whisp'ring angels prompt her golden dreams.
For her th' unfading rose of Eden blooms,
And wings of seraphs shed divine perfumes,
For her the Spouse prepares the bridal ring,
For her white virgins hymeneals sing,
To sounds of heav'nly harps she dies away,
And melts in visions of eternal day.

Far other dreams my erring soul employ,
Far other raptures, of unholy joy:
When at the close of each sad, sorrowing day,
Fancy restores what vengeance snatch'd away,
Then conscience sleeps, and leaving nature free,
All my loose soul unbounded springs to thee.
Oh curs'd, dear horrors of all-conscious night!
How glowing guilt exalts the keen delight!
Provoking Daemons all restraint remove,
And stir within me every source of love.
I hear thee, view thee, gaze o'er all thy charms,
And round thy phantom glue my clasping arms.
I wake — no more I hear, no more I view,
The phantom flies me, as unkind as you.
I call aloud; it hears not what I say;
I stretch my empty arms; it glides away.
To dream once more I close my willing eyes;
Ye soft illusions, dear deceits, arise!
Alas, no more — methinks we wand'ring go
Through dreary wastes, and weep each other's woe,
Where round some mould'ring tower pale ivy creeps,
And low-brow'd rocks hang nodding o'er the deeps.
Sudden you mount, you beckon from the skies;
Clouds interpose, waves roar, and winds arise.
I shriek, start up, the same sad prospect find,
And wake to all the griefs I left behind.

For thee the fates, severely kind, ordain
A cool suspense from pleasure and from pain;
Thy life a long, dead calm of fix'd repose;
No pulse that riots, and no blood that glows.
Still as the sea, ere winds were taught to blow,
Or moving spirit bade the waters flow;
Soft as the slumbers of a saint forgiv'n,
And mild as opening gleams of promis'd heav'n.

Come, Abelard! for what hast thou to dread?
The torch of Venus burns not for the dead.
Nature stands check'd; Religion disapproves;
Ev'n thou art cold — yet Eloisa loves.
Ah hopeless, lasting flames! like those that burn
To light the dead, and warm th' unfruitful urn.

What scenes appear where'er I turn my view?
The dear ideas, where I fly, pursue,
Rise in the grove, before the altar rise,
Stain all my soul, and wanton in my eyes.
I waste the matin lamp in sighs for thee,
Thy image steals between my God and me,
Thy voice I seem in ev'ry hymn to hear,
With ev'ry bead I drop too soft a tear.
When from the censer clouds of fragrance roll,
And swelling organs lift the rising soul,
One thought of thee puts all the pomp to flight,
Priests, tapers, temples, swim before my sight:
In seas of flame my plunging soul is drown'd,
While altars blaze, and angels tremble round.

While prostrate here in humble grief I lie,
Kind, virtuous drops just gath'ring in my eye,
While praying, trembling, in the dust I roll,
And dawning grace is op'ning on my soul:
Come, if thou dar'st, all charming as thou art!
Oppose thyself to Heav'n; dispute my heart;
Come, with one glance of those deluding eyes
Blot out each bright idea of the skies;
Take back that grace, those sorrows, and those tears;
Take back my fruitless penitence and pray'rs;
Snatch me, just mounting, from the blest abode;
Assist the fiends, and tear me from my God!

No, fly me, fly me, far as pole from pole;
Rise Alps between us! and whole oceans roll!
Ah, come not, write not, think not once of me,
Nor share one pang of all I felt for thee.
Thy oaths I quit, thy memory resign;
Forget, renounce me, hate whate'er was mine.
Fair eyes, and tempting looks (which yet I view!)
Long lov'd, ador'd ideas, all adieu!
Oh Grace serene! oh virtue heav'nly fair!
Divine oblivion of low-thoughted care!
Fresh blooming hope, gay daughter of the sky!
And faith, our early immortality!
Enter, each mild, each amicable guest;
Receive, and wrap me in eternal rest!
See in her cell sad Eloisa spread,
Propp'd on some tomb, a neighbour of the dead.
In each low wind methinks a spirit calls,
And more than echoes talk along the walls.
Here, as I watch'd the dying lamps around,
From yonder shrine I heard a hollow sound.
"Come, sister, come!" (it said, or seem'd to say)
"Thy place is here, sad sister, come away!
Once like thyself, I trembled, wept, and pray'd,
Love's victim then, though now a sainted maid:
But all is calm in this eternal sleep;
Here grief forgets to groan, and love to weep,
Ev'n superstition loses ev'ry fear:
For God, not man, absolves our frailties here."

