Linda Ash

Lenny e Amanda são um casal que não pode ter filhos e adoptam uma criança, Max, que se vem a revelar brilhante. Lenny fica obsecado por saber quem serão os verdadeiros pais da criança que devem também eles ser brilhantes. Chegamos assim a Linda Ash (Mira Sorvino), a verdadeira mãe de Max, que é uma desbocada prostituta e estrela porno que pode deve à inteligência. O filme chama-se Mighty Aphrodite, um dos simpáticos de Woody Allen nos anos 90 e valeu a Sorvino o óscar de melhor actriz secundária, num desempenho marcante na carreira da actriz. Bastante solicitada no decénio passado e no inicio do actual, ultimamente tem sido mais desaproveitada, fazendo sobretudo muito telefilme. Pode ser que o Tarantino pegue nela. Em baixo fica uma apanhado desta personagem Linda Ash.

Woody on Bergman

Woody Allen e Ingmar Bergman são dois nomes grandes da 7ª arte. O primeiro mantém a média de um filme por ano e já passou os 40, o segundo faleceu em 2007 mas deixou obra em mais de 60 peliculas, e que obra. Allen tornou-se um admirador confesso do mestre sueco mal tomou contacto com os seus filmes. As temáticas abordadas e a poesia da câmara de Bergman fascinaram desde logo o cineasta nova-iorquino que mais tarde o conheceu e se tornou seu amigo. Fica aqui uma pequena entrevista a Woody Allen a respeito da carreira de Bergman e das suas influências.

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Vicky Cristina Barcelona

Vicky (Rebecca Hall) e Cristina (Scarlett Johansson) são duas amigas residentes em Nova Iorque que decidem passar as férias de Verão em Barcelona. Durante a estadia conhecem um enigmático pintor (Javier Bardem) que as convida a passar o fim de semana em Oviedo. Ambas se vão apaixonar por ele e conhecer a ex-mulher Maria Elena (Penelope Cruz) que vai voltar a casa depois duma tentativa malograda de suicídio. O mais prolífico realizador norte-americano está de volta, não moribundo como há anos se ouve dizer, mas em plena forma, a abordar um dos temas viscerais na sua carreira, o amor e as relações interpessoais. Woody Allen continua ousado e descomplexado nesta passagem por Espanha, retratando as várias facetas do amor, ora puro, ora obsessivo, ora acomodado, ora pululante, vindo donde menos se espera ou como resultado duma longa procura. Não temos os gags cómicos característicos, mas uma sensibilidade na intriga e na imagem que abraçam o espectador ao romance turbulento dos protagonistas. Talvez Allen use formulas, mas procura sempre novas variáveis que resultam quase invariavelmente em novas reflexões. Ganhou o globo de ouro para melhor comédia ou musical pela parca concorrência estabelecida, mas trata-se das melhores obras dos últimos anos, num piscar de olho hodierno e rejuvenescido a Hannah and Her Sisters (1986) e Husbands and Wives (1992). A história e os diálogos geram mais um argumento de qualidade, com a arte como pano de fundo. De visita à "casa" de Gaudi e Miró, Allen faz a sua vénia e dá-nos grandes planos da beleza natural e arquitectónica do país vizinho, acompanhados pelo som de Paco de Lucía, Isaac Albéniz, Biel Ballester e Giulia y los Tellarini entre outros. O elenco está de parabéns: o oscarizado Bardem, primeira e única escolha de Allen, a nova parceira no crime, Johansson, Rebecca Hall, jovem actriz em ascensão e Penelope Cruz que pode levar o óscar de melhor actriz secundária para casa, o que seria inteiramente merecido. Em suma, estamos perante uma boa surpresa do neurótico nova-iorquino que, apesar de se encontrar aquém das pérolas de outros tempos, reafirma a vitalidade de um dos maiores autores de cinema ainda no activo. Nota: 3/5.

Vicky Cristina Barcelona - Excerpts From the Spanish Diary

Isto é um artigo que saiu há uns tempos no New York Times, na altura em que estreou pela primeira vez o novo filme de Woody Allen, que escreveu este diário ficcionado enquanto fazia o novo filme, onde fala sobretudo da sua relação com os actores. Vale a pena ler porque está bastante engraçado. Ainda sai humor daquela caneta... pelo menos no que toca a artigos para o jornal.

JAN. 2

RECEIVED offer to write and direct film in Barcelona. Must be cautious. Spain is sunny, and I freckle. Money not great either, but agent did manage to get me a 10th of 1 percent of anything the picture does over $400 million after break even.

Have no idea for Barcelona unless the story of the two Hackensack Jews who start a mail-order embalming firm could be switched.

MARCH 5

Met with Javier Bardem and Penélope Cruz. She’s ravishing and more sexual than I had imagined. During interview my pants caught fire. Bardem is one of those brooding geniuses who clearly will need a firm hand from me.

APRIL 2

Offered role to Scarlett Johansson. Said before she could accept, script must be approved by her agent, then by her mother, with whom she’s close. Following that it must be approved by her agent’s mother. In middle of negotiation she changed agents — then changed mothers. She’s gifted but can be a handful.

JUNE 1

Arrived Barcelona. Accommodations first class. Hotel has been promised half star next year provided they install running water.

JUNE 5

Shooting got off to a shaky start. Rebecca Hall, though young and in her first major role, is a bit more temperamental than I thought and had me barred from the set. I explained the director must be present to direct the film. Try as I may, I could not convince her and had to disguise as man delivering lunch to sneak back on the set.

