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Al Pacino À La Découverte Du Grandcinéma

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Al Pacino À La Découverte Du Grandcinéma 4 LA D5COU6ERTE DU GRAND CIN5MA GROS PLAN Novem bre 2009 I- THÈME DU MOIS : AL PACINO Tous les jeudi de novembre à partir de 20:40 et la journée spéciale du samedi 28 novembre. 9 films La fureur de jouer Avec s vo!" r #$#e% so& re' r( )er* &+ e+ so& +em ),r m e&+ ) ss!o&&,% A- P c!&o cr.ve -/,cr & (e)#!s ses )rem !.res )) r!+!o&s0 U&e )#!ss &ce !rr,s!s+!b-e $#! ++e!&+ so& ) ro"1sm e vec so& r2-e c#-+e ( &s Sc r3 ce « Sur le tournage du Parrain, chaque fois que je donnais la réplique à Marlon Brandon, je devais me retenir de rire tant cette situation me semblait improbable » raconte Al Pacino. Depuis, malgré son mètre soixante dix, l’acteur est devenu lui-même un géant doublé d’un disciple tout aussi emblématique de l’Actor’s Studio. Al Pacino a d rire aussi en découvrant dans le scénario du Parrain, qu’il porterait dans ce !ilm le nom du village natal de son père, un immigré sicilien qui divor"a de sa mère deux ans seulement après sa naissance # $e% &or' en ()*+. ,levé dans le -ronx c.e/ ses grands-parents, il découvre très 0eune que rien ne l’intéresse autant que de reproduire les répliques des acteurs qu’il voit # l’écran. 1oil# pourquoi, # l’2ge de (3 ans, il renonce # !aire des études classiques pour s’inscrire # la 4ig. Sc.ool o! Per!orming Arts o5 il ne restera que deux ans !aute d’argent ainsi que d’intérêt pour l’enseignement dispensé dans cet établissement. Suit une '6rielle de petits boulots comme coursier, caissier, livreur ou cireur de c.aussure qui n’entameront pas ses ambitions initiales pas plus que son éc.ec au concours d’entrée de l’Actor’s Studio. Dans une autre école de t.é2tre, Al Pacino rencontre 7.arlie 8aug.ton 9 # ne pas con!ondre avec le m6t.ique acteur cinéaste 9 qui deviendra son mentor ainsi qu’un ami précieux lorsque sa mère décède en ():;. <rappé d’insomnie c.ronique # la suite de ce mal.eur, il trouve quand même l’énergie pour développer ses dons d’acteurs, ce qui lui vaut quelques petits r=les au t.é2tre puis un second essai trans!ormé au concours de l’Actor’s Studio. Dès lors tout s’accélère > en ():? il re"oit successivement un @bie et un Aon6 A%ard pour ses deux premiers grands r=les au t.é2tre avant d’obtenir en ()3( son premier grand r=le au cinéma, celui d’un 0un'ie paumé qu’il incarne avec réalisme dans le Panique à Needle Park de Berr6 Sc.at/berg. De quoi attirer l’attention d’un certain <rancis 7oppola qui parvient # l’imposer sur le Parrain contre l’avis des producteurs qui, le trouvant trop petit et trop peu connu, penc.aient plut=t pour Cobert Ced!ord. Dé!initivement sorti de l’anon6mat avec son r=le de Dic.ael 7orleone, Al Pacino enc.aEne avec l’Epouvantail, autre !ilm culte qui décroc.era la Palme d’@r au <estival de 7annes. Pour cette deuxième collaboration avec Berr6 Sc.at/berg, !idèle aux préceptes de l’Actor’s Studio, il a c.oisi d’entrer dans la peau de son personnage de vagabond en !aisant du stop sur les routes pendant plusieurs semaines. Césultat > un réalisme aussi stupé!iant que son r=le suivant, celui d’un !lic opini2tre dans Serpico de Sidne6 8umetF encore un !ilm culte. Aout aussi cultes seront le deuxième volet du Parrain et Un après-midi de chien pour lesquels il retrouve successivement <rancis 7oppola et Sidne6 8umet. Puis il tourne Bobby Deer ield sous la direction de Sidne6 Pollac' et en compagnie de Dart.e Geller qui partagera longtemps sa vie sans passer toute!ois par la case mariage, !ormalité # laquelle l’acteur s’est tou0ours soustrait, même avec les mères de ses trois en!ants. Hn ()3), avec son r=le d’avocat !ougueux dans Bustice pour tous, il décroc.e sa 3e nomination aux @scars en 3 ans mais l’Académie lui pré!