I come, I come! prepare your roseate bow'rs,
Celestial palms, and ever-blooming flow'rs.
Thither, where sinners may have rest, I go,
Where flames refin'd in breasts seraphic glow:
Thou, Abelard! the last sad office pay,
And smooth my passage to the realms of day;
See my lips tremble, and my eye-balls roll,
Suck my last breath, and catch my flying soul!
Ah no — in sacred vestments may'st thou stand,
The hallow'd taper trembling in thy hand,
Present the cross before my lifted eye,
Teach me at once, and learn of me to die.
Ah then, thy once-lov'd Eloisa see!
It will be then no crime to gaze on me.
See from my cheek the transient roses fly!
See the last sparkle languish in my eye!
Till ev'ry motion, pulse, and breath be o'er;
And ev'n my Abelard be lov'd no more.
O Death all-eloquent! you only prove
What dust we dote on, when 'tis man we love.

Then too, when fate shall thy fair frame destroy,
(That cause of all my guilt, and all my joy)
In trance ecstatic may thy pangs be drown'd,
Bright clouds descend, and angels watch thee round,
From op'ning skies may streaming glories shine,
And saints embrace thee with a love like mine.
May one kind grave unite each hapless name,
And graft my love immortal on thy fame!
Then, ages hence, when all my woes are o'er,
When this rebellious heart shall beat no more;
If ever chance two wand'ring lovers brings
To Paraclete's white walls and silver springs,
O'er the pale marble shall they join their heads,
And drink the falling tears each other sheds;
Then sadly say, with mutual pity mov'd,
"Oh may we never love as these have lov'd!"

From the full choir when loud Hosannas rise,
And swell the pomp of dreadful sacrifice,
Amid that scene if some relenting eye
Glance on the stone where our cold relics lie,
Devotion's self shall steal a thought from Heav'n,
One human tear shall drop and be forgiv'n.
And sure, if fate some future bard shall join
In sad similitude of griefs to mine,
Condemn'd whole years in absence to deplore,
And image charms he must behold no more;
Such if there be, who loves so long, so well;
Let him our sad, our tender story tell;
The well-sung woes will soothe my pensive ghost;
He best can paint 'em, who shall feel 'em most."
(poem by Alexander Pope)

Saturday, November 04, 2006

Maggie's Autumnal Posing





Maggie in the sessions for "Blackbook Magazine" October/November 2006 issue, photographed by Alec Soth. Source: Blackbook Magazine



and Maggie in the photoshoot for "InStyle" Magazine - November issue. Source: maggie-gyllenhaal.net

Friday, November 03, 2006

Sweet Jake

Reading Dave Cullen site Eyelashes Part 5 forum you'll know that Jack Twist's parka was bought on eBay by a DC member named Alexisg -this person also bought a pair of jeans used by Jake and Heath-. Inside the blue parka's pockets a Mentos roll, Dubble Bubble gum and a call sheet about RIVERTON, WY, MOTEL SIESTA -for an extra Hippie scene which was added on a BBM Special DVD- were found.


Aaah, Sweet Jake! How many of these stars are like children obsessed with candy and lollipops? Some examples of Zooey Deschanel, Jena Malone, Drew Barrymore, Catherine Keener and the infamous Lolita:






Thursday, November 02, 2006

Your Mom Loves Jake


Jake has been voted recently in Sexy Man Polls of People online and is the winner in the Who would your mom most want you to date? category. But I'm slightly angry at the fact that in the Who has the sexiest smile? poll Jake has been relegated to a second ranking, being doubled in votes number, losing his throne by Matthew's McConaughey texan smile, arrgg... I mean, Matthew looks better when isn't smiling -and when isn't compared to Jake- simply look at these pictures and see I'm saying!


