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Sep. 24th, 2010

mean

TIFF 2010 - Life Magazine Portraits

Coisa mais linda...também queria um abraço desses! ;-)

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James e Justin Long, que está no filme The Conspirator


E o James já incorporando o Professor Xavier - pelo menos na expressão!

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Jun. 21st, 2009

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James McAvoy - "Three Days of Rain", uma fã brasileira em Londres!

       


Desde que soube que James McAvoy faria uma peça em Londres eu não conseguia pensar em outra coisa. A possibilidade de ver meu ator favorito, no auge, fazendo aquilo que me tornou uma fã - atuando - era muito tentadora. É claro que o dinheiro não estava sobrando, minhas férias ainda estavam distantes, enfim, era uma idéia um tanto extravagante e imprudente de se levar adiante...mas era isso tudo exatamente que a tornava excitante e especial. Qual é a graça quando tudo é fácil demais, não? Então com algum planejamento e apertos no orçamento, vi que era possível sim realizar meu sonho. Organizei meus planos para a viagem, e assim, no dia 19 de Abril, eu embarcava com grandes expectativas rumo ao Velho Mundo...

Cheguei a Londres numa segunda-feira (e ficaria na cidade até sábado) e até sair do aeroporto, pegar metrô e achar o hostel, quando olhei já era quase noite. Eu estava bem no centro da agitação, em Picadilly Circus, e foi muito emocionante sair do hostel e ver aquele povo nas ruas, os ônibus vermelhos, a estátua de Eros...e logo adiante, bem pertinho mesmo, vi o cartaz da peça e o teatro Apollo. Eu já tinha comprado um ingresso para sexta-feira, mas é claro que pretendia assistir a peça mais de uma vez e estava PERTO demais pra resistir à tentação de dar um pulo no teatro e saber se ainda havia lugares para a apresentação daquela noite (que jetlag que nada!). Quando cheguei lá a mulher disse que tinha lugar na fila E. Perguntei se não tinha nada mais próximo do palco. “Tem a fila A”, ela disse. Bom, pensei, mais próximo que isso só no colo do James (hmmm, não era má ideia!). Cheguei a elaborar se valia a pena assistir a peça pela primeira vez justo quando tinha acabado de chegar de viagem e estava cansada, mas a ponderação do meu lado razoável deve ter durado uns cinco segundos. A possibilidade de ver o James tão de perto era totalmente irresistível. 




 James estava bem pertinho...o Teatro Apollo, no meio da deliciosa muvuca em Picadilly Circus.

 

Eu estava muito grudada no palco, o lugar não poderia ser melhor. Antes da peça começar me bateu um pânico; imagina se o James hoje tirou o dia de folga, e vou ter que assistir a peça com o substituto! Ah, eu pediria o dinheiro de volta, sem dúvida...mas, e a frustração? Melhor ficar quieta e pensar positivo. Quando ele entrou estava muito escuro no palco, e por alguns instantes achei que a pessoa ali era diferente do que eu imaginava, que não era o James. Mesmo quando ele começou a falar eu ainda não acreditava...acho que estava em choque de ver um ator e um cara que admiro tanto tão de perto, encarando as pessoas nas primeiras filas, dizendo seu texto na beirinha do palco (se ele desse um passo em falso, podia cair no meu colo...I wish!). Eu nem conseguia raciocinar direito. Me senti uma privilegiada por assistir uma apresentação que era exclusiva nossa, das pessoas que estavam no belo e compacto Teatro Apollo naquela noite, naquele momento. Era um privilégio não só ver o James, mas vê-lo atuando. 






Fachada do teatro e o letreiro acima, que se via assim que saíamos da estação de metrô Picadilly Circus.


Depois falo mais um pouco sobre a peça, que é ótima. Antes, uma breve nota sobre um detalhe totalmente inesperado e desagradável. Assim que cheguei no hostel, a primeira coisa que fiz foi testar minha câmera, e ela não dava sinais de vida. Achei que fossem as pilhas e comprei novas numa lojinha perto do hostel. Nada. Entrei em pânico; como eu tiraria fotos da viagem, e pior, como tiraria fotos do James? Bom, voltando ao Teatro Apollo, a peça terminara e eu estava maravilhada e nem um pouco cansada, louca pra correr para a porta dos fundos do teatro e ver o James de perto pela primeira vez. Então me lembrei que não poderia filmar nem tirar retratos...que frustração! Tratei de comprar um programa e pensei “bom, pelo menos digo um ‘hello’ pra ele e peço um autógrafo!” Por ser segunda-feira, imaginei que haveria poucas pessoas aguardando. Que nada! Estava lotado, e nem consegui chegar perto dele. Passei o programa pro James (e pro Nigel, o outro ator) autografar, mas não consegui dizer o quanto tinha adorado a peça e sua interpretação, nem tirar fotos. Mas foi maravilhoso vê-lo de perto, de qualquer jeito...ele sempre perguntava antes de voltar pro teatro se alguém ainda tinha mais alguma coisa pra ele assinar. Muito fofo, muito dedicado...e olha que muita gente enchia o saco (sempre rolava o indefectível caçador de autógrafos, com um monte de fotos pra ele assinar, que depois seriam vendidas no Ebay. Parasitas.) e o cara ali, sempre na maior paciência. Um exemplo de como uma pessoa pode obter fama e reconhecimento sem precisar posar de estrela. 




Um dos cartazes na porta do teatro: “James McAvoy brilha...uma atuação arrebatadora”.


No dia seguinte eu estava em alfa, pensando no James e na peça maravilhosa. Mas de volta à realidade: o lance da câmera estava me deixando muito frustrada, mas felizmente minha amiga (a que fui encontrar em Londres) me emprestou a sua e comprei um memory card com uma boa capacidade. Eu planejava tirar muitas, muitas fotos! Feliz da vida, de câmera nas mãos, rumei para o teatro na noite de terça-feira depois de conseguir um desconto excelente no quiosque da TKTs. O ingresso era para um lugar muito bom, mas não tão perto do palco como o da noite anterior. Para superar a “distância” (qualquer lugar duas fileiras depois do palco era longe demais do James!), contei com meu simpático binóculo que também adquiri por um bom preço, como souvenir da roda-gigante London Eye. Mesmo que eu não tivesse um binóculo, nas costas do assento à nossa frente havia um disponível, preso num painel. Era só colocar uma moedinha de 50 pence, que seria devolvida depois que o binóculo voltasse ao seu lugar. Chique, não? 



 
Programa de “Three Days of Rain” com as biografias, trabalhos e os prêmios ganhos por James e Nigel Harman, e os autógrafos.


Senti falta de estar na primeira fila, mas foi bom também assistir a peça de uma certa distância. O cenário era muito interessante; o apartamento novaiorquino detonado e vazio onde o casal de irmãos Walker e Nan e o amigo Pip reúnem-se no primeiro ato transforma-se num aconchegante espaço no segundo. O que percebemos no futuro não nos dá ideia do que aconteceu no passado, e essa é uma das mensagens da peça; o modesto apartamento também simboliza isso. São três dias de chuva, e ela cai “de verdade” no palco, o que causa um efeito muito bonito (e nos brinda com um James de camiseta branca justinha, deliciosamente molhado...) Os três atores são ótimos, mas a distância também me fez perceber o domínio que o James tem do palco, sua segurança - e sua predominância. Ele é um ator de extrema fisicalidade, e absurdamente expressivo; mesmo sem a ajuda do binóculos, de longe, percebemos os olhos dele brilhando enquanto as lágrimas se formam, mesmo que isso tenha acontecido depois de uma cena engraçadíssima (no caso do embate cômico entre Pip e Walker, sendo que o último é uma gangorra de sentimentos extremos). Temos também um momento “o encontro de Robbie e Cee no café” no qual o tímido e calado Ned expressa no rosto todas as emoções que a gagueira o fazia conter. De arrepiar. 




Walker, Ned e James...no autógrafo! 


Esse dia, terça-feira 21 de Abril, era o aniversário do James (e da rainha Elizabeth!). Na verdade, aniversário extra-oficial, porque ele nunca confirmou exatamente a data. No final da peça, e no momento dos autógrafos, fiquei esperando alguém soltar um “happy birthday”, mas ninguém se manifestou então fiquei na minha, mas me arrependi depois. Devia ter falado e visto a reação dele...
Esse seria também o dia em que teria um contato de verdade com ele; estava bem perto da saída do teatro, e ao contrário de segunda-feira, não havia ninguém na minha frente e eu tinha uma câmera! Eu havia levado um retrato muito bonito feito pelo meu chefe, um tremendo desenhista. Fui uma das primeiras a falar com o James, e quando ele olhou o desenho fez uma cara de “Wow!” O jeito dele é a coisa mais linda do mundo...difícil de explicar exatamente o que torna o James tão atraente e tão charmoso, é uma mistura de várias coisas, pequenos detalhes aqui e ali, e traços notáveis de personalidade. Comentei com alguém que o que eu acho fascinante é como ele consegue equilibrar bem uma tremenda sensibilidade, um carinho em relação às pessoas, uma doçura, com a segurança, a sensualidade, o domínio da situação. Ele possui uma delicadeza de traços que poderia ser chamada de feminina, e com sua pequena estatura os sentimentos que consegue transmitir através de seus olhos, de suas expressões, poderia ser facilmente estereotipado como ator para “filmes de época”, frágil, inocente. Mas ao  mesmo tempo sua fisicalidade é totalmente masculina; não existe nada de feminino em sua postura, nos gestos, na maneira de andar, no jeito como te olha. Ele tem uma presença imponente, e mesmo no meio do caos de gente de todas as partes do mundo, querendo autógrafos, querendo beijos (era quase ingênua, mas resoluta, a maneira como ele dizia com um sorrisinho “Mas sou um homem casado!”), querendo atenção, ele permanecia calmo e dominava o turbilhão. 








