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Victoria and Abdul (La Reina Victoria Y Abdul) De Stephen Frears Versió Original En Anglès Subtitulada

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Victoria and Abdul (La Reina Victoria Y Abdul) De Stephen Frears Versió Original En Anglès Subtitulada Associació Cultural Granollers Divendres 23 de març / 19 i 22 hores 2018 Diumenge 25 de març / 19 hores Centre Cultural de Granollers Victoria and Abdul (La reina Victoria y Abdul) de Stephen Frears Versió original en anglès subtitulada Fitxa tècnica Fitxa artística Guió: Lee Hall (basada en la novel·la de Shrabani Basu) Judi Dench, Ali Fazal, Stephen Graham, Adeel Akhtar, Paul Fotografia: Danny Cohen / Música: Thomas Newman Higgins, Michael Gambon, Tim Pigott-Smith, Olivia Williams, País: Gran Bretanya / Any: 2017 Durada: 110 minuts Robin Soans, Jonathan Harden, Sukh Ojla SINOPSI. En la celebració dels 50 anys de regnat de la sobirana Victòria, Abdul Karim, un jove secretari indi, es desplaça de l’Índia a la Gran Bretanya per participar en el Jubileu i descobreix amb sorpresa que la reina s’interessa per ell. Ella comença a qüestionar les restriccions que comporta la seva posició i entre tots dos es forja una aliança insòlita que el cercle domèstic i el més proper a la reina s’entesten a destruir. EL DIRECTOR. Stephen Frears (Leicester, 1941) va estudiar dret en el Trinity College de la Universitat de Cambridge. No obstant això, i en contacte amb John Cleese, David Frost i altres membres dels Monty Python, es va sentir atret primer pel teatre, i més endavant pel cinema. A partir de 1965 va treballar com a ajudant de direcció a Morgan, un cas clínic, de Karel Reisz, i a If…, de Lindsay Anderson. Fa treballs per a la BBC en algunes sèries antològiques com Play for today, dedicada al teatre. Va fer el primer llarg el 1971, Gumshoe (Detectiu sense llicència). La fama li arriba amb My Beautiful Laundrette (La meva preciosa buganderia, 1985). El 1987 va realitzar, la pel·lícula Prick Up Your Ears (Obre’t d’orelles) i Sammy and Rosie Get Laid (Sammy i Rosie s’ho munten). Va debutar a Hollywood amb Dangerous Liaisons (Les amistats perilloses, 1988). Des de llavors les seves realitzacions han collit grans èxits de públic i crítica com The Snapper (Cafè irlandès, 1993), The Queen (2006), Tamara Drewe (2010) o Philomena (2013). Frears ocupa la “càtedra David Lean de direcció de ficció” a la National Film and Television School (Escola Nacional de Cinema i Televisó). ENTREVISTA AMB EL DIRECTOR Vostè es declara antimonàrquic, però aquesta és la segona pel·lícula que fa sobre una monarca britànica, després de La reina. ¿Com ho explica? No soc monàrquic, però em fascinen les reines. En primer lloc, perquè clarament són figures maternes. I en segon lloc, per- què fan falta molt de coratge per estar en aquesta posició, no som capaços ni tan sols d’imaginar-nos com deu ser de dur ocupar-la. No fa gaire el príncep Harry va confessar que actualment ningú a la Casa Reial vol ser rei, i ho puc entendre: deu ser la feina més insuportable del món. La seva pel·lícula evita reflexionar sobre els aspectes més problemàtics del colonialisme britànic de l’època. Alguns ho consideraran una oportunitat perduda. Miri, jo em dedico a entretenir, no dono lliçons d’història. No aspiro a millorar el món, només vull que la gent s’ho passi bé. I, tot i així, estic segur que la meva pel·lícula dona al públic més elements de reflexió que la major part del cine que s’estrena cada setmana. Estic segur que Donald Trump aprendria alguna cosa sobre el respecte a altres cultures si la veiés, encara que dubto que ho faci. És més: crec que fins i tot algú tan obtús com Theresa May aprendria alguna cosa al veure-la. Creu que, si s’hagués estrenat fa un any i mig, la seva pel·lícula podria haver ajudat a evitar el ‘brexit’? No crec que el problema que pateix el meu país tingui a veure amb el multiculturalisme. La Gran Bretanya era un lloc intole- rant i racista als anys 50, quan jo era un nen, però avui ja no. El que passa és que el poble estava fart del Govern i, simplement, va votar