Wednesday, November 01, 2006

Kirsten as Blondie?



"One little tease of a line at the end of Liz Smith’s column in Variety suggests that Kirsten Dunst is going to play Debbie Harry in a big screen version of Harry’s life story.


Our immediate reaction is not the same you’ve-got-to-be-fucking-kidding-me thing we felt when it was announced that Zooey Deschanel had won the epic battle to represent Janis Joplin onscreen, but it’s close.

As revealed in this side-by-side shot, Dunst actually looks a bit like Harry — heart-shaped face, the wide-set eyes, the cheekbones, the being-blond thing.


But, like, no! It’s fine with us when rockers want to do TV or movies (we just watched Johnny Cash play a version of himself in an old Columbo episode the other night — freaking awesome) but no actor can actually play a rock star. There is no one the movie-making world could offer up that would be worthy of playing Debbie Harry, or Janis, or Joey Ramone, or Iggy Pop (Elijah Wood?!?? Please, god, no!)


Are we insane? Who would you like to see in the Debbie Harry role?"
(by Elizabeth Goodman) Source: Rolling Stone

Tuesday, October 31, 2006

Lonely Halloween


"Hey little dreamer's eyes open and staring up at me
Oh little lonely eyes open and radiant

Wait until I come and I will steal you
Wait until I come I'll take your soul
Wait until I come and I will steal you
Wait until I come and I won't go

Darlin' dreamin in the night
Shadows on the windows
Lead oh and everyone go
Well leave me on the night
I will give you lightning
I will not relinquish light

Oh little dreamer eyes open and raving here

Wait until I come and see you little girl
When we come I'll leave with you too
When we come I'll let you come low

Hey we'll leave it all behind
Oh and then the nightmares
I'll fill them in good time
Oh they will seat your mind
When the light hits
And you maybe'll ask me

Why do you run around here
Why do you come inside of me
Why does it rip me out in dream
Why then why then watch this little fuck

Going away

Why this lonely
Why this lonely
Why this lonely love

Halloween
Carry on
Bury all
Bury all

And in this dream
Tell us are you satisfied with fucking

Don't walk away
Don't walk away
Don't walk away
I'm talking to you

Lovey Dove
Love is hell
Love is hell
Love this I'll tame you

Love
Love this not me here

Love
Love him up to you"

(Dave Matthews Band "Halloween" song)

Reese from Splitsville


Reese Witherspoon in a scene from Just Like Heaven (2005).

"Reese Witherspoon and Ryan Phillippe have separated. The couple's rep released a statement to TMZ Monday morning that says "We are saddened to announce that Reese & Ryan have decided to formally separate. They remain committed to their family and we ask that you please respect their privacy and the safety of their children at this time."

Sources tell TMZ Witherspoon has contacted celebrity divorce lawyer Robert Kaufman, who has represented Jennifer Aniston, Roseanne and Lisa Marie Presley.

Sources say Witherspoon spoke with Kaufman about divorcing Ryan Phillippe, her husband of seven years. The couple has two children.

They met at Witherspoon's 21st birthday party.
As for why Witherspoon contacted Kaufman, we're told it was not triggered by one event. Rather, one connected source says it was "cumulative."

Divorce papers have not yet been filed."
Source: TMZ
"Witherspoon, 30, and Phillippe, 32, have two children, daughter Ava, 7, and son Deacon, 3.

The couple met when a mutual friend brought Phillippe to Witherspoon's 21st-birthday party. Two years later, after they had costarred in 1999's "Cruel Intentions", he proposed. They married in June 1999 and had Ava three months later.

Though the couple seemed to have it all – a successful relationship, thriving careers and beautiful children – they both spoke openly about having to work on their marriage.

