26 February 2009

Patrik 1,5 (2008)


Patrik 1,5 (2008)

Year: 2008
Genre: Comedy, Drama, Romance

Rating: 6.6/10

Director: Ella Lemhagen

Duration: 100 min (Toronto International Film Festival)

Country Sweden


Actors: Gustaf Skarsgĺrd, Torkel Petersson, Thomas Ljungman, Annika Hallin, Amanda Davin, Jacob Ericksson, Anette Sevreus, Mirja Burlin, Antti Reini, Marie Delleskog, Johan Kylén, Kristian Lima de Faria, Karin de Frumerie, Anders Lönnbro, Ĺsa-Lena Hjelm



Ovaj film definitvno opovrgava moje mišljenje da gay parovi ne bi trebalo da imaju mogućnost da usvajaju djecu! U Švedskoj da, al ne i kod nas!
Nismo mi šveđani ni po mentalitetu ni po ponašanju! Pa zamislite jadno dijete u tom okruženju. U školi bi mu se rugali tate su ti pederi, komšije bi ga gledale kao jadnog bolesnika koga su roditelji zarazili pederizmom, a " roditelji" bi nemoćno svo to posmatrali.

Definitivno sam protiv toga da pederi mogu da usvaju dijecu u bilo kojoj od Balkanskih država uključujući i Sloveniju! I tamo je većina tata porijeklom sa Balkana, mada su malo više emancipovani od nas ostalih južnjaka!

Jedan moj drug mi je jednom prilikom rekao : Ja bih sve te pedere jebao , ne bi ima palo na pamet da usvajaju djecu i prave brakove! ( treba li napomenuti da je str8) Ja mu odgovorih, sve je to u redu, al pazi de ne zatrudne! Naravno on pojma nema o meni i samo smo se nasmijali!
Čak i neki pederi ne shvaćaju pedere! Bio sam u vezi sa jednim podgoričanionom!
Preko neta je komunicirao sa jednim likom koji me je opanjkavao koliko god je mogao! I ovaj da bi mu se osvetio što me toliko ogovara sjedne u autobus i pravo kod njega!
Kada sam sve to otkrio pitao sam ga zašto je to uradio. Odgovorio mi je da mu se osvetim, izjebao sam ga!
Ostao sam u čudu i rekao vjerovatno želi da mu se osvetiš još koji put!

A kako je to u Švedskoj vidite u ovom filmu. Kao da je na nekoj drugoj planeti! Pederi koji su se vjenčali odluče da usvoje dijete i to na sva glas razglase i komšiluku i rodbini i prijateljima!


A charming and ultimately uplifting film with affecting scenes, humorously awkward moments, and a serious subtext. Nuanced and believable acting by Gustaf Skarsgĺrd and Torkel Petersson as the married couple at the center of the story; the homosexual relationship is handled in a straightforward and skillful manner. There is a scene involving a policeman and a safety zone that elicits laughter but feels contrived. Patrik Age 1.5 is predictable in terms of where it is going, but it is one of those films in which the journey—not the destination—is what matters.
Goran and Sven have been cleared for adoption and they have a possibility to adopt a Swedish orphan, Patrik 1,5. But when Patrik arrives he turns out to be someone else, not the little boy they were expecting. A comma had been misplaced, and in comes a 15-year-old homophobic with a criminal past.


Author: johno-21 from United States

I saw this last month at the 2009 Palm Springs International Film Festival. Based on a play by Michael Drucker and adapted for the screen by writer/director Ella Lemhagen this is the story of a gay couple living in white picket fence suburban neighborhood run by a homeowners association and populated by an all straight community. Goran Skoogh (Gustaf Skarsgard) and Sven Skoogh (Torkel Petersson)ave taken a singular surname, complete with wedding rings and a marriage but they want to adopt and raise an infant child to round out their marriage and live as a family.

They have been put on a long waiting list to find a child they can raise from a baby and finally one becomes available. Or so it seems. A typing error that should have read Patrik, age 15 has been mistyped by the social service agency as Patrik 1,5. Believing they are about to bring into their lives an year and half old infant they are shocked to discover their baby is actually 15 years old, homophobic and with a history of delinquency and violence. Sven was once in a straight relationship and has an ex wife and a teenage daughter. He is hesitant of raising any child again let alone a ready-made troubled teenager. Goran wants a baby desperately but can see the good and discovers he can help bring out the good in Patrik (Thomas Ljungman). Nice cinematography from Marek Wiesner and production design from Lene Willumsen which give the film a rich textured look. It's a good cast withe some interesting peripheral characters. It's not an edgy film but is light and humorous with a some touches of drama without coming across as a message movie and it has an appeal to a general audience. I liked it and would give it an 8.5 and recommend it.