JUNE 15

Work finally under way. Shot a torrid love scene today between Scarlett and Javier. If this were a scant few years ago, I would have played Javier’s part. When I mentioned that to Scarlett, she said, “Uh-huh,” with an enigmatic intonation. Scarlett came late to the set. I lectured her rather sternly, explaining I do not tolerate tardiness from my cast. She listened respectfully, although as I spoke I thought I noticed her turning up her iPod.

JUNE 20

Barcelona is a marvelous city. Crowds turn out in the streets to watch us work. Mercifully they realize I’ve no time to give autographs, and so they ask only the cast members. Later I handed out some 8-by-10 photos of myself shaking hands with Spiro Agnew and offered to sign them, but by then the crowd had dispersed.

JUNE 26

Filmed at La Sagrada Familia, Gaudi’s masterpiece. Was thinking I have much in common with the great Spanish architect. We both defy convention, he with his breathtaking designs and me by wearing a lobster bib in the shower.

JUNE 30

Dailies are looking good, and while Javier’s idea to add a massive Martian invasion scene complete with a thousand costumed extras and elaborate flying saucers is not a very good one, I will shoot it to make him happy and cut it in the editing room.

JULY 3

Scarlett came to me today with one of those questions actors ask, “What’s my motivation?” I shot back, “Your salary.” She said fine but that she needed a lot more motivation to continue. About triple. Otherwise she threatened to walk. I called her bluff and walked first. Then she walked. Now we were rather far apart and had to yell to be heard. Then she threatened to hop. I hopped too, and soon we were at an impasse. At the impasse I ran into friends, and we all drank, and of course I got stuck with the check.

JULY 15

Once again I had to help Javier with the lovemaking scenes. The sequence requires him to grab Penélope Cruz, tear off her clothes and ravish her in the bedroom. Oscar winner that he is, the man still needs me to show him how to play passion. I grabbed Penélope and with one motion tore her clothes off. As fate would have it she had not yet changed into costume, so it was her own expensive dress I mutilated. Undaunted I flung her down before the fireplace and dove on top of her. Minx that she is, she rolled away a split second before I landed causing me to fracture certain key teeth on the tile floor. Fine day’s work, and I should be able to eat solids by August.

JULY 30

Dailies looking rather brilliant. Probably too early to start planning Academy campaign. Still, a few notes for an acceptance speech might just save me some time later.

AUG. 3

I suppose it comes with the territory. As director one is part teacher, part shrink, part father figure, guru. Is it any wonder then that as the weeks have passed, Scarlett and Penélope have both developed crushes on me? The fragile female heart. I notice poor Javier looking on enviously as the actresses bed me with their eyes, but I’ve explained to the boy that unbridled feminine desire for a cinema icon, particularly one who wears a sneer of cold command, is to be expected. Meanwhile when I approach the set each morning bathed and freshly scented, between Scarlett and Penélope there is a virtual feeding frenzy. I never like mixing business with pleasure, but I may have to slake the lust of each one in turn to get the film completed. Perhaps I can give Penélope Wednesdays and Fridays, satisfying Scarlett Tuesdays and Thursdays. Like alternate-side parking. That would leave Monday free for Rebecca, whom I stopped just in time from tattooing my name on her thigh. I’ll have a drink with the ladies in the cast after filming and set some ground rules. Maybe the old system of ration coupons could work.

AUG. 10

Directed Javier in emotional scene today. Had to give him line readings. As long as he imitates me he’s fine. The minute he tries his own acting choices he’s lost. Then he weeps and wonders how he’ll survive when I’m no longer his director. I explained politely but firmly that he must do the best he can without me and to try to remember the tips I’ve given him. I know he was cheered because when I left his trailer, he and his friends were howling with laughter.

AUG. 20

Made love with Scarlett and Penélope simultaneously in an effort to keep them happy. Ménage gave me great idea for the climax of the movie. Rebecca kept pounding on the door, and I finally let her in, but those Spanish beds are too small to handle four, and when she joined, I kept getting bounced to the floor.

AUG. 25

End production today. Wrap party as usual a little sad. Slow danced with Scarlett. Broke her toe. Not my fault. When she dipped me back, I stepped on it.

Penélope and Javier anxious to work with me again. Said if I ever come up with another screenplay to try and find them. Goodbye drink with Rebecca. Sentimental moment. Everyone in cast and crew chipped in and bought me a ballpoint pen. Have decided to call film “Vicky Cristina Barcelona.” Studio heads have seen all the dailies. Apparently they love every frame, and there is talk of opening it at a leper colony. It’s lonely at the top.

Dr. Fritz Fassbender

Peter Sellers é um dos maiores comediantes da história. Já foram feitas várias biografias, documentários e até um filme em 2004 sobre ele: The Life and Death of Peter Sellers, com mais um grande desempenho de Geoffrey Rush. Mais conhecido pelos 3 papéis em Dr. Strangelove do mestre Kubrick, pelo inepto Inspector Chefe Jacques Clouseau, na saga da Pink Panther de Blake Edwards, ou pelo autista em Being There de Hal Ashby, Sellers era um actor nato, encarnando sempre cada personagem ao mais ínfimo promenor e alegando uma certa falta de identidade em si próprio. Uma das personagens menos referenciadas e que mais me fizeram rir é este "Baby" Fritz, um psiquiatra tarado sexual com uma idade mental um pouco reduzida. Clive Donner e Richard Talmadge realizaram What's New Pussycat em 1965 e Woody Allen estreou-se como argumentista e actor secundário. Peter O'Toole é o homem mais bonito do mundo, assediado por todas as mulheres, que procura ajuda no psiquiatra. Tom Jones interpreta a música premiada nesta divertida comédia, muito 60's, onde sobressai o génio de Sellers acompanhado das beldades Romy Schneider, Capucine, Paula Prentiss e Ursula Andress.

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