ère Dustin 4o!!man pour sa prestation dans Gramer contre Gramer. In éc.ec d’autant plus cruel qu’il avait re!usé ce r=le, con!irmant en cela un manque de !lair mani!este qui l’avait dé0# conduit # décliner ceux tenus par Dartin S.een, Cic.ard Jere, 4arrison <ord et Cic.ard Dre6!us, respectivement dans Apocal6pse $o%, 8es Doissons du ciel, 8a Juerre des étoiles et Cencontre du Ke t6pe L Hn revanc.e, l’acteur ne s’est pas trompé en acceptant d’incarner, dans le !car ace de -rian de Palma, l’un des parrains les plus c.arismatiques de l’.istoire du cinéma au point de devenir une ic=ne pour toute une génération. Ml sera moins c.anceux avec le "evolution de 4ug. 4udson, !ilm aussi ambitieux que maudit avec un tournage émaillé de calamités dont une vilaine pneumonie qui menacera sa vie. Avec le troisième volet du Parrain, Al Pacino !ait ensuite ses adieux # Dic.ael 7orleone avant de s’o!!rir une nouvelle moisson de r=les marquants avec Jlengarr6, de Bames <ole6, 8’Mmpasse, de -rian de Palma, et surtout #e $emps d’un %eek-end qui lui vaut en!in un @scar en ()); pour son personnage d’aveugle t6rannique qu’il interprète avec le mélange de !ougue et de réalisme qui caractérise son 0eu. N ce stade de sa carrière, de quoi peut-il rêver O Peut-être de tourner avec son ami Cobert de $iro qu’il a connu sur les bancs de l’Actor’s Studio. 7e cadeau, c’est l’excellent Dic.ael Dann qui lui o!!re avec 4eat, polar magnétique dans lequel il ne partagent cependant qu’une scène. 4 LA D5COU6ERTE DU GRAND CIN5MA Hn ()K?, sept ans après #’Ennemi public, Bames 7agne6 retrouve un grand r=le avec #es &n4'e Ls Aa uD( 5 iC'uOreUs6 sEalResT Eda nDsU lequel un caPd 0ouit de l’admiration sans bornes des gamins de son quartier, pour le plus grand désespoir de son ami d’en!ance devenu curé de la paroisse. In poil moralisateur, ce !ilm de Dic.ael 7urti/ n’en est pGasR mAoinNs D2p reC nIoNta5mMmAen t Ml peut aussi rêver de passer # la réalisation ou de rendre .ommage # S.a'espeare qu’il vénère, ce qu’il !ait de concert avec #ookin' )or "ichard, ré!lexion sur le métier d’acteur dans laquelle il montre, si cela était nécessaire, que sa présence # l’écran ne repose pas seulement sur son regard per"ant et la tessiture rauque de sa voix. Dès lors, # l’aube de la soixantaine, il lui reste surtout # trouver des r=les de qualité, ce qu’il !ait avec plus ou moins de bon.eur dans une !ilmograp.ie surtout marquée par des !ilms comme Do&&!e 7r sco, de Di'e $e%ell, *ity +all, de 4arold -ec'er et #’En er du dimanche, de @liver Stone, dans lesquels il interprète respectivement un ma!ieux minable, un politicien pugnace et un entraEneur sur le retour avec une égale conviction. Sans oublier d’autres réussites comme ",v,lations, de Dic.ael Dann, nsomnia, de 7.ristop.er $olan et Simone, de Andre% $iccol. Dernièrement, cQest plut=t la télévision qui a vu s’épanouir son talent avec la série !ngel"s in !merica, de Di'e $ic.ols, c.ronique des années sida dans la communauté ga6 qui lui permet d’a!!irmer ses idées libérales. Ine sensibilité progressiste qui l’a amené récemment # prendre ouvertement position pour -arac' @bama et motive aussi sans doute son envie d’incarner proc.ainement # l’écran un dé!enseur de l’eut.anasie. @n parle également de lui pour camper $apoléon et Salvador Dali, des personnages # la mesure de son génie qui n’a d’égal que sa modestie > alors qu’on lui demandait en !orme de plaisanterie quel titre il sou.aiterait pour un !ilm qui retracerait sa vie, il a répondu « #"$istoire de %ustin $offmann », clin d’Ril # l’époque o5 le public le con!ondait souvent avec cet autre géant de taille modeste L A &e ) s m &$#er > Le P- &8s9 R ))roc:,8s9 Un &près midi de chien avec les commentaires passionnés de Dom !&!$#e P!&o& le 0eudi ;: novembre # ;+>;S. LES ;ILMS (# m o!s : <e#(! = &ovem bre 2009 ;+>*+ L>E&3er (# (!m &c:e TA&1 G!ve& S#&( 1?, ())), d’@liver Stone, avec Al Pacino, 7ameron Dia/, Dennis Uuaid, Bames Voods, Bamie <oxx, 88 7ool B, Datt.e% Dodine ;K>(S R,vo-#+!o& TRevo-#+!o&?, ()?S, d’4ug. 4udson, avec Al Pacino, Donald Sut.erland, $astass0a Gins'i, Boan Plo%rig.t, Dave Ging <e#(! @2 &ovem bre 2009 ;+>*+ Do&&!e 7r sco TDo&&!e 7r sco?, ())3, de Di'e $e%ell, avec Al Pacino, Bo.nn6 Depp, Dic.ael Dadsen, -runo Girb6 ;;>*+ P &!