In 2002, Phillippe told New York's Daily News that they were in couples therapy. "The biggest mistake," he said, "is not doing that, ignoring it and having the marriage fall apart because of laziness."

Similarly Witherspoon told PEOPLE at the time: "I'm not interested in the fallacy of the Hollywood relationship: 'We have perfect children who never cry; we never have problems; we never argue, we're always best friends,'" she said. "That's just not true. We're normal people with normal problems."

Witherspoon, who won an Oscar for her role in last year's hit "Walk the Line", is next expected to appear in the drama "Rendition". Phillippe is currently starring in the WWII drama "Flags of Our Fathers".
Source: People
More information available in Barbie Martini.


Monday, October 30, 2006

Marie Antoinette Soundtrack


"The music reflects Coppola’s intention to tell the story in a modern way. While writing the script, she found inspiration from the New Romantic pop music movement of the 1980s -which was itself heavily influenced by 18th century ideals of extravagance. New Romantic artists such as Bow Wow Wow ("I Want Candy") and Adam Ant (“Kings of the Wild Frontier”) celebrated glamour, luxurious fashion, and hedonistic fun during that period as a kind of counterpoint to both the boredom of classic rock and the primal anger of punk music.

Coppola saw the music as a modern lens through which to view Marie Antoinette –and songs such as “I Want Candy” seemed to serve as a perfect, modern expression of Marie Antoinette’s impulses to find fulfillment through pleasure.

Coppola turned to music supervisor Brian Reitzell (who worked on her previous films, Lost in Translation and The Virgin Suicides) to discuss music in the tone she was thinking of while writing. Reitzell mixed “Versailles CDs” that included such artists as Bow Wow Wow, New Order (“Ceremony”), Adam Ant, and other post-punk romantic music.”

“It was all very organic,” he continues. “The story dictated the music, which follows the dramatic arc. We set it all up in the opening credits with the Gang of Four song “Natural’s Not in It” -which prepares you musically and lyrically for what’s going to happen. Later, there is an Aphex Twin piece, "Jynweythek Ylow”, which is played when Marie Antoinette first enters Versailles, which actually sounds like that place. What I love about it is that you can’t tell if it’s a harpsichord or string instrument that’s playing.”

Also included on the soundtrack are even more modern groups such as The Strokes (“What Ever Happened”), Squarepusher (“Tommib Help Buss”), Air ("Il Secondo Giorno [Instrumental]"), The Radio Dept. (“Pulling Our Weight,” “Keen on Boys”), and Windsor for the Derby (“The Melody Of A Fallen Tree”).

The eclectic blend of sounds, Reitzell maintains, “makes it a lot easier to put yourself in the movie. The music resonates because it shows how these people really were. For most of the movie, Marie Antoinette is an adolescent and it would have been a lot harder to get across her teen angst with a Masterpiece Theater type of soundtrack.” The result is this double disc Verve Forecast release, “a post-punk-pre-new-romantic-rock- opera odyssey with some 18th century music and some very new contemporary music,” as Reitzell calls it." Source: Vervemusicgroup.com

Disc 1

1. Hong Kong Garden
2. Aphrodisiac
3. What Ever Happened
4. Pulling Our Weight
5. Ceremony
6. Natural's Not In It
7. I Want Candy
8. Kings Of The Wild Frontier
9. Concerto In G
10. The Melody Of A Fallen Tree
11. I Don't Like It Like This
12. Plainsong


Disc 2

1. Intro Versailles
2. Jynweythek Ylow
3. Opus 17
4. Il Secondo Giorno
5. Keen On Boys
6. Opus 23
7. Les Barricades Mysterious
8. Fools Rush In
9. Aphex Twin - Avril 14th
10. Sonata in D minor, K.213: Andante
11. Tommib Help Buss
12. Tristes Apprets, Pales Flambeaux
13. Opus 36
14. All Cats Are Grey

Sunday, October 29, 2006

Three More M.A. Reviews

"POURING Coca-Cola in the cabernet, Sofia Coppola's dazzling "Marie Antoinette" couldn't be more anachronistic if it showed the queen of France saying, "Let them eat sushi." Coppola works in weird ways, but the real Versailles was so much weirder.