en contra seu. No sé què hauria pogut evitar el ‘brexit’. Ara, en tot cas, és massa tard. I és una catàstrofe. Moltes de les seves pel·lícules són històries basades en fets reals. Què troba que tenen d’atractiu? Encarnen desafiaments interessants, perquè has de ser fidel a la història i als protagonistes, i necessites tractar-los amb el tacte i la imparcialitat necessaris. Evidentment, com a director tens menys llibertat artística, especialment quan la gent real encara és viva. Has de portar a terme una investigació molt precisa i demostrar certa empatia. M’agrada. Sr. Frears, recorda quan va començar a interessar-se per les pel·lícules? De petit solia anar molt sovint al cine, perquè vaig créixer a Leicester i allà no hi havia gran cosa a fer. La meva primera pel- lícula va ser Pinotxo, tenia 5 o 6 anys. Vaig haver de sortir del cine perquè al veure l’escena en què la balena se’l menja vaig començar a plorar i a cridar com un boig. La meva mare tenia el mal costum de portar-me a veure pel·lícules que no eren adequades per a mi. En qualsevol cas, el cine sempre ha sigut una part de la meva vida. Era lògic que acabés dedicant-m’hi. Creu que ha canviat com a cineasta des que va dirigir pel·lícules com La meva preciosa bugaderia i Obre’t d’orelles fa tres dècades? Vull creure que l’edat m’ha proporcionat certa saviesa. O almenys ara tinc més experiència. Soc molt més ràpid en la presa de decisions. Com he dit, bàsicament escolto els meus instints, i a aquestes altures sé que hi puc confiar. Soc millor cineasta ara que llavors? No ho crec. Nando Salvà / El Periodico CRÍTICA Especialista en el análisis de las mentalidades y, desde The Queen (2006), preocupado en diseccionar las de las clases altas británicas, Stephen Frears da una vuelta de tuerca para contar la más que improbable relación entre la ya anciana reina Victoria y un apuesto musulmán indio que, al parecer, arrebató a la octogenaria gobernante. Lo más curioso es que... sencillamente, hubiese ocurrido, porque todo lo que gira alrededor de la peripecia se diría hecho contra los luga- res comunes (frialdad despiadada, horror ante la promiscuidad sexual, racismo latente) que la Historia cuenta sobre la mentalidad de la monarca más poderosa de todos los tiempos. Lo que conviene preguntarse es por qué justo ahora emerge esta desconocida historia. Y ahí es donde asoma una cierta corrección política, que querría recordar que las relaciones íntimas entre el Islam y las autoridades británicas están aún por escribir. Lo que no es óbice para disfrutar de los buenos momentos de comedia, y refexionar sobre el ineluctable destino que reservan las clases dominantes a los diferentes. Manu Sanchez / Fotogramas * * * (.) De manera clara y meridiana: Frears ha aprovechado una historia de cariñosa simpatía (o de enamoramiento calma- do, porque el alcance de los sentimientos no queda demasiado claro) entre Victoria y el hindú Abdul Karim —quien acabó convertido en su sirviente y en su munshi, suerte de maestro espiritual— para modular un discurso anti-Brexit para todos los públicos. Frears no oculta en ningún momento que pretende establecer paralelismos entre la xenofobia de entonces y la de ahora, y aunque algo más de sutileza y austeridad emocional no le hubiera ido mal a la película, no es de recibo olvidar que discursos como el suyo recuerdan lo importante que es mirar atrás para encarar con asideros estables el futuro. Frears es sumamente eficaz, pero quienes esperen más músculo creativo tendrán que conformarse con un trabajo ciertamente poco ambicioso en ese aspecto. Paula Arantzazu Ruiz / Sensacine PROPERES SESSIONS 6 i 8 d’abril: En cuerpo y alma (2017), d’Ildikó Enyedi 13 i 15 d’abril: Un profil pour deux (En lugar del Sr. Stein, 2017), de Stéphane Robelin Dimarts Singulars. 10 d’abril: La Grande Illusion (La gran ilusión, 1937), de Jean Renoir Associació Cultural Granollers AMB EL PATROCINI DE: EN CONVENI AMB: Roger de Flor, 33, 2n, 2a www.acgranollers.cat 08401 Granollers @ACGranollers T 93 861 55 98 AC Granollers [email protected] acgranollers.
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