Category: Foreign Movies
Isabelle Huppert talks about taking the opposite view of ‘misogynistic’ director Paul Verhoeven and gracing the London stage for the first time in two decades in Phaedra(s).
There is little in the way of false modesty from Isabelle Huppert. It’s the day after the screening of Elle at the Cannes Film Festival and the Paul Verhoeven thriller has received rave reviews. It’s a sensational film adaptation of the novel Oh by Philippe Djian and sees Huppert plays a rape victim who turns the tables on her rapist. The actress is in nearly every scene of the movie and comments, “That’s why I was never bored watching it last night.”
It’s hard to argue with the sentiment, because anyone who has seen many of her 100-plus roles, since her debut in 1971, will attest that she’s usually beguiling. The magic of Huppert is that she seems to do so much by doing so little. Verhoeven raved, “She’s the best actress I’ve worked with. I just followed her instinct and let her do what she wanted.”
At the age of 63, the Paris-born star is having a vintage year. So it’s our luck that she seems to be everywhere over the next month. There is a cinematic retrospective of her work taking place in London at the Cine Lumiere and the Barbican with accompanying screen talks by the actress, and in June the Barbican Theatre is putting on Phaedra(s), Huppert’s latest theatrical performance.
It will be the first time in two decades that Huppert has graced the London stage. The play, directed by Polish auteur Krzysztof Warlikowski, has just had a two-month run in Paris; it is performed in French, so one can expect it to be a spectacle from the first night. Of course, Huppert thinks she’ll be great.
“I could do it in English, but that is not the agenda,” she chimes about the radical reconstruction of the Greek myth. “It’s not exactly Phaedra, it’s several different Phaedras, including Sarah Kane’s Phaedre’s Love and there are excerpts from the book Elizabeth Costello by JM Coetzee, as well as the text from Euripides.”
One imagines that even if the text was by a five-year-old, Huppert would bring something unique to the performance. She’s been at the top of her game for four decades. She won a Bafta as Most Promising Newcomer for her turn as the virginal Beatrice in The Lacemaker in 1977.
There is no other actress who could make Paul Verhoeven appear like a pussycat. The Dutch director has been described as a misogynist on countless occasions. After all, he’s famous for getting Sharon Stone to cross her legs in Basic Instinct and leaving nothing to the imagination in Showgirls; yet put Huppert in the picture and all of a sudden he makes a film that can only be described as classy, even one being referred to at Cannes as a “rape comedy”.
“You have all this talk of Verhoeven as a misogynist, but to me he’s the opposite,” says Huppert. “Ever since I discovered his first film, I saw Turkish Delight, the film was also mistaken at the time. It was taken as a semi-porno film and was released in a porno video and it only got one good review and that was in Charlie Hebdo, who said it was a masterpiece and he was a good director. So there has always been this blurred vision of him as a director.”
Huppert has recently become a cinema owner. “I’m going to digress because my son programmes a cinema I bought in Paris. It’s in the Rue Christine, and was called Action Christine and we’ve renamed it Cinema Christine 21.”
Recently, Huppert has been a lot more open about her family. She recently appeared on the cover of a magazine with Lolita Chammah, one of three children she has had with her husband of 34 years Ronald Chammah, a producer she met on the set of a 1980 Claude Chabrol movie. “She’s a good actress,” Huppert says of her daughter. “I’ll play her mother soon. I have a supporting role in a film she is making in Luxembourg. The movie talks a lot about involuntary transmission between parents and children.”
The bonds that tie a mother and daughter are also something that takes place on screen, as well as off for the actress. In another of her great roles this year, Huppert plays a woman who discovers there is life after separation in Things to Come, directed by Mia Hansen-Love. The French director once played Huppert’s daughter in Olivier Assayas’s 2000 drama Sentimental Destines.
“And now she becomes my mother,” chirps Huppert. Explaining, “A director is always a bit of a mother to an actress. You can be young and have an old soul, or old and be a young spirit.” The latter is a category that Huppert seems to fit perfectly.