Laundromat (2008) Short

Laundromat (2008)


Director: Edward GunawanWriter: Edward Gunawan (screenplay)
Genre: Short movie
Country: USALanguage: EnglishDuration: 13 minYear: 2008



Stars: Keo Woolford, Prince Gomolvilas, Jack Ong, Calpernia Addams, Ron Alexander, Andrea James, Rick Ramos, Gina Leslie, Anna Beauchamp, Evan Tensing, Binh Nguy










Ovaj kratki film sam odgledao u sklopu neke kolekcije kratkih filmova skinute sa neta.
Često nam je potrebno da nam neko otvori oči kako bi u sred šume ugledali drveće. Dešava li vam se da se svađate sa nekim zbog nekih banalnih razloga koji većini ljudi mogu biti smješni. Ljudi se često svađaju zbog različitog razumjevanja riječi i načina na koji ih upotrebljavaju.
Smijao sam se jednom liku kojeg sam otvoreno pitao oćemo li da se jebemo? Pogledao me je zaprepašćeno i rekao: Ja se ne jebem.
- Sjećam se prije dva mjeseca kada smo se zadnji put sreli ti to nisi radio.
Na to mi je rekao: Tada smo imali sex i nismo se jebali.
Pa zar nije sex i jebanje isto?
A on: jebanje je kada nekog jebeš, a sex je kada se maziš, ljubiš i pušiš ...
Nasmijao sam se i rekao: ajmo onda da imamo sex pa da se nakon toga pojebemo!
Ponekada se ljudi jednostavno ne razumiju i ne obraćaju pažnju na male stvari koje nekome mnogo znače a dugome ne znače ništa!
Obratite pažnju na znakove koje neko ostavlja iza sebe!
U ovom filmu možete videti kako jedno iznenadno poznanstvo može da vam promjeni dan.

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Set in a neighborhood laundromat, "Laundromat" is a Romantic drama-edy that follows a young gay couple, who after a chance encounter with an older man, realize that the little things mean nothing and everything when it comes to love.

25 February 2009

Milk (2008)


Milk (2008)




Year: 2008
Genre: Drama, Biography

Rating: 8.0/10

Director: Gus Van Sant

Duration: 128 min

Country: USA


Actors: Sean Penn, Emile Hirsch, Josh Brolin, James Franco, Diego Luna, Alison Pill, Lucas Grabeel, Victor Garber, Denis O'Hare, Joseph Cross, Howard Rosenman, Brandon Boyce, Kelvin Yu, Stephen Spinella, Ted Jan Roberts








Da nisam pogledao vjesti na B92 ne bih ni znao da na ovom blogu nema ovog filma. ranije sam o ovom filmu pisao na sajtu koji je na žalost ugašen antigay rukovodstvom ning.com.
Diskriminacija dakle postoji i kod njih "tamo" A o kakvoj se diskriminaciji radi kod nas, pogledajte nasviježiji primjer iz Sava centra u Beogradu:




Razumijem mnoge koji nemaju hrabrosti da se suprostave ovakvim diskriminatorskim ponašanjem jer se boje za svoju egzistenciju! Postoje načini i za takve ljude da se ipak suprostave širenju homofobije u društvu. Jedan od njih je i ovaj blog! Ima mnogo sajtova slične sadržine pa dajte svoj komentar i glas za očuvanje osnovnih ljudskih prava! Svaka ćast ovima iz Gay Alijanse!
A oni koji se ipak ne smiju javno pojavljivati na sličnim skupovima mogu se boriti malo glasnije protiv svih vidova diskriminacije, jer nisu samo homofobičari zlikovci koji ugrožavaju ljude koji su drugačije vjeroispovjesti, rase, seksualne orjentacije isl
Imamo regularne parlamentarne izbore, pa treba pratiti koji su to ljudi koji direktno ugrožavaju osnovna ljudska prava! Za njih nemojte glasati. Jedino tako će te doprinijeti da se takav ološ više ne pojavljuje u prlamentu i utiču na društvo u cjelini!
A kako ko komentariše u Srbiji pogledajte ovde: http://www.b92.net/info/vesti/index.php?yyyy=2009&mm=02&dd=25&nav_id=346940

Kako se svojevremeno glasalo i borilo za ljudska prava u Americi pogledajte u filmu Milk!


VARIETY.COM
By
TODD MCCARTHY

After five years spent working on the more experimental fringe, Gus Van Sant fluently returns to the relative mainstream with “Milk,” an adroitly and tenderly observed account of the life of Harvey Milk, the first openly gay man voted into significant U.S. public office. Smartly handled study of the San Francisco politician’s powerful effect on individuals and society accurately catches a moment in American political life three decades ago, but is most notable for the surprising and entirely winning performance by Sean Penn in the leading role. Almost the definition of a specialized audience film, this Focus release looks to perform strongly in urban and university-adjacent areas but will have trouble crossing over to a public not into gay, political and social-vanguard issues. Commentators will not fail to note certain parallels with the current political season, encapsulated by its hero’s parting line, “You gotta give ‘em hope.”