Just as Tobey Maguire proved that the superhero is about the vulnerability, Kirsten Dunst nicely unveils the innocence in the doomed queen of France.


The 1980s score and 818 dialogue ("I love your hair! What's going on there?") may strike you as a little too droll for l'école. But the story follows Antonia Fraser's biography, and the crazy flourishes simultaneously blast away the musty mists of history and make the audience feel, as the Austrian-born queen must have, lost in translation. [...]

Dunst, tearfully parting with her pug as her character exits Austria, practically has a dotted line around her neck with instructions to "cut here," and she makes no effort to starch up her squeaky American cuteness. But though the real Marie Antoinette was born an archduchess, she was no older than a highschool freshman when she married. After that, she was just a victim of fashion, a pleated skirt when history went Goth. Her story could just as easily be called "Clueless."

kyle.smith@nypost.com
Source: The New York Post
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"Sofia Coppola is the Veruca Salt of American filmmakers. She's the privileged little girl in Charlie and the Chocolate Factory whose father, a nut tycoon, makes sure his daughter wins a golden ticket to the Willie Wonka factory by buying up countless Wonka bars, which his workers methodically unwrap till they find the prize. If Coppola's 2004 Academy Award for best original screenplay for Lost in Translation was her golden ticket to big-budget filmmaking, Marie Antoinette is her prize, a $40 million tour through the lush and hallucinatory candy land of 18th-century France. Of course, Roald Dahl's insufferable Veruca Salt was eventually seized by angry squirrels and hurled down a garbage chute. [...]

Given the film's cavalier treatment of their country's history, French critics, understandably, head up the haters' brigade. Agnès Poirier, the London correspondent for Libération, scoffs, "There are two things [Coppola] likes, dresses and pudding. ... Cinema is for Coppola a mirror in which she looks at herself, not a mirror she holds to the world." But many critics on both sides of the Atlantic defend the film, in indulgent language that often seems to apply to its creator as well. To Entertainment Weekly's Lisa Schwarzbaum, Marie Antoinette is "the work of a mature filmmaker who has identified and developed a new cinematic vocabulary to describe a new breed of post-postpostfeminist woman." (The triple negative threw me for a minute, but I think she means "not feminist.")

There's no question that making movies is, at least in part, always a matter of shopping. A director must select, and find a way to pay for, the right cast, the right music, the right cinematographer. And, as this recent piece in the Times travel section shows, Sofia Coppola is a peerless shopper. The movie's signature set piece is a montage of Louis-heeled Manolo Blahnik shoes in Easter-egg colors, filmed in fetishistic close-up to the strains of Bow Wow Wow singing "I Want Candy." It's exhilarating in the style of a high-end television commercial or magazine fashion spread. But, by linking the excesses of the French court of the 1780s with the pop culture of the 1980s, does Coppola intend to suggest that we're overdue for another revolution? Or just that, then as now, les filles just want to have fun? [...]

In a Vanity Fair profile last month, Evgenia Peretz wrote about the director's nontreatment of the rioting French proletariat in Marie Antoinette: "In neglecting them she has unwittingly taken a political stance." Unwittingly? It seems disingenuous to suggest that a movie about the fall of the French monarchy could be anything but political. I don't ask Coppola to be unsympathetic to the young queen, or even to devote any screen time to her arrest and decapitation. (The film ends abruptly as Jason Schwartzman's King Louis XVI and his queen flee Versailles in their royal coach after the storming of the Bastille.) But just because the film's heroine has nothing to say about politics, revolutionary or otherwise, doesn't justify Coppola being similarly dumbstruck.