“As an actress, I felt like during the film she has the power and she directed me a lot, maybe more than other directors on other occasions. She had this vision of this character being very open, and very light and instinctively, maybe my deep nature, would be to go for something darker, a little harsher.”
Indeed, there is a certain sang-froid that Huppert instills in her characters. They get their strength from the fact that nothing seems to phase them, they are able to overcome the worst horrors. It’s what made her so magnificent in Michael Haneke’s The Piano Teacher, a film that Elle has echoes of in its opening scene. The norm is that as soon as you see Huppert onscreen, you have the idea that her character will overcome all obstacles.
“Well, it’s normal that you think that,” says Huppert, when I ask her if she references her past roles when making contemporary films. “But for me, as an actress there is no link to what I’ve done previously. Because it’s me, you make the connection. People seem to think that you have connections with the roles you play, but the more I think about it, the more I realise I have nothing to do with those characters, those people are total foreigners to me.”
Pedro Almodovar’s “Julieta,” which recently world premiered in competition at Cannes, will open the 33rd Jerusalem Film Festival.
“We are happy to open this year’s festival with a film by one of the world’s most beloved and acclaimed filmmakers in recent decades, Pedro Almodóvar. Julieta is a cinematic celebration – a colorful, exciting, fun and thought-provoking film,” said Noa Regev, topper of Jerusalem Cinematheque and exec director of Jerusalem fest. “The aesthetic experience offered by the film will no doubt be even greater when shown on the giant screen at the Sultan’s Pool. Like most of Almodóvar’s works, it is focused on female protagonist and deals with women’s power.”
Based on a trio of short stories by Pulitzer-winning Canadian author Alice Munro, “Julieta” stars Emma Suárez and Adriana Ugarte in the title role, at different ages. Rossy de Palma also toplines. Pic will be released by Lev Cinemas in Israel on July 8, a day after its festival opening.
Jerusalem fest, which previously opened with Almodovar’s “All About my Mother” and “Talk to Her,” will kick off with “Julieta” in “commemoration of two inspirational female figures of Israeli Cinema who are no longer with us – Lia van Leer, founder of the festival, and filmmaker Ronit Elkabetz,” said Regev, who works with artistic director Elad Samorzik.
Jerusalem fest will indeed host a tribute to Elkabetz, the actress and filmmaker who died of cancer in April and has been mourned by the Israeli and international film communities.
The tribute to Elkabetz will include the special screening of her feature debut “To Take a Wife,” in which she also stars. “To Take a Wife” was the first film of a trilogy penned and directed by Elkabetz and her brother, Shlomi Elkabetz. The trilogy was completed by “Gett: The Trial of Viviane Amsalem,” a Cannes’ Directors’ Fortnight player that marked Ronit Elkabetz’s last film. On top of earning critical acclaim, “Gett” shed light of women who are faced with unfair, archaic divorce laws in Israel and prompted a heated debate at home and beyond.
The festival will also bow an international competition lineup which will be fully announced in the next few days. So far, Rúnar Rúnarsson’s Icelandic coming-of-age drama “Sparrows” and Danish helmer Tobias Lindholm’s Oscar-nominated “A War” have been selected to compete as part of the new international section that’s being backed by New Jersey-based Wilf Family Foundation.
Seven additions made to Official Selection, including Blood Father starring Mel Gibson, the new feature from Starred Up director David Mackenzie and a Joseph Kony documentary.
Iranian director Asghar Farhadi is to compete for the Palme d’Or with his latest feature, The Salesman, following several additions to Cannes Film Festival’s Official Selection.
The addition of the Farsi-language project, which racked up sales for Memento Films International at Berlin in February, takes the total number of films in Competition to 21.
The Salesman revolves around a couple whose relationship turns violent due to societal pressures. Long-time Farhadi collaborators Taraneh Alidoosti, who played the epnymous role in About Elly, and Shahab Hosseini, who appeared in Farhadi’s Golden Bear and Oscar-winning A Separation, co-star as the central couple.