Terça-feira, 21 de Abril...aniversário (extra-oficial) do James. 


Ainda tinha tempo de conversar com um ou com outro, fazer comentários engraçados sobre alguma foto que ele estava assinando (“Good God, this is horrific!”), relembrar as pessoas que já haviam assistido a peça...e no final ele sempre perguntava se já tinha assinado tudo, se faltou alguém, e só então dava um tchauzinho e entrava. Para vocês verem como o timing do cara é perfeito, ele fazia tudo isso em 6, 8 min no máximo, e ninguém saía de cara emburrada por falta de autógrafo num papelzinho que fosse. 
Acho que uma boa definição é que o James tem uma presença que domina, mas não esmaga. Deve ser uma delícia trabalhar com ele, porque como ator ele não está ligado só em sua própria atuação, em ser uma estrela. A maneira como ele agia na saída do teatro mostrou como o cara é conectado ao outro tanto quanto a si próprio. Acho que ele daria um excelente diretor, porque tem uma visão global, inclusive para as minúcias, é capaz de comandar mas também agregar. Todo mundo sabe que o James não é um cara alto e fortão, um típico “leading man”, mas ele tem aquela beleza serena e uma sensualidade inata, natural, e nos sentimos imediatamente atraídos por ele - os sorrisos meio bobos das mulheres que corriam para a stage door era uma prova disso. O fato do James não ser tipicamente “perfeito” como os Brad Pitts da vida é uma vantagem para ele, pois o deixa com mais opções de papéis variados, de nerd a herói romântico. É como a Keira comentou, quando ele fez o teste para o papel de Robbie - um personagem descrito no livro como alto e forte - ela já tinha contracenado com pelo menos outros dois bons atores que atendiam mais o tipo físico do personagem, mas o James “atingiu 1,90m diante de nossos olhos” e simplesmente esmagou a concorrência fazendo o que ele faz de melhor: tornando-se aquele personagem. Quando o James saiu da sala depois do teste, a Keira disse que todos ficaram em silêncio por 10 min, e depois sé se ouviu um “Fuck!”. O papel era dele. 




O desenho que ele autografou...no dia seguinte, pedi pro James fazer uma dedicatória em meu nome, e ele acabou assinando de novo!


Essa magia acontece diante de nosso olhos quando assistimos “Three Days of Rain”. No primeiro ato da peça James é Walker, filho de um arquiteto famoso que tinha acabado de morrer. O rapaz é excitável, energético, loquaz, mas também aparenta ter tendências depressivas - pode-se dizer que Walker é bipolar, equilibrando-se em uma linha fina entre o maníaco depressivo e o louco. No segundo ato ele transforma-se no quieto, tímido Ned, pai de Walker. O que Walker tem de verborrágico Ned tem de lacônico, e ainda assim, pai e filho são incrivelmente parecidos: inteligentes, solitários, e com dificuldades para interagir com o mundo e seus habitantes. “I feel I’m not a people’s person anymore”, diz Walker logo no início da peça. Ned deseja para o filho que ainda não teve coisas impossíveis, e Walker distorce o passado baseado em suas próprias frustrações. É bonito, e triste, acompanhar a história de duas pessoas que poderiam ter se conhecido - e vivido - melhor mas perderam-se entre expectativas e frustrações.






Mais algumas fotos do stage door.


Quarta-feira, dia 22, foi um dia muito especial. Eu tinha marcado com uma menina do fórum do IMDb (inglesa, mas que não morava em Londres) de nos encontrarmos na entrada do teatro, antes da matinê (às 15:00h) começar. Achei que seria o melhor momento para ver o James com calma, quando geralmente menos pessoas estão esperando, e finalmente entregar os presentes que tinha levado: uma camisa da seleção brasileira de futebol e um livro, não muito grande, com fotos sobre o Brasil e poesias traduzidas para o inglês; e talvez arriscar o pedido de uma foto juntos. Cheguei bem cedo, porque ele poderia aparecer em qualquer horário entre 13:00h até alguns minutos antes da peça começar. Quando passavam das 14:15h, comecei a me preocupar...algumas vezes o James entrava pela entrada principal ao invés da lateral, principalmente se ele via os insuportáveis caçadores de autógrafo profissionais esperando, e uma dessas desagradáveis criaturas já estava ali à postos, com uma maleta cheia de fotos e posters de filmes nas mãos. A atriz da peça, Lyndsey Marshall, já tinha chegado e saído de novo. Aí então tivemos uma visão privilegiada: os 3 atores vindo juntinhos, lado a lado, em direção à entrada lateral. Incrível ninguém ter tido presença de espírito de tirar uma foto (pelo menos não achei nenhuma na net), acho que ficou todo mundo meio bobo! O Nigel e a Lyndsey entraram rapidinho, sem nem parar, deixando o James entregue às feras. Mas ele estava num excelente humor, e apesar de já em cima da hora de começar a se preparar para a apresentação, conversou um pouquinho, deixou o pessoal tirar fotos e assinou alguns autógrafos. Quando ele se despediu e já ia entrando, entreguei a sacolinha com os presentes e disse “I hope you like it”. Ele fez um “Oh, you shouldn’t...thank you very, very much” (o James tem esse hábito de ficar repetindo os “very”). Pena que não deu pra ele ver o presente na hora, mas também não ia entregar a camisa toda desfraldada...fiquei feliz dele ter recebido, e esperava que ele abrisse a sacola de curiosidade, para eu poder comentar algo com ele depois. Esse momentos passam mais rápido do que a gente gostaria...seria tão bom poder ter um gravador no cérebro, e depois ficar repassando a cena até cansar. Porque, por mais acessível e simples, anti-estrela, que seja o James, ele ainda é um objeto de admiração; até aquele momento ainda um tanto distante para mim e centenas de outros fãs que batiam ponto diariamente na porta do Teatro Apollo. Não tem como não surtar um pouco, não ficar desorientada com o fato de que, sim, esse cara que você adora está falando com você. Só com você. Te olhando nos olhos. O tempo pára, parece que não existe mais ninguém em volta, e ainda assim você não está totalmente no momento, porque o momento é surreal, quase irreal, demais. Sim, é complexo! 






James e os (as) fãs, na matinê de quarta-feira, 22 de Abril. Fotos de Sheep Purple. Thank you! http://www.flickr.com/sheeppurple


Nesse dia eu resolvi não assistir a peça. Afinal, eu também tinha ido a Londres pra fazer um pouco turismo, não podia ser só James (mas que era uma tentação, era!). Marquei com a inglesa de nos encontrarmos ali na porta dos fundos depois que da matinê, e rumei pra National Gallery, que fica em Trafalgar Square, nas proximidades de Picadilly. Mas, andando por aquele belo museu, não conseguia me concentrar nas obras de arte. Ficava pensando no James e no jeito muito fofo com que ele lidava com os (as, na maioria, claro) fãs. É algo tão amigável, e ele fala com você como se ele não compreendesse bem a ideia da distância fã - ídolo, como se todos pudessem ser amigos dele em potencial. É algo que pode ser muito tentador, mas frustrante ao mesmo tempo, porque a gente cai em si e percebe a chance ínfima (menor do que ganhar sozinho na megasena) dele realmente vir a ser um amigo, ou, nos sonhos mais inalcançáveis, um algo mais. Damn you, James McAvoy! Voltei pro teatro e estava num lugar bem legal, perto da porta de saída. A peça acabou e não estava muito tumultuado, o pessoal esperava calmamente a chance de falar com ele. Quando o James saiu veio direto pro meu lado, aí resolvi perguntar sobre a blusa da seleção (sei que o rapaz adora futebol...bom, nem tudo é perfeito! Ele torce pelos Celtics na Escócia). Ele deu um sorriso e ficou todo animadinho “That was brilliant, thank you!” (ou algo assim...desculpem, mas eu estava um pouco fora de mim naquele momento!) Aproveitei a deixa e perguntei “James, será que você tirava uma foto comigo quando acabar?”, porque sei que ele quer primeiro ter a certeza de que autografou tudo que os fãs levaram, antes de tirar fotos e essas coisas. Ele disse claro, era só ele atender o resto do pessoal. E lá foi ele.







