SESSÃO DUPLA DO COMODORO EM OUTUBRO - PARTE 1
SESSÃO DUPLA DO COMODORO - dia 05 de Outubro
21.30 horas - CINESESC - São Paulo
SESSÃO EM HOMENAGEM À AURORA DVD
- com a presença do crítico Ernesto Barros, um dos diretores da AURORA DVD, que na ocasião irá anunciar os futuros lançamentos.
MATEI JESSE JAMES
de Samuel Fuller
O ASSASSINO DA FUDAEIRA
de Abel Ferrara
MATEI JESSE JAMES
I Shot Jesse James (1949)
EUA - Branco e preto
81 minutos - com legendas em português
diretor - Samuel Fuller
roteiro de Samuel Fuller, inspirado em artigo de Homer Croy, publicado na revista American Weekly.
produtores Carl K. Hittleman e Robert L. Lippert
diretor de fotografia Ernest Miller
canções do filme, compostas por Albert Glasser:
cantada por Margia Dean
"The Minstrel Song"
cantada por Robin Short
"The Jesse James Song"
cantada por Robin Short
Preston Foster .... John Kelley
Barbara Britton .... Cynthy Waters
John Ireland .... Bob Ford
Reed Hadley .... Jesse James
sinopse e comentário
Filme de estréia do diretor Samuel Fuller, um dos ícones do cinema independente americano (e mundial). É a história de Bob Ford, o homem que matou Jesse James pelas costas.
ALL MOVIE GUIDE
"This dark, gloomy Western chronicles the shame and self-destruction of Bob Ford, the real-life James Gang member that murdered Jesse James for the reward money. In this fictionalized account, James (Reed Hadley) tends to Ford (John Ireland) after he is wounded during a heist. When Ford's longtime love, Cynthy (Barbara Britton), gains a new admirer, he decides that settling down and buying a farm is the only way to win her for himself. He learns that the governor issued a 10,000-dollar reward and amnesty for Jesse's murder, and, after some deliberation, shoots his savior in the back when the outlaw turns to straighten a painting. Neither the government nor Cynthy takes kindly to his treachery: Ford is jailed, collects only 500 dollars, and is dumped. He is reduced to re-enacting the infamous murder in a stage show, hearing a traveling minstrel sing about his dirty deed, and running from the would-be gunfighters that hope to kill the man who shot Jesse James. The film follows Ford's vain attempts to achieve redemption and win back Cynthia's heart. I Shot Jesse James suffered through several casting related problems. Producer Robert L. Lippert refused to hire Lawrence Tierney, director Fuller's first choice to portray Ford. Barbara Woodell replaced Ann Doran as Jesse James' wife only days before production. Lastly, casting director, Yolanda Molinari's, name was misspelled "Yolondo" in the film's opening credits, making many believe that she was a man." - Aubry Anne D'Arminio, All Movie Guide
"Fuller's first film is a virtual illustration of his dictum that the cinema is like a battleground: 'Love, hate, action, violence, death...in one word, Emotion.' Having to choose between loyalty to the past and a love for Jesse James (Hadley), or a desire for a future and the love of a woman, Fuller's outlaw hero Bob Ford (Ireland) makes the wrong choice. He shoots James, only to discover that his whole life has become defined by this deed: doomed to re-enact the murder on stage, and condemned to notoriety in 'The Ballad of Jesse James'. His vision of the future fades into jealousy, economic hardship and, as Phil Hardy has pointed out, 'misplaced love'. As such, more a psychological drama (emphasised by the use of close-up) than a Western, and a highly original film." CPe
"If ever a film deserved to be called "noir" it is this one. Apart from being filmed in black and white, but more black than white, it is the story of a man so blinded by love that all through the film you feel his anguish and desperation. Fuller took the liberty of adding this love story to the tragic life of Robert Ford, who is known up to our days as "the dirty little coward that shot Mr. Howard.". John Ireland is a convincing Ford, Preston Foster is John Kelley a man that is in love with the same woman.. Barbara Britton is outstanding as Cinthy Waters, the woman. She is beautiful and has an incredibly modern look for a film that was made in 1949, makes you think of Nicole Kidman. She is unreachable to Ford, he knew that as a fugitive their love could not survive, but he did not realize that as a cowardly killer, even though he was pardoned, the people would hate him and the odds would be that she would not accept him. She was unwillingly the cause of his tragedy."
Escrito por Carlos Reichenbach às 19h48
SESSÃO DUPLA DO COMODORO EM OUTUBRO - Parte 2
O ASSASSINO DA FURADEIRA
The Driller Killer (1979)
EUA - Colorido
96 minutos - com legendas em português
diretor - Abel Ferrara
roteiro - Nicholas St. John
produtores - D.A. Metrov e Rochelle Weisberg
música original - Joe Delia
fotografia - Ken Kelsch e Jimmy Spears
Abel Ferrara .... Reno Miller (as Jimmy Laine)
Carolyn Marz .... Carol
Baybi Day .... Pamela
Harry Schultz .... Dalton Briggs
Alan Wynroth .... Landlord
Maria Helhoski .... Nun
sinopse e comentário
Embora não seja, este é considerado o filme de estréia de Ferrara. Ele é, inclusive, o ator principal. O entrecho narra as desventuras de artista plástico de Nova Iorque, em aguda crise financeira e pressionado pelo universo que o cerca (incluindo uma banda punk que ensaia em apartamento vizinho) tenta concluir a obra que considera sua obra prima. Para tanto consegue a ajuda de duas mulheres com quem tem um relacionamento ambíguo. Desatinado, começa a praticar assassinato absurdos com uma furadeira elétrica.