Farhadi was last in Competition at Cannes in 2013 with his previous film, The Past, which won the Ecumenical Jury prize.
Un Certain Regard
Cannes also announced that extremist drama Clash, from Egyptian director Mohamed Diab, would open the section.
Set against the backdrop of violent demonstrations in Cairo that erupted at the end of former president Mohamed Morsi’s reign, Diab explores extremism through an intense drama in which two groups of opposing protestors find themselves in the same police van as fighting rages around them. It is Diab’s second feature after 678. Pyramide International is selling.
A further addition to the strand is Hell Or High Water, from David Mackenzie, the British director of prison drama Starred Up.
The film, starring Chris Pine, Ben Foster and Jeff Bridges, was written by Taylor Sheridan, who previously wrote Denis Villeneuve’s Cannes 2015 Competition title Sicario.
The story centres on a divorced father and his ex-con brother who resort to a desperate scheme in order to save their family farm in Texas. The film, formerly titled Comancheria, is sold by Sierra/Affinity with CBS Films handling US release.
Midnight / Special Screenings
Mel Gibson may return to the Croisette to accompany his starring role in Blood Father, which has been added to the Midnight Screening strand.
Directed by Mesrine filmmaker Jean-François Richet, Gibson stars as an ex-con who reunites with his estranged wayward 16-year old daughter to protect her from drug dealers who are trying to kill her.
The festival has also added a hat-trick of titles to its Special Screenings strand. Wrong Elements is Jonathan Littell’s documentary about Joseph Kony, the leader of the Lord’s Resistance Army (LRA) in Uganda, while Chouf is a Marseille-set drug cartel drama from Tunisian-born French director Karim Dridi, who won Cannes’ Youth Award back in 1995 with Bye-Bye.
Multiple Cesar Award-nominated actor Grégoire Leprince-Ringuet makes his feature directorial debut with romantic drama Fool Moon (La Foret de Quinconces), in which he also stars.
Cannes Film Festival 2016
The Salesman, Asghar Farhadi (Iran)
Un Certain Regard
Clash (Eshtebak), Mohamed Diab (Egypt) opening film
Hell Or High Water, David Mackenzie (UK)
Blood Father, Jean-François Richet (France)
Wrong Elements, Jonathan Littell (US)
Fool Moon (La Foret de Quinconces), Grégoire Leprince-Ringuet (France)
Chouf, Karim Dridi (France / Tunisia)
Nadine de Barros and her team will kick off sales in Cannes on the idiosyncratic road movie. Fortitude International is financing Layover and will represent international rights on the Croisette.
Penelope Cruz will also produce the story from writer-director Toni Kalem’s adaptation from the novel by Lisa Zeidner about a successful travelling saleswoman on the verge of a nervous breakdown who goes on the lam and finds her way back to herself.
Animus Films’ Jim Young and Serena Films’ Tatiana Kelly also produce. Fortitude International’s de Barros and Robert Barnum serve as executive producers.
“Toni Kalem’s beautifully layered adaptation of Lisa Zeidner’s acclaimed book is a provocative blend of humour and heartbreak,” said Kelly. “With the addition of the incomparable Penelope Cruz to our team, we are thrilled to have the opportunity to showcase such strong female talent both in front of and behind the camera.”
“We are looking forward to working with the outstanding Penelope Cruz on this film both on screen and behind the scenes,” said de Barros. “Toni is the perfect match to direct this project and bring a strong woman’s perspective to this personal and enthralling story of escape and self-discovery.”
Fortitude has comedy Drunk Parents starring Alec Baldwin, Salma Hayek and Joe Manganiello in post, as well as The Brits Are Coming with Uma Thurman, Tim Roth, Stephen Fry, Sofia Vergara, Parker Posey and Alice Eve; and Marjorie Prime starring Jon Hamm, Lois Smith, Geena Davis and Tim Robbins.