Van Sant has always gravitated toward transgressive outcast characters, and none of them traveled so far from the margins into the status quo, or had such convulsive impact, as the real-life Harvey Milk, a New Yorker who, at 40, moved to San Francisco and broke down a significant sociopolitical barrier before being assassinated by a disturbed fellow politician. The normalizing demands of the biopic genre necessarily squeeze the director into a more recognizable format than he has employed since at least “Finding Forrester” eight years ago, and it’s possible that the most ardent fans of his variously beautiful and aggravating subsequent works -- “Gerry,” “Elephant,” “Last Days” and “Paranoid Park” -- will find this one too conventional.

But while “Milk” is unquestionably marked by many mandatory scenes -- the electioneering, outrage at conservative opposition, tension between domestic and public life, insider politicking, public demonstrations, et al. -- the quality of the writing, acting and directing generally invests them with the feel of real life and credible personal interchange, rather than of scripted stops along the way from aspiration to triumph to tragedy. And on a project whose greatest danger lay in its potential to come across as agenda-driven agitprop, the filmmakers have crucially infused the story with qualities in very short supply today -- gentleness and a humane embrace of all its characters, even of the entirely vilifiable gunman, Dan White.

Enormously researched script by Dustin Lance Black (“Big Love,” the indie feature “Pedro”) begins in November 1978, with Milk presciently tape-recording some personal reflections, driven by the awareness that he could easily become the victim of a political assassination, which he in fact was later that month. “Almost everything I did was with an eye on the gay movement,” he admits, and so it is when, in jumping back to 1972, Harvey moves with b.f. Scott Smith (a frizzy-haired, sweet-smiling James Franco) from Gotham to Baghdad by the Bay, determined to do something meaningful with his hitherto uneventful life. The opening stretch fleetly documents the role Harvey and a small group of gay buds, who hung out at Harvey’s Castro Camera shop, played in transforming the Castro district from an unremarkable working-class neighborhood into the gay Mecca it shortly became.

The banter flies easily among these bright young men, who form the nucleus of Harvey’s activist political organization when he runs for office and loses three times, twice for the San Francisco Board of Supervisors and once for California State Assembly. Warm but boldly assertive at all times, Harvey builds a strong support system in the Castro, becomes allied with new S.F. Mayor George Moscone (Victor Garber) and, against the backdrop of propagandist singer Anita Bryant’s campaigns to repeal gay rights in Florida and elsewhere, takes advantage of new city redistricting to finally win a seat on the Board of Supervisors in 1977.

At this point and beyond, especially during the fight against the attempt by California State Senator John Briggs (Denis O’Hare) to ban gays from teaching in public schools, the film does become overweighted by real and re-created TV reports and docu-like material (actual homemovies and vintage reportage are fluidly mixed with newly shot footage throughout) and rooted in specific issues at the expense of the personal.

In fact, the pic’s least satisfactory interludes are devoted to Harvey’s last important lover, Jack Lira (Diego Luna), a footloose young Mexican who never comfortably coexists with the long-established inner circle. One can surmise there was a strong sexual bond that kept them together, but as Jack increasingly complains about his partner’s busy schedule, he quickly becomes an annoying character, the only person who creates a drag on Harvey’s energy and focus. More insight into this needy, immature fellow would have helped.

By contrast, another street kid picked up by Harvey, the amusingly brash Cleve Jones (Emile Hirsch), proves a constantly vibrant presence as he evolves into a crucial ally and movement leader. The lone woman of consequence, “tough dyke” Anne Kronenberg (Alison Pill), comes aboard to run the successful fourth campaign, while resistance to Harvey’s upfront style is unexpectedly provided by the Advocate publisher David Goodstein (Zvi Howard Rosenman).

But the most surprising, and suggestively inflected, exchanges occur between Harvey and his eventual killer. The city supervisor from a traditional working class district, clean-cut jock Dan White (Josh Brolin) seems distinctly uncomfortable around Harvey; his knee-jerk impulse is to coldly rebuff him, and he believes his Catholicism, and the disposition of his constituents, requires him to counteract Harvey’s gay agenda.

But he is at other times remarkably solicitous, inviting only Harvey, among all the other supervisors, to his son’s christening, and indulging in political horsetrading with his erstwhile opponent (“I think he may be one of us,” Harvey winks to one of his cronies). The pic reveals Harvey’s own unwittingly fateful betrayals of Dan.