"Reno, a painter, is driven to distraction by financial troubles, the punk band rehearsing next door, and the city squalor he sees all around him. Picking up a power tool, he vents his fury on the homeless, bit by bit. Ferrara's first film coincided with John Sayles' Return of the Secaucus Seven at the onset of the American indie scene - though, like nearly all Ferrara's work, this feels more at home on the exploitation fringe than the art-house circuit. (There's even a gratuitous lesbian shower scene.) Notorious in Britain as one of the much-cited, little-seen 'video nasties' that ushered in the censorious Video Recordings Act of 1984, this reappeared in 1999 in a version six minutes longer than previously (though still shorn of its goriest moments), basking in the retrospective glow of such hard-won auteurist credibility as Ferrara has mustered. The very first image sees Laine (aka Ferrara) approaching an altar, for all the world like Harvey Keitel in Bad Lieutenant. We even get glimpses of Ferrara's own paintings on the walls. Take out the killings, and you're left with an anguished (even somewhat boring) stab at urban ennui, heavily influenced by Repulsion and Taxi Driver." - . TCh
" Abel Ferrara's debut film may not owe a great deal to, the previous years', HALLOWEEN, but it is a 'psycho-thriller' none the less. In fact THE DRILLER KILLER is more a post-punk variation on Polanski's REPULSION (1965)- the rabbit carcass in Fererra's film is an obvious homage of sorts. A, largely successful, character study and portrayal of one man's descent into madness by way of the underground explosion that was the 'cinema of Transgression'. The film is still infamous, along with such others like I SPIT ON YOUR GRAVE as one of the 'bogeymen' of British video. Still not legally available in this country in any form, unlike other banned titles which have been granted certificates in the last decade, albeit in severely mutilated versions. THE DRILLER KILLER often surprises and confounds expectations on first viewing. Instead of being a relatively polished exploitation piece or a slice of gory-campness, it is in fact closer to the 'art-house' than the 'grind-house'. The violence is often explicit, no more so than on the cover shot for the video, but it is not an effects driven movie. It is one of those films where the obvious low budget is actually a help rather than a hindrance. It has a grimy and believable feel which is something often missing from the genre. Ferrara plays 'Reno' (using the pseudonym Jimmy Laine), an artist struggling to finish, what he conceives to be, his masterpiece painting. One that he will have to sell to keep his head above water both financially and to prevent a slide into insanity. He shares his flat with two women, with which he has an ambiguous sexual relationship. He is pushed to the edge when a punk band move into his apartment building and practice continuously- 24 hours a day. Ferrara uses overwhelmingly mundane everyday things to drive his character to the edge. Like Chinese water torture; the repetitive riffing of the band and the nagging 'New Yawk' nasal drawl of one of the women, constantly changing her mind where she wants a hole drilled, mirrors the grating, incessant whine of the portable drill Reno uses on his victims. The effect is much the same as the unsettling way Marilyn Burn's screams constantly throughout the end of TEXAS CHAINSAW MASSACRE (1974)- un-nerving the viewer. Unable, or unwilling, to deal with the grind of daily life and his apparent alienation from those closest to him. He slaughters the homeless drunks that litter the sidewalks, possibly because of his unbalanced revulsion that he will become like them if his life continues to slide. A repressed sexuality or perhaps impotence is hinted at. Reno is never seen having sex with either of his flat mates and the, oft repeated, hallucination of him being sprayed in blood whilst pumping the drill at someone unseen has obvious Freudian connotations. The film is a very effective exercise in nihilism and conveys a more realistic feeling of sleaze and hopelessness in the Big Apple at the end of the 70's and dawn of the 80's, despite its budget, than either MANIAC (1980) or THE NEW YORK RIPPER (1982). Ferrara went on to explore similar themes in his next film MS. 45 (aka ANGEL OF VENGEANCE) (1980) and THE BAD LIEUTENANT.
"Premier film, premier chef d'oeuvre ! (premier film officiel bien sûr). On croit d'abord avoir à faire à un film gore traditionnel quoique particulièrement ambitieux et réflechi. Mais un scénario de St-John n'est jamais si futile. Nous ne sommes pas dans le délire de la destruction mais dans la destruction d'un délire. On s'appuie sur une base réelle et maîtrise chaque action, chaque portion de folie. Rêve ou réalité, le personnage va perdre son identité et c'est ce qui le rend capable d'acte spécifique de rejets de colère. Le Meurte n'est pas le personnage (contrairement à de nombreux films du genre) le Mal n'est pas personnifié, il est partout. Mais c'est encore le film d'un jeune adulte, dans lequel foisonne les référence au complexe de castration absorbé et renvoyé par le personnage qui suit donc une ligne cohérante. Ferrara est un jeune artiste, il s'impose avec brio dans ce premier film ambitieux parfois tatonnant dans l'incertitude parfois engagé et violant le protagoniste et le réalisateur se confondent et nous offre un film marquant, hors du commun, au scénario ingénieux et la fin spectaculaire. Un grand film."
Escrito por Carlos Reichenbach às 19h41