Vincent-N-Roxxy starring Emile Hirsch and Zoe Kravitz premiered at Tribeca recently. The Bachelors with J.K Simmons and Julie Delpy and The Tribes Of Palos Verdes starring Jennifer Garner are also in post.
In pre-production is the Paul Rudd and Steve Coogan comedy An Ideal Home, The Clapper with Ed Helms and Amanda Seyfried, Tom’s Dad with Will Ferrell set to star, and sci-fi Android with Olga Kurylenko.
The Cannes Film Market will showcase a wide-range of upcoming titles by directors from the Arab world, including prominent Egyptian auteur Yousry Nasrallah’s bucolic “Brooks, Meadows and Lovely Faces,” about a family of cooks who cater for weddings in the Egyptian countryside.
The Marche du Film is set to host a Dubai Film Market presents selection of works-in-progress and also a Liban Cinema presents selection. Both are screening at the mart on Monday, May 16.
The work-in-progress of Nasrallah’s “Brooks,” his followup to post-Arab Spring drama “After the Battle,” which competed in Cannes in 2012, is in the Dubai section. That section also includes Syrian director Maisa Safadi’s “4 Seasons, 2 Brothers and a Border,” produced by U.S. producer Soloman Goodman’s Railroad Films. Pic is about the impact of the 1967 Arab-Isreali Six-Day War on the life of a Syrian village.
The Lebanese selection includes “Fallen From The Sky,” the feature film debut of Beirut-based documaker Wissam Charaf, who is an alumni of the Sundance Institute’s Rawi Screenwriters Lab in Jordan. It’s about two brothers, one of whom resurfaces after being presumed dead.
This is shaping up to be a pretty good year for Arab movies in Cannes. Egyptian director Mohamed Diab’s hotly anticipated Islamic fundamentalism-themed “Clash” has the honor of opening the fest’s Un Certain Section, marking the first film from turbulent Egypt bowing at Cannes since Nasrallah’s “Battle.”
“Clash” is set entirely inside an overcrowded police truck packed with pro and anti-Muslim Brotherhood demonstrators from all social classes after a massive protest following the events of July 3, 2013, as crowds celebrated the ouster of prexy Mohamed Morsi, a Muslim Brotherhood member. Diab is known internationally for bold sex harassment pic “Cairo 678.”
A Complete list of Arab works-in-progress unspooling at the Cannes Market in the Dubai and Lebanon Goes to Cannes Showcases
Dubai Goes to Cannes:
“4 Seasons, 2 Brothers and a Border,” Maisa Safadi
“Fish Killed Twice,” Fawzi Saleh
“Munich: A Palestinian Story,” Nasri Hajjaj
“Brooks, Meadows and Lovely Faces,” Yousry Nasrallah
Lebanon Goes to Cannes
“Beirut Terminus,” Elie Kamal
“Room for a Man,” Anthony Chidiac
“Feminitude,” Soula Saad
“One of These Days,” Nadim Tabet
“Fallen From The Sky,” Wissam Charaf
Zilan Odabasi was born in Diyarbakir, Turkey, in 1988 to a Kurdish father and a Turkish mother. Her father, Yilmaz, was a well-known poet. Odabasi went to school in the city of Izmir and established herself as an actress there. She started acting in TV dramas and films in 2006, and took part in a beauty contest sponsored by Avon, winning second place. Her photographs published in women’s magazines.
Her beauty and charm have brought her great popularity in Turkey. She recently starred in a movie about the life of women in Turkey’s Kurdistan and the Kurds who collaborate with the state against Kurdish guerillas. The movie was screened in theatres across Turkey last month.
Odabasi says that she lost a lot of trust in men after her husband cheated on her. “Men with feeling, love, and intelligence are attractive to me,” she said, adding that money and handsomeness don’t matter to her.
Odabasi first started acting at a very young age, becoming more professional after she met the current manager of her agency. “Ever since I was a kid I haven’t thought of anything but performing,” she said. “After finishing high school, I got to know Tomay Uzukur, who now runs my agency. That’s how my acting career started.”