But arguably the film’s best scene is between Harvey and Dan in an otherwise empty foyer; an inarticulate plea for understanding in the form of a drunken rant by Dan, the exchange oozes a complicit vibe between the two men, all but confirming Harvey’s earlier suspicions. Brolin’s work is superlatively expressive of the inchoate impulses roiling inside his sorry character.

But good as most of the cast is, the show belongs squarely to Penn. Made to more closely resemble Milk via an elongated nose, which also makes his face look narrower, the actor socks over his characterization of a man he’s made to seem, above all, a really sweet guy, but who crucially possessed the fearlessness and toughness to be a highly successful political motivator, agitator and, ultimately, figurehead of a movement. Penn’s Harvey is a man with a ready laugh, alive to the moment, open to life regardless of neuroses and past tragedies, and acutely aware of one’s limited time on Earth. The explosive anger and fury often summoned by Penn in his work is nowhere to be seen, replaced by a geniality that is as welcome as it is unexpected.

Penn is also an ideal conduit for a characteristic shrewdly underlined in Black’s writing, that being Harvey’s talent for gently but firmly nudging people out of routine or complacent attitudes. Harvey knows how to tweak others with lightly provocative or stimulating comments that break the ice, and Penn lays on just the right amount of casual innuendo to make this crucial personality trait convincing.

Re-dressed to assume its more humdrum look of 30-plus years ago, the Castro represents itself with absolute authenticity; even Castro Camera has been re-created in the precise storefront location it occupied at the time. If anything, Van Sant and his team, including cinematographer Harris Savides, who so strikingly helped David Fincher evoke the same city and general era in “Zodiac,” have downplayed ostentatious period manifestations in costuming, production design and music in a bid to make a naturalistic film with a lived-in look.





17 February 2009

Alkali, Iowa (1996) short 17 min



Alkali, Iowa (1996)





Year: 1996
Genre: Short
Rating: 8.4/10
Director: Mark Christopher
Duration: 17 min
Country USA


Actors: J.D. Cerna, Mary Beth Hurt, Edward Seamon, Ellen Hamilton Latzen, Kent Broadhurst, Greg Villepique, David Taylor, Dan Sperl, Victoria Doyle, Ryan Tooher, Michael 'Rodi' Rodia, Jonathan Berger, William Creitz, George Brophy, Charly Lum







Zadnjih dana malo češće postam na blogu jer sledeće sedmice idem na put! Uh kako mrzim seminare! Kako radim u strogo muškoj str8 sredini ponekad mi bude naporno nadjačavati se sa kolegama! U svjetu gdje je kompeticija jedan od glavnih pogonskih goriva za uspjeh uvijek moraš biti ispred većine, kako po znanju tako i po svemu ostalom, uključujući i muškost. Ne žalim se, uspješan sam u svim poljima ali ponekad poželim malo opuštanja bez razmišljanja šta reči, naprosto da ja budem JA.
Al to je cijena koju moraju da plaćaju svi oni koji kriju drugu stranu sebe! Uobičajeno na balkanu, mada ne vidim da je drugačije i drugdje !
Ovaj film nam otkriva tajnu bukvalno zakopanu sa malim kovčegom ! U svjetu kaubojskog mačizma Jack Gudmanson otkriva sebe ali još po nešto....

Kada smo već kod ovog filma, volio bih da i kod nas ima neko mjesto gdje će može pronaći poneki zgodni kauboj sa ili bez kamioneta! heh

English:

On his family's farm in rural Iowa, young Jack Gudmanson is wrestling with his sexual identity, not an easy thing to do in the macho world of the Midwest. But things become clearer for him when he discovers via a rusty old lunch box filled with gay magazines that his father, killed in Vietnam, led a double life down on the farm. But as liberating as the discovery is for Jack, it is painful for his grandfather and mother, who have tried for years to keep it a family secret. Now Jack must decide whether to share this new information with his younger sister or allow it to remain buried a while longer.



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16 February 2009

Love Is the Devil: Study for a Portrait of Francis Bacon (1998)


Love Is the Devil: Study for a Portrait of Francis Bacon (1998)




Year: 1998
Genre: Biography, Drama

Rating: 6.7/10

Director: John Maybury

Duration: 90 min

Country UK, France, Japan



Actors: Derek Jacobi, Daniel Craig, Tilda Swinton, Anne Lambton, Adrian Scarborough, Karl Johnson, Annabel Brooks, Richard Newbould, Ariel de Ravenel, Tallulah, Andy Linden, David Kennedy, Gary Hume, Damian Dibben, Antony Cotton