James interagindo, e meu dedo no botão da câmera, pronta pra fotografar! Fotos Sheep Purple  http://www.flickr.com/sheeppurple


Só um parêntese para um detalhe muito importante, principalmente pra quem é uma legítima fã do James: os olhos. Eu posso não ter visto muitos olhos azuis na minha vida, mas com certeza absoluta nunca vi olhos azuis tão bonitos e luminosos como os dele. Na hora que ele virou pra mim, sinceramente não sei como consegui articular uma frase gramaticamente correta - e em inglês! Ele estava tão bonito, de um jeito despojado, simples. A menina ao meu lado conseguiu falar o que todo mundo queria, mas não tinha coragem ou falta de vergonha suficiente “James, pára quieto um pouquinho pra eu bater uma foto desses olhos maravilhosos!” Todo mundo riu, e ele fez uma cara engraçada, dando umas piscadelas. Aí ele fez algum comentário sobre a caneta azul turquesa com que ele estava assinando os autógrafos, mas não captei bem. Eu já estava em alfa, e o melhor ainda estava por vir!


Esses olhos lindos...e um monte de fãs embevecidas! Fotos Sheep Purple  http://www.flickr.com/sheeppurple

 
O James fez a rodada de autógrafos, aí algumas meninas do outro lado começaram a pedir fotos. Fiquei um pouco frustrada, porque ele posou um bocado com elas e eu poderia ter filmado ou tirado algumas fotos legais...o problema é que não queria deixar o lugar onde estava. Aí ele foi tirar uma foto com a garota do “seus olhos maravilhosos”, e comecei a achar que ele ia acabar me pulando. Mas quando não tinha mais ninguém ele disse “now you”, pegou minha câmera, eu me posicionei ao seu lado, ele esticou o braço e bateu a foto ele mesmo. Acho que ele já virou craque na “foto-bracinho”, e a maioria que vi ficou perfeitamente enquadrada! É lógico que antes de ver a minha bateu um pânico, tipo “claro que logo a minha vai ficar uma porcaria, devo ter piscado, ele deve ter cortado metade da minha cara - ou pior! - da cara dele!”. Mas para minha infinita surpresa e felicidade, a foto ficou boa, captando a beleza do azul dos olhos e um sorriso aberto do James, coisa não muito comum nas outras fotos com fãs.


 
O que mais posso dizer?
 
P.S. - Só um detalhe...o memory card da câmera não lotou! Eu imaginava tirar milhares de fotos do James, mas quando estava na stage door, só sentia vontade de ficar olhando pra ele, observando seu jeito de lidar com as fãs, ou só ficar curtindo mesmo o momento. Voltei com poucas fotos, mas a mais importante de todas valheu muito a pena! 


Jun. 12th, 2009

library

James McAvoy - "Three Days of Rain"

Going to London, watching the play and meeting James – what an event! It’s something I won’t forget, as long as I live.

I arrived on Monday, for a whole week in London. I was so excited! I had been to London about 15 years ago, and only for 3 days, so I had a lot of activities planned already – a tour through the city, lots of museums and two concerts booked at the Barbican. And I would also meet an old friend, whom I haven't seen in years, since she moved to Europe. But the main reason I was going to London was to watch “Three Days of Rain”. And hoping for a chance to meet James.



As soon as I arrived, I went to the Apollo to see if they still had nice seats available. First the girl said they had a very good seat, E-something, but then I asked her for one that would be even closer to the stage, and that’s how I got row A.

When he entered the stage, I was so nervous…it was dark and I was certain that it was the understudy, he looked different from the James I imagined. He began talking, and I was still under the impression it wasn’t him. I think my brain still had a hard time accepting that yes, I was in London and yes, it was James McAvoy right in front of me!

I loved the way James played Walker; loved his energy, his presence, the way he kept moving and talking, more like rambling. How he completely owned the stage. I loved the way his cut out jeans kept falling a bit below the navel, revealing the white calvin klein. I loved that his belly kept showing when he raised his arms, and that we could see spit flowing freely when he literally spitted “sports?!” to Pip. The tears forming in his eyes when he finds out about Pip and Nan. The ritual of burning the journal, the way he looked übber sexy just standing there, looking at the flames. He completely mesmerized me from the moment he entered the darkned stage, carrying the flashlight as he spoke Walker's first lines:

"Meanwhile, back in the city...two nights of insomnia...in this room, in the dark...listening...soaking up the Stravinsky of it...no end to the sounds in a city...something happens somewhere, makes a noise, the noise travels, charts the distance: The Story of a Moment.
God, I need to sleep!
Yes. All right. Begin!"




The three actors had a great interaction, and I really enjoyed Nigel Harman as Pip, how he was such a complete opposite of Walker: optimist, all sweetness and light and empathic goodness, and a bit of an oblivious idiot. Nigel's, and his and James' scenes together generated some of the biggest laughs in the first act, especially when Pip goes on and on about Walker being "in so much pain" and his own theory on Oedipus ("Do the Fucking Math!"). Lyndsey Marshal was good too, as the worried, motherly older sister. Nan was nice and bland, but still made us care about her and her long-suffering worries with her nearly crazy, strayed younger brother.










Some reviewers, when talking about Walker, said the character was too loud and annoying, and that James overacted while playing him. All I saw was a wonderful performance; after all, Walker was supposed to be over the top all the way, and James nailed the young man's manic-depressive, bipolar, suffering, dark, obnoxious, intellectual-chic but still somehow likable persona. One of the new things he brought to the character, nearly at the end of the run, was a stutter, when Walker was speaking too fast or was too nervous/excited. It was great; it made sense to see Walker running with the words and stuttering because of it, since he was so prolix and talked so fast and had so many things and ideas and feelings inside his head that he wanted to translate into words. And it made for a great connection with his father Ned, as we would see in the second act.

I enjoyed Walker so much I wished the play would be all about him - or at least, that there would be a play only about him. Three Days of Wind? ;-)





But of course, I was still excited for Act 2, and to meet Ned, Walker's shy, silent and talented father. James' performance as Ned won the most enthusiastic accolades, maybe because of the flawless stutter performed on stage, maybe because he was the kind of character who had an immense inner life of feelings and emotions that he struggled to keep inside because of the difficulties of expressing them with spoken (and even written, as we could see by the laconic entries in his journal) words, the kind of damaged character that makes James excels as an actor, that allowed him to perform silently, using his face and body language to communicate with the audience. But first, intermission, and the chance to check the beauty of the old and lovely Apollo Theatre. It reminded me of a smaller Theatro Municipal in Rio de Janeiro; it was a pity the audience couldn't take pictures inside the Apollo, but some managed to... ;-)






                                Photos by PurpleSheep  http://www.flickr.com/people/sheeppurple/

During the final moments of the intermission I knew that James would be wandering through the stage, making coffee, drawing, oblivious to the chatter of those returning to their seats. I just sat there and watched him, feeling that it was such a privilege to be there, seeing my favorite actor, probably the best actor in the world right now (to me, the best) just being totally in character, inside Ned's own private and silent world, acting subtly, when he wasn't even supposed to be there.

I have to say that James looked gorgeous as Ned. The period outfit, and the nicely combed hair fitted him so well; he always looks great when playing characters like Robbie and Ned, because there's something classical, old-school-acting about James, as if he belonged to another era.

.







James was briliant as Ned, but I already thought he had been brilliant as Walker. The two characters couldn't be more different, and yet, so alike. They were both lonely, intelligent, and struggled to express themselves and to be understood - Ned and his silence, caused mostly because of a stutter that mortified him, and Walker with his excess of words.  But I understand why Ned was more loved, im general. He's the kind of character who makes our heart ache for him, we want to cuddle him and take him home. There were so many great Ned moments, as many as there have been Walker's - the first time he spoke, stuttetering (it sounded so natural, it was as if someone like Ned wouldn't utter words any other way); when he was talking to Lena about the "intentions, and what actually happens", how his eyes brighten with tears and how intensely he looks at Lena when she says how much greatness he'll achieve; the passion with which Ned holds Lina (James' natural sexuality is one of the most endearing things about him), the emotional confrontantion with Theo; when he's talking about keeping a journal, not a diary, because "I'm a boy!" (biggest laugh of the evening, he looked so cute when he said it!).  And this:

"I'm always w-watching you...whenever you're here...I can't help it. (...) It's awful. I don't want it...I d-don't expect to have things...like other people, but I'm always...th-thinking of you.
I kn-know nothing can come of it...I know. I can't stop it, though. I'm sorry. I'm so sorry..." 




So beautiful.