Despite the exposure she was given through the Avon contest, Odabasi is certain that it was her training and acting experience that brought her the fame she enjoys now. “I can say it was experience and study that opened doors for me. Beauty isn’t everything. It’s something you have today but might not have tomorrow,” she said.
Odabasi, who has starred in both TV series and movies, thinks that appearing in a movie is very different from working on television shows. She believes that, in comparison, films are unforgettable.
“When you think about the past, there are few TV shows that you remember. But working in cinema is something different. It is an international art,” she said. “There are certain movies that you can’t forget even one minute of, or their characters, and want to watch over and over. TV shows are like talking and cinema is like writing. Talk evaporates but writing remains.”
Odabaşı would prefer to star in movies that confront real issues and appeal to people who struggle to survive. She says that cinema is perhaps the only art form that can easily deliver its message everywhere.
“I’d like to take part in serious, sad movies that deal with social problems, like the struggle of the Kurdish people and their aspirations and goals. I would be more than happy to act in those kinds of movies. We can reach a lot of people through cinema.”
As with many Kurdish children in Turkey, being born to a Kurdish family didn’t mean Odabasi grew up speaking Kurdish. Tough laws have always banned the Kurdish language in that country. She had to take courses in Kurdish and get a certificate.
“My Kurdish is good now. I finished the language course successfully and got a certificate. I had the lead role in Querej [Gypsy] and spoke all the Kurdish parts myself.”
Zilan Odabasi hopes to one day play the famous Kurdish MP Leyla Zana, who went to prison for ten years for merely speaking a few sentences in Kurdish in the Turkish parliament. Odabaşı admires Zana as a brave and dignified woman.
“If one day someone wants to make a movie about her life, I would be happy to play Zana,” said Odabasi. “She is from Diyarbakir, like me, and has a special place in my heart. There are many other Kurdish women besides Zana who have struggled and have become historic figures in the Middle East. I am proud of them.”
Kurds have always appeared in Turkish cinema, but Odabaşı isn’t happy with the types of roles they have been given. “Generally, Kurdish actors have played the roles of servants, villagers, murderers, and ignorant, comic, and naïve people.” she said. “I believe they portray the Kurds in the cinema they way they perceive and see them.”
She compares the role of Kurds in the Turkish cinema to that of African Americans in the American cinema. “The same thing somehow exists in American cinema, where negative or funny roles, thieves, murderers, and rapists are acted by African Americans,” said Odabasi.
However, Odabasi believes that the emergence of several Kurdish filmmakers has helped change the ways Kurds are generally seen, and now many people know that Kurds are, in reality, not the way they’ve historically been portrayed to be.
“There’s a new phenomenon in Turkish filmmaking: if someone in Turkey wants to make a serious movie, he’ll try to portray the Kurds objectively,” she said.
As an actress Odabasi believes that, in Turkey, some actors and actresses hesitate about revealing their Kurdish identity as they may face discrimination in the movie industry as a result of it; Kurds generally are discriminated against in that country, no matter their professional field.
“Prejudice exists in Turkey in all areas of life. When there is a social conflict, the way you’re treated is based on your ethnic identity. Art should not cover up and deny the truth and realities,” she said. “For example, when [Kurdish director] Yilmaz Guney was acting in movies, he was given trivial and simple roles. But when he wrote scripts and made his own movies and showed the reality [of life in Turkey], he drew the attention of the whole world.”
As a Kurdish woman, and because of her Kurdish name, Zilan Odabasi has experienced discrimination since she was a child. “When I was at elementary school, I had to face a lot of difficulties and injustices because of my name. But I never took it seriously. In cinema I haven’t come across any problems because of that. But I don’t know what is said behind my back and behind closed doors,” she said.
Odabasi is currently studying radio and TV journalism, and she says that she has dedicated herself fully to her studies. She is also taking Kurdish and Persian language courses and reading books in those languages whenever she gets a chance, she says.