Slike Francis Bacona mi se definitivno ne dopadaju, nekako su u potpunom haosu, izgledaju mi kao noćna mora odsanjana u poslijepodnevnom snu.
A gledajući ovaj film vidim i zašto je tako! Pa život ovog idiota je isti kao i njegove slike. Glumi ga jezivo aseksualni Derec Jacobi koji izgleda kao da je upravo došao na dopust iz paklenog devetog kruga! A ko mu je ljubavnik? Daniel Craig, moj miljenik iz filma Infamous (2006). Ni on pored ovog mučenika ne izgleda kako inače izgleda! A i ko bi mogao biti normalan pored Francis Bacona?! Bacon opsjednuti mazohista kao da je potajno priželjkivao da okonča od ruke svog ljubavnika George Dyera (Daniel Craig). Ali vjerovatnije je bilo da će nesretni depresivni George sam sebi prekrati muke zbog haosa koji mu stvara mazohistički nastrojen Bacon.
Dyer je izvršio samoubistvo trovanjem tabletama 1971. godine.
Bacon se smatra jednim od nacjenjenijih Britanskih slikara. Moglo mu je i biti jer u njegovo vrijeme , a i danas, sve što je nerazumljivo smatra se umjetnošću. Iako je bio peder koji je obožavao muško tjelo nikada ga nije uspio realno i nacrtati. Al u njegovim apstrakcijama se da naslutiti okovana muška snaga, koja bi ga kada bi izašla iz kaveza najradije isprebijala dok ne bi svršio uživajući u sopstvenom poniženju!
Eto toliko od mene, bez ljutnje ne možemo biti svi ljubitelji apstrakcije, posebno ne Baconove!
Uh nisam izdržao , a da ne stavim sliku Daniela Craiga, golog u kadi! Eh da mi se uvaliti kod njega!

VARIETY.COM
By DAVID ROONEY

Unconventional, audacious and uncompromising in every sense, John Maybury's "Love Is the Devil" is a very personal interpretation of the destructive relationship between British painter Francis Bacon and his lover and muse, George Dyer. This provocative film's unflinchingly unsympathetic portrayal of the artist -- ferociously played by Derek Jacobi -- and its often distancing, experimental style, make it clearly an item for niche audiences. But it nonetheless looks certain to become a talked-about release backed by plenty of critical heft, and a benchmark for future films about artists.

Presumably unable to obtain permission from Bacon's estate to use his work, Maybury instead has developed a visual style that approximates his morbid, horrific images in boldly inventive ways. Many films in recent memory -- including Maurice Pialat's "Van Gogh," Julian Schnabel's "Basquiat" and "Caravaggio" by late Maybury crony Derek Jarman -- have to some degree incorporated their subject's painting style into their approach. But the fusion here between Bacon's work and Maybury's portrait of him goes much deeper, showing a filmmaker with startling control.

Opening with Bacon's crowning success, a 1971 retrospective at the Grand Palais in Paris, the film backtracks seven years to recount his meeting in London with Dyer (Daniel Craig) a small-time criminal from the lower-working-class East End. Dropping through a skylight to rob Bacon's studio, Dyer instead is ordered by the painter to remove his clothes, come to bed and then take what he wants. He does as instructed and becomes Francis' "new tart," soon being introduced to the coterie of bitchy friends with whom he carouses at Soho's Colony Room and whom the painter describes as "the concentration of camp."

Bacon's sexual proclivity for masochism -- conveyed with great restraint by Maybury -- is matched by his emotional sadism, which is put on hold during the relationship's early stages as he relishes his lover's mix of amorality and innocence. But as time passes, his contentment seems to fade. He begins belittling George in public for his lack of sophistication, locks him out while he entertains other rough trade and is scornfully dismissive about his suicide attempts.

Jacobi's remarkable performance depicts Bacon as supercilious and cruel but also quietly appalled by his own life and behavior. He clearly loves George, but while able intermittently to acknowledge this to himself and select friends, he's unwilling to express his feelings to his partner.

Increasingly more locked into drug- and alcohol-induced altered states, George finally does kill himself, as Francis is toasted at the exhibition in which his lover is the subject of some of the most celebrated paintings. The contrast between Bacon's derision when David Hockney offers his condolences and his private grief -- shown succinctly in a desolate opening shot -- makes the artist both a monster and a tragic figure.

Echoes of Bacon's art are everywhere in cinematographer John Mathieson's swimming, distorted visuals and grotesque, up-close angles, as well as in specific constructs: a mirrored triptych as Bacon applies makeup, a seafood dinner, tortured sexual couplings and George's pained visions of a bloody, agonized body. The unsettling tone of the material carries through to Ryuichi Sakamoto's dense soundtrack of music, droning and noise.

Known mainly for his work in the BBC drama "Our Friends in the North," Craig has a role is no less central than Jacobi's, and he creates a poignant figure from the sexy lout whose destiny to be discarded is predicted early on by his roughneck friends.
Supporting cast also is on-target, especially the circle of Soho vipers, spitting out their barbs with great aplomb. Leader of the gang is an almost unrecognizable Tilda Swinton, hilarious as the acerbic lesbian den mother.