I also have to mention that James/Ned looked absolutely gorgeous wearing a white t-shirt and white boxers, while making out with Lina on the matress. It was such a hot moment. And when he just stood there, in the artificial rain, getting soaked...only this time he had pajama pants over the boxers! ;-)

I thought that Lyndsey as Lina was great, but Nigel as Theo was like Pip with less humour. Maybe it made sense, though, because Theo was someone with such a boring inner life, and his son Pip would follow the same path of his father, only being funny and sympathetic  while being an idiot (Theo just seemed to be and acted like an idiot). Also, after the confrontation with Ned, Theo didn't have much to do except stand there in the rain getting wet. The second act was all about Ned...and good for us, who are all about James! :-)








I loved "Three Days of Rain"; James of course was the main draw for me, but it was great seeing him acting in such an intelligent, well-built play, and Nigel Harman and Lyndsey Marshal are such good actors too. Everything was beautiful and nicely put together: the apartment scenery, the music, lightning, clothes, the rain effect. Plus the Apollo Theatre was the ideal place for the play, not too big and with an intimate atmosphere, something that made us feel closer to the actors and to be absorbed into the story.

It was a wonderful opportunity to see what a versatile actor James is, and how commited he is to the roles he plays. He makes me proud to be a fan. 

                                                "I don't waste words. I can't...afford to."  

 

Feb. 14th, 2009

library

ATONEMENT - More symbolisms


FICTION, METAFICTION  AND SYMBOLISMS


From IMDb's ATONEMENT board: http://www.imdb.com/title/tt0783233/board

I think Atonement is all about the power of stories and how they affect lives. Briony tells a story when she was a girl that ultimately keeps Robbie and Cecilia apart and even contributes to their deaths. Robbie would not have been in the army and Cecilia wouldn't have been a nurse. I have no remorse for Briony because at the end she states that "she" gave them happiness. She is a very self centered individual and as an author she sacrifices art for what a reader wants. As Robbie said, "No Rhymes" just write a true account and she could not do it. The movie is brilliant in how it realizes the apartment scene because Briony is played very uncomfortably and very stilted by the actress. I believe Joe Wright made this decision because that was when Briony the author was really writing herself and it was hard for her to make her a character as she had done with her younger self.
by seanmicsu



"I think Atonement is all about the power of stories and how they affect lives." --This is pretty much a perfect assessment of the film.

When I first came across your post, I have to be honest. I was like meta-wha..? I see meta-anything, and my brain freezes. To the unfamiliar, Wiki defines it as "a type of fiction that self-consciously addresses the devices of fiction... posing questions about the relationship between fiction and reality..." Thanks, Wiki!

Okay, this is deep. What purpose is served by making it seem Robbie and Cee end well? Their sad end is a forgone conclusion, so WHY does Briony concoct a happy one? This is where people bring their own rationalizations. The reasons they attribute to Briony are more of a reflection of their own world view than that of the character.

I find it ironic that while Briony is as much to blame for BOTH endings, both happy and tragic, neither would exist without her.

I don't know how much of her motivation for doing so is explained in the book, but the film is very brief and by no means definitive on this point. Her actions can be seen as either selfish or repentant, egomaniacal or unconditionally sad. It is courageous of the filmmakers to leave it so openly interpretable.

So what does Atonement say about the writer and the power of stories? 'Cause in the end, the book is a commentary on the purpose of fiction. It doesn't come clean with any answers but it brings up a lot of questions. Why do we have happy endings? Is there a deeper catharsis when tragedy leaves its mark? What are the conditions for this catharsis so the reader feels redeemed for the experience rather than depressed and angry? And for me, is there a value in making this distinction?
by gerberdais



Atonement reminds me of that masterpiece of a movie called Blow Up, directed by Michelangelo Antonioni. As in Blow Up, in Atonement we have this dynamic between reality and fiction, which is the most haunting thing about them. In Blow Up (based on one of the best short stories you would read, Julio Cortazar's Las babas del Diablo), a fashion photographer happens to discover a crime while taking pictures in a park --or that's what he thinks up until the amazingly ironic, metafiction-related end.
by Christian-Doig



What I love about Atonement is its complexety, altough the story - and the film - appears to be simple and uncomplicated. But there are so many things going on - one being how we relate to the story of Briony, Robbie and Cee as if it were real, and how we judge the characters based on our sense of reality. Too many people who have seen the film asked me later if it was based on a true story - I find this fascinating, because the film carries itself almost like a haunting fable, allegoric, even surreal at some points. Still, the tragic events, the pain of those characters resonate so much with us, that it's like we're projecting ourselves in a situation like that, imagining how it would be to betray someone we love, to be the one betrayed, to never be able to put things right again, to never be able to reconstruct our lives, to unexpectedly have our lives turned upside down, because of small, insignificant things we didn't care about. The sadness of it all is that, in life, there are so many things which escape our control. Not everyone will get a happy ending, even the ones who deserve it.

When we watch the end of Atonement, and see how the lives of Robbie and Cee could have been, we face a dilemma: either we accept that our notion of happy endings, for life in general, can be as improbable as that happy ending for Cee and Robbie we see on the screen, or we accept that sometimes fiction can heal, and could make real life better or at least, tolerable. And maybe that's why a lot of people feel frustrated or confused by the ending of Atonement; they don't know if they have to deal with it on the levels of reality or mere fiction. 
by cris-a



Fiction exists to complete reality, to make justice and give us --the readers, the viewers-- freedom (and not only for the duration of the movie). Appearances have a reality of their own whenever you think of how different they can get from every different person that approaches the same object/subject. It's like all those female teens who read Twilight, and then, out of the many smart ones who didn't dig the screen adaptation at all, they are still so different from each other because at the end it's not about the outside reality --not even of a novel or a flick--, but about who they are as individuals. And that affects everything we touch with our minds. The subjectivity in regards to fiction and the "real" world is the central theme to Atonement, and it is just fascinating to reckon.
by Christian-Doig



I think the library scene, quasi-crucifiction and all, is symbolic of the films postmodernity; the combining of their bodies with the accoutrements of the bookcase (the stepladder, shelves, books etc) is a quiet indication of their fictionality, as much as they are subsumed by each other, they are inevitably bound to their own grand narrative. Interestingly, I found Bryony's own symbolism was the most provocative; from the start it is clear she is the omniscient narrator. This is signified by her play at the beginning, perhaps underpinned by being the first character on screen, and then at the end when we find she has written what we, the audience, think has been a semblence of 'reality' it brings to the fore how powerful her character is, and how she she has given to and taken from her protagonists. For example, she took away their love, and then gives it back to them in her own piece of fiction. Interestingly again she removes herself from their happiness in her fictionalised ending; we see them through her eyes, we see their relationship as one based on physicality, denoted by Cecelia calming him down by kissing him, the almost sordid reference to the unmade bed and Robbie erupting in anger, a personality trait that had not surfaced before. Her portrayal of the couple is very intimate and is almost uncomfortable to watch, as if the audience feel they are intruding, just like Bryony does.

Just as an aside, I actually felt pity for Bryony; she is also a victim of her creation and shows perhaps more humility than cecelia does in the opening segment. She is more human, I think, than the mythological Cecelia and Robbie; she is envious of her older sister, she clearly has a school girl crush on Robbie and does something which is irrevocable out of jealousy and anger. I have to remind myself that they are characters as well as symbols, as much as we all get carried away with our own hypothesis.
by emmaisabutterfly



It could hardly be their own grand narrative in that the Robbie and Cee the audience comes to know in the course of the film are really characters in Briony's fictionalized account of events. If anything, its Briony's grand narrative. She is the one writing the story, controlling the perspective, even creating events. The fictionalized Robbie and Cee (who are all the audience ever really sees) are just objects in the world of Briony's narrative and, as such, are not in the position to define themselves within the conext of their own grand narrative.

It is thought provoking, though. What would you say is the grand narrative reflected in this film?
 by jessikaaguilar



This was rather the point I was trying to make; I do not refer to Cee and Robbies grand narrative as their own construct, but one that is enforced upon them. When I say they are bound to their own grand narrative I refer to their textuality; they exist as characters which the audience build a relationship with but also as subtext in the fiction of Bryony. I agree that fundamentally Bryony is the creator of their grand narrative, but as a character she also has a grand narrative; the film really exists on two levels.

"What would you say is the grand narrative reflected in this film?" I take it by this you mean which is the true grand narrative? Which is most linear and transparent? If this is what you mean then I would say it is actually a combination of both story lines; that of Bryony and the story of Cee and Robbie which is true, we must remember, to a certain point but distorted through it's regurgitation. Technically speaking a grand narrative is something which explains, posthumously, knowledge and experience, so really the only metanarrative which is viable is Bryony's.

