Oliver Stone Et Woody Allen Sèment Le Bonheur Sur La Croisette

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Culture / Culture FESTIVAL DE CANNES Oliver Stone et Woody Allen sèment le bonheur sur la Croisette Les deux cinéastes américains, Oliver Stone et Woody Allen, qui ont présenté leur dernier film, respectivement, Wall Street : l'argent ne dort jamais, suite du filmWall Street, sorti en 1988, et You will meet a tall dark stranger, les deux présentés en Hors Compétition, ont ravi la vedette aux cinéastes en lice pour la plus haute distinction du festival : la Palme d'or. Commençons par Oliver Stone. Fidèle à lui-même, et toujours à l'avant-garde, il a exploré et dénoncé la dictature impitoyable de l'argent, imposée par les spéculateurs et grands banquiers de Wall Street. “Aléa moral, subprimes, intérêt, taux, bulle…” sont autant de mots barbares qui reviennent sans cesse dans le film. Pour rendre accessible ce monde complexe, il a imaginé une trame narrative simple et captivante. Il a mis en scène un jeune trader qui tente d'alerter le monde au sujet des dangers irréversibles de la spéculation financière. Dans le même temps, il cherche à venger la mort de son mentor, ruiné et poussé au suicide. L'une des remarques importantes que l'on puisse souligner est l'omniprésence des écrans, télévision et ordinateurs compris, quasiment propulsés au rang de personnages. Une présence qui permet la dénonciation de la sainte alliance entre le monde de la communication et celui de la finance qui rend le monde réduit à des bulles éphémères, davantage fragile et instable. Certains ont reproché au film sa fin quelque peu heureuse à la manière d'un conte. Certes, l'argument tient la route, mais là où certains voient légèreté, d'autres lisent l'optimisme indispensable en temps de crise. De son côté, son compatriote Woody Allen s'est lancé dans l'analyse psychologique des personnages, notamment l'impact de la vieillesse sur les comportements. Sur un fond de musique agréable, les personnages suivent des trajectoires tortueuses et imbriquées. Alfie (Anthony Hopkins), apeuré par sa vieillesse agissante, quitte son épouse Helena (Gemma Jones), pour épouser une jeunette de petite vertu (Lucy Punch). Alors qu’Helena noie sa peine chez une voyante qui lui prédit une rencontre avec un bel inconnu, sa fille Sally (Naomi Watts) traverse une crise conjugale... Trempé dans la culture anglaise, à l'instar de William Faulkner, le cinéaste new-yorkais met en scène plusieurs personnages évoluant comme dans un conte, imaginé pour illustrer une pensée du démiurge anglais, William Shakespeare : “La vie est un récit conté par un idiot, plein de bruit et de fureur, et qui ne signifie rien.” Tous les personnages s'efforcent de donner un sens à leur vie. Mais ils ne peuvent empêcher le ridicule et l’insignifiance de leur choix. Cela donne des situations hilarantes et cocasses..

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The Cinema of Oliver Stone
Interviews Stone on Stone Between 2010 and 2014 we interviewed Oliver Stone on a number of occasions, either personally or in correspondence by email. He was always ready to engage with us, quite literally. Stone thrives on the cut- and- thrust of debate about his films, about himself and per- ceptions of him that have adorned media outlets around the world throughout his career – and, of course, about the state of America. What follows are transcripts from some of those interviews, with- out redaction. Stone is always at his most fascinating when a ques- tion leads him down a line of theory or thinking that can expound on almost any topic to do with his films, or with the issues in the world at large. Here, that line of thinking appears on the page as he spoke, and gives credence to the notion of a filmmaker who, whether loved or loathed, admired or admonished, is always ready to fight his corner and battle for what he believes is a worthwhile, even noble, cause. Oliver Stone’s career has been defined by battle and the will to overcome criticism and or adversity. The following reflections demonstrate why he remains the most talked about, and combative, filmmaker of his generation. Interview with Oliver Stone, 19 January 2010 In relation to the Classification and Ratings Administration Interviewer: How do you see the issue of cinematic censorship? Oliver Stone: The ratings thing is very much a limited game. If you talk to Joan Graves, you’ll get the facts. The rules are the rules.
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It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse.
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The Cinema of Oliver Stone
Conclusion Although we are clearly overreaching, it’s too easy to talk about the USA losing its grip because we happen to be rooting for another approach. It’s not going to go away that easily. This empire is Star Wars in the ‘evil empire’ sense of the words … We are virtually becoming a tyranny against the rest of the world. It’s not evident to people at home, because they don’t see the consensus in the media and they don’t see the harm the USA does abroad. We are not in decline. We are decayed and corrupt and immoral, but not in decline. The USA exerts its will in Europe, Asia, much of the Middle East, and still much of Latin America. The recent revela- tions that the NSA’s and the UK’s surveillance programmes are linked is big news.1 Oliver Stone has been a fixture in the Hollywood landscape since his Oscar- winning script for Midnight Express (Alan Parker, 1978). That high-profile foothold gave him the opportunity to build slowly towards his ambition of capturing on film what he had lived through in Vietnam during 1967 and 1968. The young Yale man who had entered the army was a cerebral romantic in search of adventure; but his experience, not just of combat but also of his return to a country that was already openly divided about the war, altered his perspective and the direction of his life. Enrolment at film school under the GI Bill seemed to offer a way of expressing his anger and disillusionment, and the same determination that had kept him alive in South-East Asia now drove him on to try and tell something of that experience on film.
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Arthur Penn's Bonnie and Clyde
Arthur Penn’s Bonnie and Clyde Edited by LESTER D. FRIEDMAN Syracuse University PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarco´n 13, 28014 Madrid, Spain ᭧ Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Stone Serif 10/14 pt. System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication data Arthur Penn’s Bonnie and Clyde / edited by Lester D. Friedman. p. cm. – (Cambridge ﬁlm handbooks series) Filmography: p. Includes bibliographical references and index. ISBN 0-521-59295-X – ISBN 0-521-59697-1 (pbk.) 1. Bonnie and Clyde (Motion picture) I. Friedman, Lester D. II. Series. PN1997.B6797 1999 791.43'72 – dc21 98-32173 CIP ISBN 0 521 59295 X hardback ISBN 0 521 59697 1 paperback LESTER D. FRIEDMAN Introduction ARTHUR PENN’S ENDURING GANGSTERS HISTORICAL PERSPECTIVES: COUNTERCULTURAL CINEMA Boy meets girl in small-town Texas. Their crime spree begins as girl goads boy into robbing a grocery store; they speed out of town in a stolen car, spirits high.
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Free Markets on Film: Hollywood and Capitalism
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Through the Hollywood Lens: the Vietnam War
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`JFK': Conspiracy in the Cross Hairs Oliver Stone's Riveting, Controversial Saga of the Kennedy Assassination
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The Philosophy of the Coen Brothers
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101 Films for Filmmakers
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Auteur Film Directors As Contemporary Shamans
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