"It's not like I'm a royalist," Coppola protested in a recent interview, when asked about her curiously blank take on the French Revolution. I'll take her word for it, but you'd never know it from the movie she's made, which is at least as nostalgic about the ancien régime as Gone With the Wind is about the antebellum South. Coppola's heroine lodges a similar protest in the film upon hearing about her alleged wish for the starving masses to nourish themselves on cake. "I would never say that!" the queen comments, shocked, to her ladies in waiting. According to the Antonia Fraser biography Marie Antoinette is based on, she never did say those actual words—but the rest of the film shows her as exactly the kind of person who would say them, so what's the difference? [...]" Source: Slate (by Dana Stevens)
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And the most negative, the third review by Lawrence Toppman for "The Charlotte Observer":

"After seeing Sofia Coppola's "Marie Antoinette," I realize there was no need for the bloodshed and turmoil of the French Revolution that made Marie and husband Louis XVI shorter by a head. Had the mobs left them alone, they'd have bored themselves and everyone else in the aristocracy to death. [...]

Marie celebrates her 18th birthday in 1773 in the scene just before Louis decides to help America in the Revolutionary War. (Nice of him, as it didn't start for three more years.)

Even Coppola's infamous decision to set the movie to New Wave pop music seems ill-judged, because she's not consistent. We get a "Pretty Woman"-style clothes-and-footwear romp to Bow Wow Wow's "I Want Candy," and then we're back to baroque-style chamber ensembles droning away for 15 minutes.

The casting is also unhelpful. Kirsten Dunst alternates between giddy smiles and a faux-pensive look as Marie, though the prospect of imminent death troubles her as little as an absence of petit-fours. (Or "petite fours," as Schwartzman's Louis would say.) Schwartzman tamps down his California cockiness but looks perennially uneasy, as if wondering whether his wig might be tumbling off. Both are as pinkly prettified and devoid of emotion as fresh corpses.

Supporting characters have energy, but the wrong kind. Rip Torn leers genially and blankly as Louis XV. Italian-born Asia Argento sneers as his mistress, Madame du Barry, like a high school girl from North Jersey planning to poke out a rival's eyes with a rattail comb. Judy Davis, whose twitchiness suggests the affliction of St. Vitus' dance, manages to overact even in scenes where she doesn't speak.

Coppola has said in interviews that she doesn't want to explain the movie, which follows an apparently ageless Marie and Louis from their nuptials in 1770 to arrest by the mob in 1789. But what can she want us to take away?

Are we supposed to accept the fatuous idea that teenagers have behaved the same in all eras? (Hardly true. Royals took on adult responsibilities as teens back then and were trained and educated differently.) Should we have special sympathy for this vacuous creature who stood by her equally clueless husband en route to disaster? The movie's not particularly kind to either: She comes off as a gluttonous airhead, he an amiable plodder.

The ultimate irony of the project is that Marie and Louis' main crime was self-indulgence: They had too little awareness of the discrepancy between themselves and their people, and they paid for ignorance with their lives. But if self-indulgence justified regicide, Queen Sofia would be ready for Hollywood's guillotine."

Saturday, October 28, 2006

Thursday Dining

" · Thursday, October 26 at about 11 am

-Just as [Bryan] Singer was arriving with the boy caravan, Jake Gyllenhaal was just finishing up breakfast at Hugos. Not sure if they greeted each other.

· Thursday night late @ Little Door on 3rd in Hollywood. Love this restaurant it's cute. So it must have been date night. Jake Gyllenhaal was seated next to a short sexy brunette @ a big table of friends. The two of them talked all night and were the last to leave. Marcellas Reynolds came in and joined a big table and made out all through dinner with an older German guy. My wife and I could tell he was German because all night long they spoke German and French @ the table while laughing and taking tons of pics."
Source: The Defamer

I liked very much what I consider Bryan Singer's masterpiece "The Usual Suspects" (1995),

Kevin Spacey had a key role in "The Usual Suspects" as Roger 'Verbal' Kint, chiefly his character was the atmospheric catalyzer of its plot twist. However I'm not nearly as much fan (more a hater) of his "X-Men", "X2" saga or "Superman Returns" (2006).
My brother insists that Singer's best film is "Public Access" (1993), which I haven't watched it yet.