Just in reference to your point about Robbie + Cee being a creation of Briony (or rather your reference to a reference you thought I'd made...lol) I see Robbie and Cee as only created by Briony in their narrative, if you think of the characters as fibres, indeed some larger than others, then Briony would have sewn those fibres together; this is what I mean by it being Brionys narrative. I know they are 'real' characters, but through Briony's interpretation of events they could have become distorted ~Cee says of Briony - 'She can be rather fanciful'~. In regard to your point as well, INeedUnguent, she couldn't have reconstructed that scene completely factually, so some of it we have to admit is her interpretation. They say that when you remember childhood as an adult you remember it with childish emotions; I think the latter is perhaps why we see Robbie and Cee in such extremes, and why their characters are so polarised. To perhaps stretch this point beyond its limit, at the beginning of the film we see some scenes repeat themselves, through different perspectives, and then we settle into one relatively linear sequence, so who's perspective did we settle into? We know it's not the 'true' perspective as we are told at the end, so the only real conclusion is that it is Briony's.

Interesting point about the father and the holy spirit, I can't claim I've studied much biblical imagery but I like the idea. Along that theme would you say the biblical imagery extends to the women around him? I'm not sure about it, could have been more of an allegorical thing, like he sacrificed himself for others sins. Hmmmm....
by emmaisabutterfly



Anyway, when Briony and Fiona rush out to help the wounded, Briony suddenly gets a glimpse of Robbie...or at least, someone that looks exactly like James McAvoy that isn't credited :), but we all know it was Robbie.

Now, if this was after the Dunkirk evacuation, it COULD be Robbie's ghost since he had died in France before departure, or Robbie "rose from the dead on the 3rd day", much like Jesus Christ had, to prove himself to others.



Interesting. It was James McAvoy, pinkconverse, I caught that when I finally watched the movie on DVD for the first time. I was shocked because I didn't see him in on my first viewing at the theatre, it's just a flash but it is definitely him. We know that Robbie died on the last day of the evacuation so that would have been immediately before the evacuees reached Briony's hospital, and possibly, depending how long it took to evacuate and get there, the same day she "thought" she saw him.

To add to the significance of the number 3 here, it is also interesting that Briony's hospital sequence begins 3 weeks before Robbie's death.

Personally I'm disinclined to think it was Robbie's ghost haunting her, if only because I like to think of him as resting in peace and I don't think he would be vengeful toward her. I originally took her "seeing" him as simply the product of her intense desire that he would be among the evacuees, but perhaps it is symbolic of HIS forgiveness, as if he is there to give her his blessing, since it occurs immediately before the redemptive scene with Luc. This fits in very nicely with the Christic imagery (and your idea of a "resurrected" Robbie) since Robbie, now having "given" his life because of her sin, would be the symbolic agent of her redemptive act of kindness toward another soldier.

It's also interesting that in the scene with Luc Briony, though she is complicit with his delusions, does not lie, she does not fabricate or embellish anything herself. Again, because her god complex was at play when she lied about the rape we see a contrasting image of her here, she is passive, yielding her reality to someone else's need rather than forcing her fiction onto others.
by emakii





I agree with what you said about Robbie "returning" to Briony in the post atop. It makes watching her scene with Luc more poignant, to think that maybe Robbie returned not to haunt her, but to forgive her, allowing Briony to have that emotional connection with Luc.
Altough, even if Robbie forgave her, she would never be able to forgive herself, eh? Much like Judas to Jesus. Judas hated himself so much after what he did that he couldn't go on living anymore. We can see how much Briony hated herself too, that she thought she only deserved Robbie's anger and Cee's spite and coldness in the confrontation scene. And in a way Briony ceased "living" and was forever a prisioner of young Briony's actions.
by cris-a



It's easy to forget that not only did Briony fabricate the ending, but that the ENTIRE MOVIE/BOOK--no matter how factually accurate she tried to make it--was filtered entirely through Briony's point of view. All the conversations she wasn't there to witness (especially those between Cee and Robbie, whose conversations had no witnesses) were written by the adult Briony as she imagined they would have said them. The obvious guilt that Briony is carries isn't so much evidenced in what she says as the fact that Cee and Robbie's characters are almost flawless, but the Briony character is so easy to hate.

Someone used the term "mythological" to describe Cee and Robbie. I think it fits perfectly. In the context of the story, Cee and Robbie WERE real people, but the ones we are witness to are wholly characters constructed by Briony based on them. It's ironic because the reason for their destruction was because the 13-year-old Briony used them as characters to act out the script in her head, and now the 77-year-old Briony uses them, yet again, as characters in her attempt at atonement.
by invisigothx11



And an entry by enchantee</lj>  at  http://community.livejournal.com/fadingatonement/

I definitely agree about the tracking shot, although I think it can be pushed even further: I think that the whole film can be seen as a commentary on film. Much like the book, which explores the way in which ideas, feelings, and memory in writing are all inevitably mediated through the construct of words, I think that the film is very effective in demonstrating the power of illusion and images that we create, and accept as audiences. Take the opening shot-- preceded by the sound of Briony's typing, the first thing we see is a doll house: a miniature replica of the life that these characters are familiar with. Pulling back, the camera reveals to us the source of the sound a Briony types the closing words of her play. Throughout the first act of the play, this pattern is repeated: we see the results of an action before we see their causes-- the encounter at the fountain, one of the Quincy twins bouncing a ball against the wall, Robbie's picking the wrong letter to give to Cecilia. The film sets us up to say, "Okay, this is what really happened," but when we get to the end, we see that the entire thing-- even the supposed truth-- is a product of Briony's conscience, and imagination.

Similarly, the use that Wright makes of reflections-- in the lake while Cecilia, Leon, and Marshall are lounging, as well as in the Cecilia's mirror-- reminds us of films' roles as a reflection of life. There's this tradition in American and British films--a tradition that was definitely predominate during the thirties and forties-- that almost requires filmmakers to make everything plausible enough that the narrative moves along without the audience having to question it too much. In this respect, I think that the film definitely takes on and challenges this tradition: it makes us think about how films are constructed to look real.

I think that the same applies for the tracking shot at Dunkirk. While it pulls the audience out of the moment, I think it's important to recognize that this is a scene that needs to serve multiple purposes-- not only is it operating within the realm of the narrative, but it is also functioning as an act of remembering the historical past. By 2008, post-Vietnam and five years into the Iraq War, we have this heroic image of World War II (especially as its generation is aging and dying--a fact which is instrumental to our understanding of Briony in the third act); I think that it's important that the tracking shot reminds us that this is a recreation, a visual representation of history, and not the real thing. It's as much a version of the war as Briony's book is a version of the Robbie and Cecilia's romance. 
 

OTHER SYMBOLISMS

THE AIRPLANE 




We all know that Robbie sees a plane for the first time in the film when he's in the bathtub. At that moment, he's excited about his life and his future. He's planning on studying medicine, he has just found out that he was in love with Cecilia...the plane represents his life soaring high, adventure, his future plans. He observes it almost in a childlike state, fascinated by it as much as he was fascinated with the possibilities of his own life.





The second time is during the war. The plane now represents destruction, hopelessness. It's interesting that, this time, altough Robbie looks up to the sky, we the audience can see only the reflection of the plane on the water, and it looks like a spectral shadow, a bad omen pairing over the soldiers.





The third time...well, this is what I found out recently, watching the film on a very bright LCD screen:
Robbie has just died and Nettle is leaving the basement. Briefly, almost invisible in the dark, we see the drawing of a plane on the wall, near Robbie's dead body. A childlike drawing, as if Robbie himself had projected with his mind his first impression of that plane, long ago, that meant his youth, his future and everything he would achieve in his life. Robbie's last moments were "the man returning to the child", like Joe Wright said in the commentary...






The little plane on the wall was his release from the tragic reality of his death. The imaginary plane that would take him away from Dunkirk and that dark basement-coffin, to the cottage on the beach, and to Cecilia.
by cris-a


HANDS, FINGERNAILS AND COLORS

One thing I noticed: when Briony tells the lie and everything goes black behind her the first thing we see after she has lied is her mother's perfectly manicured hand with blood red nails reach forward out of the darkness to place itself on her shoulder. This seemed to me to symbolize the complicity of the Tallis family with the evil that Briony does, not only their support of her and the way they close ranks with her against Robbie, but their complicity and culpability in the destruction of an innocent man. In particular it underscores the class issues and injustice underlying what is being done here; this beautifully manicured hand, representing the rich, superficially well-groomed Tallis family, has blood on it (symbolized by blood red nails and dress). Briony does not act alone, the adult members of this family are equally guilty because of their disregard for Robbie's humanity, classism, and casual cruelty.

Over and over we see that the superficial "perfection" of these people masks another reality entirely. Briony wears white dresses and bobbi socks but she is anything but pure; Lola in her pink ruffles is neither girlish nor innocent; Mrs. Tallis' hands, though perfectly manicured, are far from clean.

