Prada, by Roman Polanski

Beautiful.

Written by Roman Polanski and Ronald Harwood. Directed by Roman Polanski. Starring Ben Kingsley and Helena Bonham Carter. Photography by Eduardo Serra. Music by Alexandre Desplat.

"Dark Shadows" (2012)

One very common product of today's infinite catalog of entrainment, a tendency not so voguish in the beginning of the decade: vampires. Sure we'd had Coppola's Dracula in 1992, Buffy, the Vampire Slayer in 1997 and even John Carpenter's Vampires and Blade in 1998, but what's that compared with the bouquet of Twilight's saga and the foreign attempts to spin it off , True Blood series (2008 - present), the angle between Let the Right One In (2008) and its remake Let Me In (2010)? It engulfed the merchandise machine and we suddenly realized it is one of the most exhausted sub-genres of the time, making it much difficult not to be irrelevant.

 Barnabas Collins (Johnny Depp) was put upon a curse that made him a vampire and locked up for two hundred years, until the 1970's. Depp, one of the most versatile and extravagant actors of our ages, embraced this pale, archaic, handsome, ville but emotionally shattered creature of death, as he wakes up to take revenge on Angelique (Eva Green), the jealous witch who killed his beloved Josette (Bella Heathcote) and who did the tricks. The only problems are the electricity, the asphalt, the cars, television, the vinyls, the Carpenters, Alice Cooper or Iggy Pop, the still boiling design creative bubble of the 60's, the mash of colors, the hippies. What the hell is all that? Beelzebub, he thinks at first. Oh, and perhaps it is not too much to note that Angelique is a very, very sexy woman now, and the spooky mansion of his family, the Collins, is now a defunct large piece of a chateaux inhabited by the disenchanted remains of their last generation, headed by Elizabeth (Michelle Pfeiffer). 

Dark Shadows (2012) is not as touching as Edward Scissorhands (1990) or Big Fish (2003) but arrives as one of the most enjoyable Tim Burton's of a career. I am a big fan of genre and thus I delight over deconstructions, re-examinations and crossovers. Some describe it as a Gothic dramedy. Indeed it is a very funny entwining of the conventions of the vampire mythology and horror aesthetic with the distant elements of the melodrama: the overbearing sentimentalism (the love triangle; Barnabas and Hoffman (Helena B. Carter) and the whole beauty angle; Carolyn's (Chlöe G. Moretz) teenage whims); the big palette of colors (e.g. the pinkish fire); the excess of form (extraordinary art direction and special effects). The lack of a social critique has given place to the dark and witty exegesis. I hint you to pay attention at some of the best  jokes: McDonalds; Chevy; get stoned. But I laughed a lot all the way throughout.

 It does have problems. Story problems, mostly. Seth Grahame-Smith popped up a couple of years ago with his book Pride, Prejudice and Zombies (which is now being turned into a movie), and in a snap became Burton's fetish screenwriter, alongside John August, who is co-credited with a "story by", here. Seth wrote Abraham Lincoln: Vampire Hunter (2012) (adapted from his book) and is working on Beetlejuice 2 (2014). Although most of the dialog was very good, there were some on-the-nose lines, like Barnabus and Hoffman's last meeting in the house. Roping it to the cheesy last two minutes, I'm framing them all as target-audience devices.

Besides the protagonist and the antagonist, all the characters are sadly underdeveloped which in this case turned into a series of hanging foreshadowings, waiting for a little hand (e.g. Roger (Johnny Lee Miller) and the secret passage), unraveled storylines (e.g. David (Gulliver McGrath) and his mother) and coherence issues (why is Victoria (Belle Heathcote) the main character for fifteen minutes; what's her true relation with Josette; why is she there; who the hell is she and what's with all the ghost stuff). Also, they take some easiness while creating the rules of their special world, such as the scope of the magical powers, leaving out some logical lumps.

Chlöe proves we can wait for huge things from her in the future by making so interesting such a bi-dimensional character. She is the vehicle of one of the big (and also undeveloped) surprises and, without words, plays one of the great moments in the film when she dances in the background. The movie has those incredible visual moments, such as the set-piece sex-scene.

Take a chance to listen to the always beautiful score of Danny Elfman accompanied with some classics from the seventies, lean back, prepare your wits and enjoy this one.

The King's Speech / O Discurso do Rei (2010)

Atravessou vários problemas de produção (financiamento para um filme sobre "gaguez"), teve ao leme um realizador nada habituado aos trejeitos oscarianos e partiu para a corrida quando um tal de "The Social Network" já andava a fazer estragos e a partir tudo o que era concorrência, nos escritos da crítica. Começa a aparecer lentamente. Um filme histórico é sempre uma peça de ver, e a prestação de Colin Firth começa a ser verdadeiramente badalada, à medida que crescem profecias sobre a forma como, desta vez, ninguém terá coragem de repetir a injustiça de 2010.


Da minha parte, e nos termos do resto da sociedade cinematográfica, creio, ia vendo O Discurso do Rei da mesma forma que fui vendo "Crazy Heart" no ano passado: um filme que era capaz de ser interessante, que valeria, eventualmente, pela prestação do magnífico casting. Mas eis que começa a borbulhar um hype inesperado, que ultrapassa o intérprete do Rei: aqui e ali, marca presença nos prémios da crítica, ainda ofuscado pelo trabalho de Fincher e Sorkin, de repente arrecada uma série de nomeações nos BAFTA. Começo a ver o filme com outros olhos e a desconfiar de uma cerimónia de dia 27 mais interessante; saltam cá para fora os prémios da especialidade e surge a inesperada vitória de Hooper nos DGA, entre outros.


Chega o dia em que vi o filme. Da história bonita, dos parâmetros histórico-políticos que lhe serviam de paradigma, da necessidade de manter um relativo convencionalismo (o que não significa fazer uma coisa fácil, ao contrário do que muitos pensam), surge um argumento em grande parte previsível. É, no entanto, uma previsibilidade bem tratada, com bons diálogos, disfarçada ao seu máximo, que entretém e envolve, que tem um final emocionante, que se materializa em três grandes prestações e numa realização fenomenal (para mim, o ponto mais alto) - esta, em colaboração com uma belíssima fotografia, uma direcção-artística de grande nível e um óptimo guarda-roupa, cria toda a atmosfera de suspense interno que sente o próprio Rei, a aflição que deriva das dificuldades em manejar o seu exponencialmente importante discurso, o isolamento e vergonha que enfrenta (note-se a alternância entre os grandes planos e os planos mais afastados, a Colin, contra a parede do escritório de Rush e o mesmo a este segundo; compare-se até).


Surpreendeu e penso que não só a mim. Não acho que seja o melhor filme da edição deste ano mas acho que é um concorrente de peso.

PS: Magnífica a banda musical de Desplat.