The film is dedicated to Bacon's friend and biographer Daniel Farson, who wrote what is considered the definitive tome on the artist, "The Gilded Gutter Life of Francis Bacon," and served as consultant here prior to his death.





Soldier's Girl (2003)



Soldier's Girl (2003)



Year: 2003
Genre: Drama
Director: Frank Pierson
Duration: 112 min
Country USA, Canada


Actors: Troy Garity, Lee Pace, Andre Braugher, Shawn Hatosy, Philip Eddolls, Merwin Mondesir, Dan Petronijevic, Mike Realba, Jeanie Calleja, Barclay Hope, Tulsi Balram, Vince Corazza, Kathryn Zenna, Kent Staines, Sofonda







Stradao ni kriv ni dužan! Koliko ste puta čuli ove riječi?!
Šta je to što ljude tjera da pakoste drugima? Skoro svaki dan vidim osmjeh kod ljudi kada se nekome desi nešto naopako. Jeza me prođe kada čujem riječi:"E baš mi je drago što sam ga zajebao!" Vrlo su česte u Srbiji! Zar to ne bi trebalo da je sramota reći, a kamoli učiniti!?
Nikada to nisam razumio, kao što ne želim razumijeti ni mržnju, zavist, oholost itd
Jedna od stvari na koje sam izuzetno ponosan je što sam uspio da izbjegnem sve te naopake ljudske emocije!

Kada je to u pitanje branite svoju ljudskost svim sredstvima, ma šta vam govorili! Ako se prepustite tim nagovaranjma izgubiće te dijelić sebe samog! Prepoznajte ta ubjeđivanja i odbacite ih! Ne prihvatajte imperative tipa: mrzim pedere, mrzim cigane, crnce, srbe, hrvate, arape , nemce ili bilo koga! prepoznajte to i odbacite!
Ako vas to obuzme vratiće vam se ko bumerang! Tako je to u životu!

Ova priča ekranizovana po istnitom događaju nam priča o vojniku Barry Winchellu (Troy Garity) koji je želio da bude uzoran, poštovam , voljen, da voli i da bude srećan! U jednom baru se zaljubio u tranvestita Calperniu Addams ( Lee Pace ), jako stastveno i iskreno!

Pogledajte bar VISION u kojem je upoznao i obratite pažnju kakoje zaljubljeno gleda u zadnjem Calpernijem performansu.

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Zezati se sa trandžama je dozvoljeno, zabavne su, al zaljubiti se to je već strašno.
Kako se na to gledalo u sredini u kojoj je radio vidite u ovom tužnom filmu.

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Po meni film je odličan za prikazivanje u manje tolerantnim sredinama. Možda nekog natjera na razmišljanje o tome možemo li birati koga će mo zavoljeti? Zašto to osuđivati i šta ako je riječ o našem djetetu!? Treba li ga se odreći?



VARIETY.COM
By DAVID ROONEY

For at least half the running time of "Soldier's Girl," director Frank Pierson and screenwriter Ron Nyswaner's account of the killing at a Kentucky military base in 1999 of a G.I. emotionally involved with a transgendered nightclub performer is as pedestrian as telemovies come. But pic recovers in later reels, boosted by superior performances and a powerful final act. Sketching the relationship with persuasive integrity, the drama quietly builds a sense of indignation over policy regarding gays in the military and the inadequacy of mental health screening for soldiers trained to feed their aggression. Exposure at gay festivals seems certain in addition to a strong reception on cable.

The true story of unsophisticated, learning-disabled G.I. Barry Winchell (Troy Garity) and Calpernia Addams (Lee Pace), a Nashville drag entertainer en route to sexual reassignment, inevitably will draw comparisons with films like "Boys Don't Cry" and "The Crying Game." The fundamental difference here is that the ostensibly straight soldier is aware almost from the beginning that his lover started life as a man and still has some of the parts.





Pierson and Nyswaner ("Philadelphia") devote an inordinate amount of time to by-the-numbers scenes of grueling military training and to less-than-sensational drag numbers before focusing more intimately on the central relationship.




Dragged along for a laugh to a gay bar by a bunch of his airborne infantry buddies, Barry meets Calpernia and is immediately drawn to the exotic creature for her beauty and warmth. She in turn responds to his gentlemanly manner, marveling that a handsome straight boy would want to see her again. Despite confessing to being white trash underneath the makeup, Calpernia is an intelligent, sensitive woman, who prior to starting sex reassignment was a Navy combat medic during the Gulf War, with a higher rank than Barry.