Robbie's hands, by contrast, are rough, with noticeably stubby fingernails, and Cee's get rougher especially after she leaves her family. Briony is seen scrubbing her hands frantically, obviously a symbolic reference to her efforts to cleanse herself of the blood she has shed.
by emakii



Also on the subject of hands and nails...wonderful insight about Emily's red finger nails (and red dress). I also noticed that when Cee is getting ready for dinner, she has red nail polish on. She looks briefly at her hands, says something to herself, and in the next scene (with Leon, before she gets the letter) the red nail polish is gone. Some people called it a continuity error, but when we think about it now...wasn't a way of telling us that Cee was starting a process to remove herself from the snobbery and cruelty of her upper class family?
 
Cee's fingernails painted in red appears briefly, when she's getting ready for dinner. It's interesting because she looks at her hand and says something, like she's questioning the nail polish.
But she uses the red lipstick during the whole film. It's like a "Cee trademark" - maybe something Briony remembered her sister wearing that caused an impact on her, maybe as how she finally started recognizing Cecilia as an adult (and sexually active) for the first time.



As he looks up at the wet Cecilia, his thumb is actually stroking the handle. So i take it that the handle is a phallus symbol. Overall a very sexualised scene.

Interesting, I went to see Atonement with a friend of mine (her first time watching it, mine was like the fourth) and she commented exactly the same thing. I had noticed it too, on my first viewing...the close-up of his hand, the tension, seemed to me a very sexualised moment.
And Wright used hands a lot in this film, to express what is not being said. When Robbie touches the water, it's like he's touching Cee for the first time. It's sexual, but it's not as lustful as he stroking the handle; it's more like he's acknowledging his love for her.
by cris-a



Sorry if i repeat anything but the use of color in the briony-as-a-nurse section of the film was important. she has no identity; her appearance blends in with the pale blues and whites of the hospital. the dying frenchman's red velvet curtain sticks out as a bright statement amongst the rest. at his side, briony learns about passion, and she learns to love, something which she states that she has never experienced before. this passion gives her her identity back, shown when she tells him her name is briony. and thus, afterwards she is able to wear her bright red nurse's outfit, something which asserts her identity by connecting her with the frenchman.
by eds-poofed-hair



I like your observations about the color scheme. I tend to think of the big red tent (for lack of a better word) that Luc was in as a kind of heart - this big shockingly colorful heart in the middle of all the drab arteries (hallways) of the hospital, where Briony goes to get her feelings and her identity back (I agree with you about the 'my name is Briony' being significant in her regaining herself, and I tend to pair it with her line 'There is no Briony' near the beginning of the hospital scenes when she's looking out the window at the city.)
by mikuhgtt


More about the colors...
It's interesting how the color scheme of the film changes, depending on what kind of emotions are being expressed. In the first part, the predominance is that of greens and pastel colors. There's  green everywhere: it's the color of the kitchen of the Tallises house, the gorgeous green grass, Robbie's and Grace's house (including the very greeny bathtube scene), and of course, Cecilia's wonderful green dress. The green is the symbol of that perfect summer day - when everything seemed to go so well, especially when we observe it through Robbie's POV. He was young, fresh and had his whole life ahead of him - a future life full of green, vibrant summers.
Of course, later on the first part, the black of the night takes over the green, casting its doom over the young lovers.

In the second part, the green is replaced by the browns and sepias. Life was very much taken away from Robbie, and he had to face the cruel reality of a war. Despite the sadness and lack of vivid colors, the use of browns and tans is amazingly beautiful.  For example, observing the tearoom scene, and the scene at the bus stop, we'll notice that even the people around Cee and Robbie are wearing brownish clothes. There's the eventual use of bright colors to give the scenes an interesting contrast, as the blue in the tearoom scene (Robbie's eyes, Cecilia's uniform) and the red during the bus stop scene (the double-decker buses).

In the third part, we get the white and red, symbolizing the contrast between purity and the horrible crime commited by Briony. Briony's uniform is white, but there's a red cross in it, as if to signalize her guilt. There's red in the blood of wounded soldiers. Red are also the curtains around the dying French soldier's bed, an interesting reminder of the theaters' curtains, pointing to Briony's unability to live outside the fictional world inside her head.

A wonderful way of expressing sentiments through colors, in a film which was never praised enough for the beautiful and intelligent use of symbologies in all levels. 




MORE SYMBOLISMS


When robbie goes to pick up Nettles boot just before he sees all the dead bodys, he takes off his hat and lifts his head to the sky with his eyes closed, when he looks up the screen brightens dramtically and his face looks like the sun is shining just on him, then he lowers his head and opens his eyes and the screen darkens like the sun has dissapeared, its almost like when he has his eyes closed and looks to the sky he is in heaven in the light and when he opens his eyes again and looks to the ground he is in the reality.
by oxmilliexo


When Briony is trying to reconcile with her sister (the part of the story she creates to bring Robbie and Cecilia back together) as they kiss, she turns to the window and sees an old woman pushing a small pram. Is this to be taken as some kind of premonition into her future? While her sister and Robbie are given a future of love and happiness (albeit a fictionalised one), hers is to be one of loneliness and madness because of her own actions?
by xtenement_funsterx


The film is loaded with foreshadowing - the picture on the wall near the door in the Turner bungalow, the picture above where Briony is typing in the opening shot, Briony's reading in the field, etc. - and I've always looked at the shot you mention as another example of that. Briony seeing herself far in the future - an old lady bent by a life of carrying the burden of guilt from what her lies did to Robbie and Cecilia.
 by mikuhgtt


I don't know whether this was mentioned but water can also be associated with refraction, the way in which what we see gets distorted by our perception. Which I would link with the glass window when Briony is watching the scene by the fountain...there is a moment where the image is refracted by the glass while she's opening the window.
Also what do you think is the symbolism of the trapped insect, when she's watching Robbie and Cee?
by ophelia83


There's also refraction when Cecilia is lying on the diving board over the lake, and we see her reflex distorted by the water. I like the idea of things being distorted by perception; it is one of the main themes of the story, after all. Like the "You can only imagine the truth" tag that they used for the film, so much better and intriguing than the other one ("Joined by love. Separated by fear. Redeemed by hope" - never liked this one...).

Joe Wright said that he used the bee because its buzz is like a buzz inside the brain, irritating you, making you confused about things...but I also like the imagery of something trapped, as in Briony trapped by her own imagination.
by cris-a






Feb. 7th, 2009

library

Wanted

 

O QUERER EM WANTED - O PROCURADO  

Wanted é um filme que permite várias leituras. Pode ser visto apenas como um blockbuster de ação cheio de adrenalina, com efeitos especiais caprichados e cenas típicas de perseguição de carros e explosões, e muita testosterona. Pode também ser visto como uma típica fantasia masculina – um dia, uma garota linda e misteriosa virá resgatar-me dessa miséria de vida chata, do cotidiano de um trabalho frustrante e uma namorada exigente e histérica, para me apresentar a um mundo totalmente novo, desafiador e perigoso. O mais interessante no entanto, e algo que parece ter escapado a muitos críticos que desprezaram ou rotularam o filme como mais um filme-pipoca escapista, é a busca pela identidade. Seja a identidade do Eu (Self), ou a identidade adquirida através da convivência e das lições adquiridas de nossos pais, ou a identidade conquistada através de uma realização amorosa, ou através do trabalho, ou de um grupo com os mesmo interesses .


 


A  própria palavra wanted, no original em inglês, revela várias camadas. Não apenas Procura-se ou Procurado, como nas fotos dos criminosos. Mas também o fato de sermos todos seres sempre em busca de algo, no processo contínuo de entender o que realmente queremos da vida. Wesley havia chegado ao ponto em que acreditava não querer mais nada para si e sua vida, que resumia-se a uma rotina frustrante e vazia. O contato com a Fraternidade o fez, talvez pela primeira vez como adulto, encarar as frustrações de quereres não realizados. Wesley queria um lugar no mundo e queria uma família. O fato de ter tido um pai tão famoso por seus feitos o fez querer se espelhar naquele homem grandioso (que até pouco tempo, antes da Fraternidade, era apenas um covarde que o havia abandonado). Por outro lado, Cross, o pai, também queria o filho. As circunstâncias de seu trabalho com a Fraternidade fizeram-no afastar-se da família e abandonar Wesley ainda bebê, para evitar que ele seguisse seus passos. Mas o abandono gerou uma série de frustrações e mágoas que ambos nunca conseguiriam resolver, e ironicamente surtiu o efeito contrário, fazendo com que Wesley, assim que foi informado ser filho “do maior assassino que já existiu”, projetasse na figura do pai uma imagem de perfeição, (tratava-se, afinal, do homem que conseguia “conduzir uma sinfonia” com sua arma) e desejasse ainda mais ardentemente ser como ele – tudo que Cross não queria para o filho.