About the possibility of a role in a movie in Iraqi Kurdistan, Odabasi says that she would be happy to participate, so long as the movie is up to her standards. “I would say yes happily,” she said. “I would take part in any serious movies with a Kurdish character.”
Bollywood teen icon Genelia D’Souza is too busy these days with her films IT’S MY LIFE, HOOK YA CROOK and URUMI. In Kolkata to launch Nocturne lounge, the actor tells our correspondent that she won’t change her mad self for anything.
How will you define yourself as a person?
I am a person who loves to chill out more than anything else. I spent my entire college life at Cafe Coffee Day at Carter Road (Mumbai). Even today, I have not changed my lifestyle; I still walk my way from home to the cafe, though now at times, it’s a bit difficult because of my hectic schedules.
And also, because people recognize you?
Yes. But unlike other stars, I thoroughly enjoy it. I get super-excited when someone calls me by my name. I too scream back: ‘Aiyeee’. I know, at times, this creates confusion. So I try not to do my mad things all the time.
Tell us about your childhood days.
I grew up in Bandra. I am a complete sportsgirl; I have played everything-from basketball to hockey…the Joggers Park has so much been a part of my life because of my trainings. Not many people know that I am a state-level athlete. People used to call me a tomboy, though I used to say that I am a tomboy with a feminine side, though even I don’t know what that means. (Laughs) I am a mad girl…fully.
How did Bollywood happen to you?
One day I got a call from Ramoji Rao saying he is doing a Hindi film called TUJHE MERI KASAM and wants to launch me! Now, it was bad enough that I got into modeling because I was from a family who has no clue about the glamour world. And films were something I couldn’t even thought of attempting; first because, I was clueless about acting. And then, in my family, films were like ‘No no no, it is a bad world and we can’t get into it…blah blah blah.’ And these guys kept calling me for a month-and-a-half. Then, my mom said this is an opportunity and that I should try it out. I always have the option to quit if I am not happy with it.
So are you happy the way your acting career has shaped up in Bollywood as well as in South?
I am totally satisfied. I had a peak, I had a fall, and I have a peak again. But I was never out of work. However, my worst phase taught me a lot. When I am in a hit phase now, I know things can go down. I am really lucky that I got accepted in four industries (Hindi, Tamil, Telugu and Malayalam).
You are mostly projected as a young, bubbly, chirpy girl. Are you happy with your image?
Absolutely. I am young, fun-loving. I don’t want people to know me as someone who is very reserved and serious type, because I am not.
What is the best thing you got yourself after becoming a star?
My Bandra apartment. I love bright colours and decked it up accordingly. You will find a red living area, an orange-and-white study-cum-gym, a blue-and-pink bedroom. My home reflects my vibrancy.
Birth Date: November 8, 1935
Birth Place: Sceaux, Hauts-de-Seine, France
The product of a broken home, Alain Delon had a stormy childhood. He was frequently expelled from school. During the early 1950s he was a paratrooper with French Marines in Indochina. In the mid-’50s he worked at various odd jobs including waiter, salesman and porter in Les Halles market. He decided to try an acting career and in 1957 made his film debut in Yves Allégret’s Quand la femme s’en mêle (1957). He declined an offer of a contract from producer David O. Selznick, and in 1960 he received international recognition for his role in Luchino Visconti’s Rocco e i suoi fratelli (1960).
In 1961 he appeared on the stage in “‘Tis a Pity She’s a Whore”, directed by Visconti, in Paris. In 1964 he formed his own production company, Delbeau Productions, and he produced a short film directed by Guy Gilles. In 1968 he found himself involved in murder, drug and sex scandal that indirectly implicated major politicians and show-business personalities, but he was eventually cleared of all charges. In the late 1960s he formed another company. Adel Film, and the next year he began producing features. In 1981 he directed his first film, Pour la peau d’un flic (1981).