As their tentative courtship overcomes some initial nervousness and progresses to sex and love, the relationship between Barry and his unbalanced, pill-popping roommate Fisher (Shawn Hatosy) also undergoes changes. Issues regarding Fisher's sexual identity and psychiatric problems and the exact nature of his closeness to Barry drive increasingly manipulative behavior designed to damage his friend.













15 February 2009

Infamous (2006)



Infamous (2006)



Year: 2006
Genre: Biography, Drama
Director: Douglas McGrath
Duration: 118 min (Toronto International Film Festival) | Croatia:118 min (DVD)
Country USA

Actors: Sigourney Weaver, Toby Jones, Gwyneth Paltrow, Mark Rubin, Steve Schwelling, Glover Johns Gill, Rey Arteaga, Justin Sherburn, Andrew Halbreich, Juliet Stevenson, Michael Panes, Hope Davis, Frank G. Curcio, Sandra Bullock, Isabella Rossellini
,
Daniel Craig, Lee Pace




"Reći ću ti šta je za mene kazna! Da se nadaš da je neko tu za tebe.I posle mnogo godina nađeš ga i ne možeš da ga imaš..."

Jednom sam se u Beogradu sreo sa jednim SMS likom. Odemo u kafić i pričamo o glupostima, kao da se znamo oduvjek! Prekinem ga i pitam: " Voliš li me?"
On sav pocrveni, skoči sa stolice , unese mi se u facu i prodere se: Zar ti misliš da sam ja peder?
A pisao mi svakave poruke. One pornografske, ali i one ljudske iz duše!
Nisam tada to razumio, mislio sam da je neki psiho! Al svi mi imao i tamnu stranu svoje ličnosti. Većina je zatvori u samicu, al poneko je pusti na svjetlo dana!



Oduvjek su me privlačili pomalo tajnoviti ljudi, postojani, čvrsti, karakterni, pojavom jaki i nadmoćni, u javnosti odmjereni a intimno osjećajni!
Ono što je fatalno je kada kod takvih ljudi ispliva ona mračna strana ljudske duše, koja pritajeno čeka da se ulovite u njenu zamku iz koje više ne možete pobjeći!




Poznati merički novelist Truman Capote je nakon što je pročitao vjest o hladnokrvnom ubistvu jedne porodice u Kansasu odlučio da ode na lice mjesta i pokuša da dokuči motive tog užasnog čina. Svojom karikaturalnom pojavom je svugdje izazivao podsmjeh onih koji ga ne poznaju. Niskog rasta i feminiziranog ponašanja teško je uspjevao da dopre do ljudi, ali je to svojom duhovitošću i inteligencijom prevazilazio.
Dekadentno okruženje u kojem je živio, lažni prijatelji, kvazikritičari novinari i tračari napravili su od njega izopačenu nakazu koja je jureći za novim tračevima zaboravila na strast i osjećajnost. Takav mu je bio pristup kada je stigao u Kanzašku nedođiju za novom pričom o hladnokrvnom ubistvu cjele jedne porodice.
Uspjeva da dopre do lokalnih ljudi i policajaca, tužioca i na kraju prisustvuje hapšenju ubica! Mladi, lijepi ,zgodni, al zastrašujuće hladnokrvni.
Al to i nije neka priča sama po sebi, te Truman odluči da pokuša da dopre do njihovih najdubljih tajni, prepunih emocija i srasti ne shvatajući da time razotkriva sebe samog!

Provodeći dane u zatvorskim ćelijama Peri Smit mu daje ultimatum, dače mu toliko željenu priču u zamjenu za iskrenost, osjećajnost i ljudskost koju mora ugraditi u knjigu !
Truman, vječiti manipulator, ovoga puta ne uspjeva da prevaziđe sopstvenu površnost i emotivno se vezuje za Perija osuđenog na smrtnu kaznu. Prije nego je otišao na vješala Peri mu je rekao:

Šta je kazna? Biti u zatvoru je kazna, a ne smrt. A nije ni smrt jer je bolnije živeti. Reći ću ti šta je za mene kazna! Da se nadaš da je neko tu za tebe.I posle mnogo godina nađeš ga i ne možeš da ga imaš...

Tu kaznu Truman nikada nije prebolio, nakon bestselera Cold Blood više nikada nije bio isti!

Često sam se pitao zašto mnogi ljudi koje sam sretao nisu bili spremni da me upoznaju. Za njih je površna priča i dobar seks bio maksimum koji su mogli da pruže! U pitanju je podsvjesni strah od vezivanja, jer kada osjetite tuđe emocije postajete dio njih! A dok ne zavirimo u njih ne možemo znati kakve su. Možete li zamisliti sebe da se emotivno vežete za ubicu koji dječaku prije no mu raznese glavu kaže: Obuci se, u podrumu može biti hladno!

Za ovaj film imate subtitle na našem jeziku, možete ga skinuti OVDJE.