      A frustração pela busca dessa identidade perdida (ou nunca conquistada) permeia a história, e a percebemos também nos outros personagens. Voltando ao super-assassino Cross, o desejo de ter um contato com Wesley e ao mesmo tempo, o horror gerado pela possibilidade do rapaz  seguir aquela vida errante , o transformou em um voyer do próprio filho. Morando no apartamento em frente ao de Wesley, ele o observava, fotografava e monitorava à distância. Talvez percebesse sua inércia e depressão, mas não conseguia fazer nada a respeito. Wesley, inconscientemente, percebia a presença de alguém o vigiando (sempre que saia de casa e olhava em direção ao apartamento de Cross), o que aumentava sua paranóia e isolamento, que podiam desencadear crises de pânico. Essas vidas isoladas, que poderiam ter desenvolvido um relacionamento pai/filho produtivo, vão reproduzir em parte a tragédia de Édipo, que desconhece o próprio pai e acaba por matá-lo.

 



 Identidades perdidas, ou apagadas, vidas unidimensionais, fazem parte do ambiente de um culto. Na Fraternidade, existiam pessoas com funções específicas, e sem vida fora do que “sabiam fazer bem”. Havia o Reparador, que “reparava erros do passado” em sessões de espancamento. O Armeiro, perfeito com as armas. O Açougueiro, bom em manipular quaisquer tipos de objetos cortantes. E Fox, talvez a mais complexa, a única (ao lado de Wesley, como iremos verificar mais tarde) capaz de causar um defeito irreparável na máquina bem azeitada da Fraternidade. Apesar de seu aparente niilismo, Fox possuía um forte senso de honra e justiça. Ironicamente, a pessoa que mais aceitava a premissa do Tear do Destino (e portanto, da própria Fraternidade) seria uma das responsáveis por sua derrocada. Para Fox, a partir do momento em que se revelou a manipulação dos nomes, tudo perdeu o sentido. Sloan os havia tornado assassinos comuns, visando apenas lucro. Não havia mais um objetivo sagrado, eles não eram mais anjos exterminadores em busca de justiça e equilíbrio no mundo. Sua própria vida perdeu o sentido a partir dali, mas ela deixou Wes viver na esperança de que ele ainda pudesse se redimir, e talvez no processo, redimir a todos eles.


           Uma das maiores críticas feitas a Wanted foi sobre a função do Tear do Destino. Na verdade, o Tear é um dos elementos mais intrigantes do filme, justamente por lidar com a questão da credibilidade, e como elementos aparentemente ‘mágicos” e esotéricos podem nos fazer estabelecer uma “fé” em determinados sistemas. A Fraternidade nunca questinou a a credibilidade do Tear – na verdade, nunca questinou a credibilidade de Sloan, que era o único que podia ler e interpretar as falhas no tecido que forneciam os códigos binário transformados em nomes. O Tear, no fundo, era apenas um símbolo – os assassinos da Fraternidade acreditavam no que desejavam acreditar, e talvez a maioria apenas gostasse da matança, sem importar-se com o fato de estarem fazendo justiça ou não. Isso fica bem claro no momento em que Sloan revela a farsa, e deixa claro que os assassinatos geram lucros. Não se tratava de “justiça” ou “buscar um equilíbrio entre o bem e o mal no mundo”, mas simplesmente de um negócio. Os membros da Fraternidade perderam assim sua função quase mística (segundo aparentemente acreditavam, ao ingressar no culto) e tornaram-se meros assassinos de aluguel. Quando confrontados com esta verdade, os membros simplesmente se ajustaram a nova idéia de assassinatos gerando lucros – já que nunca questionaram a moralidade de matar apenas baseado no que um tear dizia, e gostavam de ser matadores, porque não unir o útil ao agradável?

 
 
Wesley procurou manter intacto seu senso básico de humanidade (um dos momentos mais engraçados – e ironicamente mais verdadeiros – é quando ele exclama “Eu tenho respeito pela condição humana!”), e isso naturalmente não é bem aceito em um culto, onde o objetivo final é a desumanização. Wes questinou os métodos da Fraternidade – a aceitação cega às ordens do destino, às mortes ditadas pelo tear - até que a história contada por Fox o fez encontrar um objetivo "justo" (e humano) nos assassinatos. Ele mesmo, afinal, estava em busca de justiça para seu pai. A questão é se “matar um para salvar mil” pode ser mesmo considerado justiça, e até que ponto algumas pessoas podem tomar para si a responsabilidade de assumir a identidade dos lobos que abatem os “fracos” ou “doentes” - os que podem prejudicar a coletividade do rebanho, o funcionamento adequado da sociedade. Talvez sejam questionamentos que Wes fará mais profundamente na continuação da história. 



  

 

Provavelmente, as informações fornecidas pelo Tear vinham sendo manipuladas desde que o primeiro líder da Fraternidade percebeu o poder de persuassão de um “objeto místico”. O que não quer dizer que, embora muitos membros fossem simplesmente assassinos psicóticos que na Fraternidade pareciam ter encontrado uma justificativa e função para seu desequilíbrio (como no caso do Reparador e do Açougueiro, por exemplo) outros tantos seguidores não acreditassem piamente na função mágica do Tear, e no trabalho quase divino que executavam – matar os potencialmente maus para alcançar um equilíbrio no mundo. Esse era o caso da assassina Fox que, devido a um trauma que ela pode ter sofrido ou não (conhecendo-se as técnicas de “lavagem cerebral” dos cultos, a morte do pai de Fox por um homem cujo nome havia sido ditado pelo tear, mas não havia sido executado, pode muito bem ter sido algo no qual ela foi levada a acreditar – exatamente como Wesley, mais tarde), sentia que havia uma missão sagrada a ser cumprida, e as ordens ditadas pelo Tear deveriam ser seguidas à risca. Ironicamente, a pessoa que mais acreditava na Fraternidade foi uma das responsáveis por sua derrocada. O desvirtuamento da finalidade de todos aqueles assassinatos significava que ninguém mais era puro, e todos deveriam ser sacrificados – inclusive ela mesma.


           A função de Wes na história é nos representar. Somos o homem comum, muitas vezes oprimidos pela sociedade, no trabalho ou em um relacionamento fracassado, nunca tendo dinheiro suficiente para realizarmos nossos sonhos. Como nós, Wes também questiona a irrealidade aparente da Fraternidade (“Um tear fala conosco?”) e seus métodos (“Porque tenho que matar alguém de quem não sei nada a respeito, não sei o que ele fez de errado...que direito temos de julgar essas pessoas?”) até que, depois de várias manipulações emocionais e torturas físicas, se entrega ao culto que parece lhe oferecer um objetivo na vida, uma missão. Quando tudo cai por terra, Wes precisa encontrar em si suas próprias convicções. Ele desperta, mas ainda assim – apesar de ter tomado o controle de seu destino, ao menos em relação a questões como o trabalho, seu relacionamento, e o grupo que havia servido de substituto ao pai, à família – seu questionamento permanece: “O que sou eu?”




 
E para terminar, existe uma uma outra característica interessante em Wanted que é o uso de uma mitologia de contos de fadas, usada para nos fazer embarcar no curioso mundo da "realidade irreal" proposto pelo diretor. Castelos, teares mágicos, ratos "encantados" (tal como no Flautista de Hamlin"), o rapazinho fraco e sem graça que se joga (ou é jogado) em uma jornada heróica - como em "O Alfaiate Valente", dos irmãos Grimm, onde um modesto alfaiate ruma em busca de aventuras depois de sentir-se o tal ao matar sete (moscas!) de uma vez...
São elementos que enriquecem o filme e permitem muitas leituras, e tornam Wanted um filme único no universo cada vez mais apático dos filmes de aventura/ação. É só querer entrar na viagem...

 

Wanted screencaps # 1, 3, 4 & 5 by [info]youbecomeme


Wanted screencap # 2 by [info]cris_a

 
 

 


 

 

 

 

 

Nov. 17th, 2008

library

Atonement video with Gattaca soundtrack


My friend youbecomeme  made this incredible video for Atonement, and I had to put it here too.
It's really beautiful and dramatic, and what a wonderful choice for the music! And there's still more to come... ;-)


Oct. 6th, 2008

library

Robbie Turner

Well, it's been a while!

I found this interesting article about Robbie Turner, and how the character was played by James, in the words of Joe Wright, Ian McEwan, and James himself...


ROBBIE TURNER

The male lead role of Robbie Turner, the son of the Tallis family housekeeper with a Cambridge education courtesy of the Tallis family, is played by James McAvoy who according to director Joe Wright, “had the acting ability to take the audience with him on his personal and physical journey.”

McAvoy saw the story as “epic, romantic, and really about what it is to be a human being. It affected - and still affects - me hugely, and I hope it will do the same to audiences. Atonement also explores the truth of how we are at our best when we are being attacked, and Robbie Turner is forced to fight on two fronts.”



Wright adds, “I’d first seen James in a play about seven years ago, and I could tell how good he was. I’d offered him parts twice before, and this third time was the charm. James has working-class roots, and that was very important; Robbie’s story is that of a working-class boy whose life is often at the mercy of the snobbery of an upper class family. James also has a deep soul, and isn’t afraid to show it. The character is described by Ian McEwan as having ‘eyes of optimism,’ and James has those. When he smiles, you smile; when he cries, you cry.” McEwan adds, “Later in the story, it is written that ‘there is a stamp of experience in the corners of his eyes.’ Through James’ performance, you feel the pathos.”