Delon was a sensation early in his career; he came to embody the young, energetic, often morally corrupted man. With his breathtaking good looks he was also destined to play tender lovers and romantic heroes, and he was a French embodiment of the type created in America by James Dean. His first outstanding success came with the role of the parasite Tom Ripley in ‘Rene Clement”s sun-drenched thriller Plein soleil (1960). Delon presented a psychological portrait of a murderous young cynic who attempts to take on the identity of his victim. A totally different role was offered to him by Visconti in Rocco e i suoi fratelli (1960). In this film Delon plays the devoted Rocco, who accepts the greatest sacrifices to save his shiftless brother Simon.
After several other films in Italy, Delon returned to the criminal genre with Jean Gabin in Mélodie en sous-sol (1963). This work, a classic example of the genre, was distinguished not only by a soundly worked-out screenplay, but also by the careful production and the excellent performances of both Delon and Gabin. It was only in the late 1960s that the sleek and lethal Delon came to epitomize the calm, psychopathic hoodlum, staring into the camera like a cat assessing a mouse.
His tough, ruthless side was first used to real effect by Jean-Pierre Melville in Le samouraï (1967). In 1970 he had a huge success in the bloodstained Borsalino (1970)–which he also produced–playing a small-time gangster in the 1930s who, with Jean-Paul Belmondo, becomes king of the Marseilles underworld. Delon later won critical acclaim for his roles, against type, in Joseph Losey’s Mr. Klein (1976) in which he played (brilliantly) the icily sinister title role, and the art-movie Un amour de Swann (1984). He has an older son Anthony Delon (who has also acted in a number of movies) from his first marriage to Nathalie Delon, and has a young son and daughter, Alain-Fabien and Anouchka with Rosalie.
Based on the most common interpretation of the storyline, the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue (see also Structure, below). If the evenings of each episode were joined with the morning of the respective preceding episode together as a day, they would form seven consecutive days, which may not necessarily be the case.
La Dolce Vita (Italian for “the sweet life” or “the good life) is a 1960 Italian comedy-drama film written and directed by Federico Fellini. The film follows Marcello Rubini, a journalist writing for gossip magazines, over seven days and nights on his journey through the “sweet life” of Rome in a fruitless search for love and happiness. La Dolce Vita won the Palme d’Or (Golden Palm) at the 1960 Cannes Film Festival and the Oscar for Best Costumes, and remains one of the most critically acclaimed films of all time.
La Dolce Vita
Directed by: Federico Fellini
Starring: Marcello Mastroianni, Anita Ekberg, Anouk Aimée, Yvonne Furneaux, Magali Noël, Alain Cuny, Nadia Gray
Screenplay by: Federico Fellini, Ennio Flaiano, Tullio Pinelli, Brunello Rondi, Pier Paolo Pasolini
Cinematography by: Otello Martelli
Film Editing by: Leo Catozzo
Music by: Nino Rota
Running Time: 174 minutes, 180 minutes (US)
Studios: Cineriz (Italy), Pathé Consortium Cinéma (France)
Release Dates: February 5, 1960 (Italy), April 19, 1961 (United States)
Fox Searchlight wanted Tom Hardy to play the male lead in the adaptation Animal Rescue last month. Today, there is a word that the actor is in final talks to star, with the studio offering the female lead to Noomi Rapace. It isn’t known if The Girl with the Dragon Tattoo star plans on accepting the offer or not.
Dennis Lehane wrote the adapted screenplay, based on his own short story. The plot centers on a bartender who rescues a pit bull from a garbage can, and gets caught up in a vast criminal conspiracy at the mafia-controlled bar he works at. No details were given for the female lead character. Although the short story is set in Boston, like most of Dennis Lehane’s stories, the adaptation will take place in New York City.
Michael R. Roskam (Bullhead) is directing, with Peter Chernin, Jenno Topping, and Mike Larocca producing. Fox Searchlight is eyeing a March start date for the adaptation. Animal Rescue comes to theaters in 2012 and stars Tom Hardy, Noomi Rapace. The film is directed by Michael R. Roskam.