VARIETY.COM
By DAVID ROONEY

Held back for a year to distance it from "Capote," which deals with the same period in the writer's life, "Infamous" inevitably won't escape comparison with the earlier film. Regardless of the liberties taken, there was an integrity and character-complexity to the 2005 release that's missing from this glossier biopic. Writer-director Douglas McGrath's boldest stroke is to impose a more overtly gay interpretation on a central relationship in which the attraction was generally supposed to be unspoken. Whether or not audiences buy into that, "Infamous" doesn't measure up to its predecessor and seems unlikely to echo the attention it received.

The key point of both "Capote" and "Infamous" is that while the seminal true-crime tome "In Cold Blood" made Truman Capote --giving him a level of fame and success far beyond that of his previous books or his social standing among the Gotham glitterati -- it also broke him. It's a central failing of McGrath's film that this bitter irony is stated but unfelt. In fact, pic delivers greater poignancy in author Harper Lee's acknowledgement of her failure to follow the success of "To Kill a Mockingbird."

Sandra Bullock's understated performance as Capote's friend Lee is a high point here -- wrapped in a cardigan and puffing on cigarettes, she creates a bracingly sturdy character of this plain-speaking, unfussy woman amid a cardboard gallery of flashy sophisticates.

In addition to its lighter tone, McGrath's attention to Capote's New York social circle is the chief difference between his film and director Bennett Miller and screenwriter Dan Futterman's more intimate portraiture. "Capote" focused more tightly on the writer's time in Kansas researching the killings of the Clutter family, and then on the protracted birth of his book, its development impacted by Capote's complex relationship with one of the murderers, Perry Smith.

To readers of the Capote biogs by George Plimpton and Gerald Clarke (respectively the basis for McGrath's and Miller's films) many of the anecdotes about the subject's insatiable taste for gossip and his fork-tongued wit will be familiar. The problem, however, is that McGrath has made an inherently artificial world even more artificial so his attempt to contextualize the Truman-Perry relationship feels empty. His reliance on the overused and intrusive docu-drama device of talking-head inserts (against a stylized Manhattan skyline) only amplifies this.

It's entertaining to watch Juliet Stevenson camping it up with her impersonation of Diana Vreeland (in production designer Judy Becker's meticulous recreation of the fashion maven's ornate apartment). But impersonation is exactly what it is. The parade of famous names playing famous names -- Sigourney Weaver as Babe Paley, Isabella Rossellini as Marella Agnelli, Peter Bogdanovich as Bennett Cerf, Hope Davis as Slim Keith -- is diverting but they're like glamorous wallpaper in a slick package. (The rich colors and sumptuous look of Bruno Delbonnel's lensing favor the city milieu over the Kansas plains.)

Only Gwyneth Paltrow is memorable in an arresting opening scene at El Morocco as a singer named Kitty Dean (clearly modeled on Peggy Lee). McGrath uses her fragility and Capote's rapt response to establish that sadness often lurks beneath the spotlight.

In the central role, British thesp Toby Jones is a good physical match for Capote, getting his flamboyant mannerisms and creepy, nasal voice down. But unlike Philip Seymour Hoffman's Oscar-winning turn, there's no texture, no under-the-skin sense of the conflict between Capote's ambition for his book and his compassion for, and attraction to, Perry.

McGrath leans hard for comedy in the fish-out-of-water scenario, with Capote flouncing into town like nothing Kansas had ever seen before (locals initially keep calling him "lady") yet refusing to modify his behavior. Some scenes, like his Christmas visit to the home of detective Alvin Dewey (Jeff Daniels in one of the script's more solidly drawn roles), play like a gay sitcom.

In a production that assembles its star roster regardless of the actors' appropriateness for their roles (Weaver is especially awkward), it seems apt that Capote wins over the locals with celebrity name-dropping. But as the tone grows darker, the drama's balance is thrown off.

Miscasting of the drifters responsible for the murders doesn't help. His sinewy physique and craggy good looks make Daniel Craig more of a natural for Dick Hickock than for Smith. The latter was documented as short and physically unprepossessing, shared traits that made Capote feel an instant affinity. With his delicate features, Lee Pace, who makes a sexy, surly Hickock, might have worked better. Vulnerability isn't Craig's strongest suit.

He's also stymied by ham-handed writing of the physical and emotional attraction between the two men. When Perry says things to Truman like "We really connected, didn't we?", the dialogue is out of character and context. Worse is a heavy-breathing prison-cell clinch in which Perry's anger with Truman turns from threatening to borderline sexual.

McGrath isn't clear on whether this is meant to have happened or to be a fabrication from the embellishment-prone writer and gossip. Either way, none of it rings true, making the subsequent execution scene -- which should be shattering -- and its emotional fallout for Capote play out at an unaffecting distance.







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