$#e A Nee(-e P rB TT:e P &!c !& Nee(-e P rB?, ()3(, de Berr6 Sc.at/berg, avec Al Pacino, Gitt6 Vinn, Alan 1int, Cic.ard -rig.t <e#(! @9 &ovem bre 2009 ;+>*+ Le Tem )s (>#& CeeB-e&( TSce&+ o3 D om &?, ());, de Dartin -rest, avec Al Pacino, 7.ris @WDonnell, P.ilip Se6mour 4o!!man, Jabrielle An%ar, Bames Ceb.orn ;K>(+ LooB!&' 3or R!c: r( ()):, d’Al Pacino, avec Al Pacino, Alec -ald%in, Gevin Space6, Vinona C6der <e#(! 2E &ovem bre 2009 ;+>;S P- &8s9 R ))roc:,8s9 U& )r.s m !(! (e c:!e& ;++), de Dominique Juillotin, avec Dominique Pinon ;+>*+ U& )r.s-m !(! (e c:!e& TDo' D 1 A3+er&oo&?, ()3S, de Sidne6 8umet, avec Al Pacino, Bo.n 7a/ale, Bames -roderic', 7.arles Durning ;;>*+ 7obb1 Deer3!e-( ()33, de S6dne6 Pollac', avec Al Pacino, Dart.e Geller, Ann6 Dupere6, Valter DcJinn #e -.
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  • CORT THEATER, 138-146 West 48Th Street, Manhattan
    Landmarks Preservation Commission November 17, 1987; Designation List 196 LP-1328 CORT THEATER, 138-146 West 48th Street, Manhattan. Built 1912-13; architect, Thomas Lamb . Landmark Site: Borough of Manhattan Tax Map Block 1000, Lot 49. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Cort Theater and the proposed designation of the related Landmark Site (Item No. 24). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Cort Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912- 13, the Cort is among the oldest surviving theaters in New York. It was designed by arc hi teet Thomas Lamb to house the productions of John Cort , one of the country's major producers and theater owners. The Cort Theater represents a special aspect of the nation's theatrical history. Beyond its historical importance, it is an exceptionally handsome theater, with a facade mode l e d on the Petit Trianon in Versailles. Its triple-story, marble-faced Corinthian colonnade is very unusual among the Broadway theater s.
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  • America Radio Archive Broadcasting Books
    ARA Broadcasting Books EXHIBIT A-1 COLLECTION LISTING CALL # AUTHOR TITLE Description Local Note MBookT TYPELocation Second copy location 001.901 K91b [Broadcasting Collection] Krauss, Lawrence Beyond Star Trek : physics from alien xii, 190 p.; 22 cm. Book Reading Room Maxwell. invasions to the end of time / Lawrence M. Krauss. 011.502 M976c [Broadcasting Collection] Murgio, Matthew P. Communications graphics Matthew P. 240 p. : ill. (part Book Reading Room Murgio. col.) ; 29 cm. 016.38454 P976g [Broadcasting Collection] Public Archives of Guide to CBC sources at the Public viii, 125, 141, viii p. Book Reading Room Canada. Archives / Ernest J. Dick. ; 28 cm. 016.7817296073 S628b [Broadcasting Skowronski, JoAnn. Black music in America : a ix, 723 p. ; 23 cm. Book Reading Room Collection] bibliography / by JoAnn Skowronski. 016.791 M498m [Broadcasting Collection] Mehr, Linda Harris. Motion pictures, television and radio : a xxvii, 201 p. ; 25 Book Reading Room union catalogue of manuscript and cm. special collections in the Western United States / compiled and edited by Linda Harris Mehr ; sponsored by the Film and Television Study Center, inc. 016.7914 R797r [Broadcasting Collection] Rose, Oscar. Radio broadcasting and television, an 120 p. 24 cm. Book Reading Room annotated bibliography / edited by Oscar Rose ... 016.79145 J17t [Broadcasting Collection] Television research : a directory of vi, 138 p. ; 23 cm. Book Reading Room conceptual categories, topic suggestions, and selected sources / compiled by Ronald L. Jacobson. 051 [Broadcasting Collection] TV guide index. 3 copies Book Archive Bldg 070.1 B583n [Broadcasting Collection] Bickel, Karl A. (Karl New empires : the newspaper and the 112 p.
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