Even so, as McAvoy notes, “Joe would tell me, ‘Don’t beg them to cry,’ meaning, the audience. Robbie was one of the most difficult characters I’ve ever played, because he’s very straight-ahead. In the 1935 scenes, the family doesn’t see him as one of them, yet he doesn’t have a chip on his shoulder. Joe was very keen not to be manipulative with the audience, so he emphasised underplaying. So, later in the story, when Robbie explodes, you really feel it.



“As a director, Joe knows how to choreograph his scenes, understands the story he’s telling, respects his crew, and loves actors; he made me a better actor on Atonement.” McAvoy believes Atonement also explores the truth of how we are at our best when we are being attacked, and Robbie Turner is forced to fight on two fronts.” Robbie is a compassionate and decent man. We know he has leadership qualities from the war scenes in France and that he is a person that can fit in with any section of society. Robbie is devoted to his mother and not afraid to show his love for her. His mother may only be a housekeeper but he is not embarrassed by his background.

Robbie is obviously changed by prison but he does not lose his best qualities and that is shown when he is in France. One part of the film to think about is when WWII sends Robbie and his British Expeditionary Force (BEF) unit through France, the full scale - human and spatial - of the army’s retreat from and at Dunkirk is captured in a single shot worked out by Wright and McGarvey with steadicam operator Peter Robertson.

Wright says, “The sequence was originally scripted as a montage. But that would have required 30-40 set-ups in a single day, with consistent light. So we went a different route.”

McGarvey adds, “We wanted something that would evolve within the scene itself, and was appropriate for the context. The conventional way to shoot what Robbie is seeing would be to go for a wide shot with a longer lens. With this shot, you are with Robbie, so you share his point of view and also see his face, his reaction to it all.”



The sequence was filmed on location at the seaside town of Redcar, with its existing beach and Corus Steelworks industrial landscape; 1,000 locals were employed to portray wounded or dying U.K. soldiers stranded on the beach at Dunkirk while awaiting safe passage home in 1940.

Greenwood notes, “Joe wanted the scale to be fully conveyed. To me, this shot says everything about Dunkirk - and about Robbie’s journey.”



Ian McEwan reveals, “My father was in or attached to the British army for 50 years. He was on the beach at Dunkirk, severely wounded and then evacuated. When he talked about it, you could see the darkness of the memory, yet also the sense that it was when he felt most fully alive.”

McAvoy reflects, “We talked to one veteran who couldn’t tell us a lot. He said, ‘When you’re doing it, boys, just think about how bad it really was.’ It was hard for him to even say that to us.”

All departments worked together to marshal for the sequence - among many other elements - a bandstand, French and British army weapons both vintage and re-created, a working ferris wheel, bombed-out buildings, a huge beached Thames barge, a choir in performance, and show horses.

In the five-and-one-half minute uninterrupted shot, the camera follows James McAvoy, Daniel Mays, and Nonso Anozie - as Robbie and the two other surviving British soldiers from his decimated unit - as they tenaciously search for any quieter space to try to decompress in.

Webster says, “James’ powers of concentration and transformation impressed me all through the shoot. When it came time to shoot this sequence, he was moving through it all and reacting - which, in a way, is the hardest kind of acting. Robbie witnesses a lot, and James conveys his inner state brilliantly.”




Source: http://schol.wordpress.com/2008/08/17/robbie-turner/






Aug. 15th, 2008

library

And now ...more "100 Things I learned from "ATONEMENT"

People can't seem to get enough of it, so...

More "100 Things I learned from "ATONEMENT"! ;-)




100) When yelling for a 13 yr old that is running through a field (because you just realized she is carrying the wrong letter) YELL LOUDER!!

99) Now I think the word CUNT is sexy.

98) I now want a library in my house.

97) Never go searching for little red heads that ran away.

96) Be sure to seek a second suspect.

95) Get a drink of water and a doctor when you are sick.
 
94) Get immediate medical help when you have something inside of your chest.
 
93) HIDE SECRET LOVE LETTERS. Preferably in high places where scrawny 13 year olds can't reach them, or go looking for it.
 
92) Keira Knightley can dive well off a diving board.

91) "Hot weather encourages loose morals" HELL YEAH IT DOES.
 
90) Don't hesitate making your first lie, even if it would be a crime. You have good chance to tell the truth in your 21st book.
 
89) A chocolate bar could be highly dangerous in the hands of a 15 y.o. redhead girl. If you have to have it, be sure it has a brand other than "amo", and be sure to eat it correctly: never ever bitting. Otherwise, you will have someone killed either on the French coast or in a British subway station, and some other lying all the way to her death. And yourself, will never get away from chocolate and your chocolatey husband.
 
88) When two boys run away, stay at home.
 
87) Never take candy from strangers.

86) When going to medical school on a rich guy's dime, opt for early admission.

85) Never leave one's chic white bathing suit and inflatable flotation device at home when spending the night in an underground subway.

84) Lost twins will be just fine if nobody looks for them until morning.

83) It is prudent to avoid venturing into dark wooded areas at night with men who give you wrist abrasions in daytime.
 
82) Police would belive that a gardener can have sex twice in a single night before finding a pair of lost twins.
 
81) No one knows who's ever been to Poland.
 
80) The best way to escape having to care for your twin brothers while your selfish parents dump you to tend to their divorce is to seduce a heir to a chocolate empire.

79) By all means send a kid who you know is a trouble maker and has a crush on you on an important errand such as delivering a note.

78) Robbie writes very anatomical letters.

77) 80 year old dementia riddled authors absolutly are the bastians of truth in interviews.
 
76) Make sure the letter your sister is holding is the "naughty" letter that you think it is before you shout out "Give it here!" awkwardly in front of everyone at the dinner table.

75) I think we all knew what Keira was talking about in the library...we knew before she did.

74) Do not raise your hand to prevent someone from cutting his or her foot. Just one step closer to being labeled a "sex maniac."

73) If you have septicemia during wartime, try not to go to sleep the night before you get to return home.

72) Always keep the first pornographic note you recieve in an easy to rummage drawer or jewlerybox.

71) If you have the boring "brother" part in a movie make sure you nuance your performance with slightly incestous glances at your "sister".

70) Robbie hears jungle drums and they tell him things...like Briony is putting on a play 

69) Lola has fabulous taste in clothing--in men, not so much.

68) Some women do end up marrying the men who rape them, and it wasn't just a weird footnote in my sociology book.

67) If your not a real member of an aristocratic family don't bother bringing the lost kids back cos you will still get accused for something you didn't do!

66) The Olivier method of acting is back, bitchnaz!

65) That green dress was EASY ACCESS, people, EASY ACCESS! (Joe said so)
 
64) Even during wars, there is always that creepy crazy oblivious guy tanning at the beach.

63) Never lose sight of the fat twins.
 
62) Subway stations are never a good idea in ANY situation, let alone ones where your life is at stake.
 
61) Fountains, libraries and Summer are dangerous when combined.
 
60) Emily Tallis was soooo wasted it's not even funny.
 
59) If you have a sister, rip her eyes out to prevent her from seeing things that she doesn't understand.
 
58) When you feel rather foolish and lightheaded in someone else's presence, a one-night stand is probably the safest option.
 
57) If you're going to have sex:
a. Make sure the door is locked
b. Make sure the girl is at least of age
c. Make sure it's not in the middle of the woods, during a search party 

56) To avoid the need for a and c above, explain the "birds and the bees" to your little sister.

55) There is nothing more distracting than a ferris wheel.
 
54) Horses are better at playing dead than French schoolgirls

53) Horses are very good actors
 
52) Even in the worst war situation, you'll still be able to ride a ferris wheel, watch a movie or get your feet washed by someone that looks like your mother.

51) Seeing James McAvoy in this movie will then require you to go out and rent every movie he has ever been in.

50) Even a psychotic, emotionally dead virgin-for-life can be a success.

49) There are parts for actresses so old they look like they've been in the grave for a few years.
 
48) Run your own errands

47) If a loved one sends you a postcard with a picture of a beach house on it, get that septicemia checked out.

46) Be sure to atone ASAP. Mini-strokes might get you.

45) Mistakenly sending your crush an explicit note, will undoubtedly be the key to breaking the proverbial ice in the Library. Works every time!
 
44) Cecilia loves Robbie, will wait for him, and wants him to come back to her.

43) Briony is very, very sorry for the terrible distress she has caused you. She is very, very sorry.

42) You shouldn’t necessarily believe everything Briony tells you. She's rather fanciful.

41) If Cecilia had been allowed to visit you, if they had let her, every day, she would have been there every day.

40) Robbie plans on paying Cecilia’s father back.

39) That’s not what Cecilia meant at all!

38) A hairstyle you had when you're 13 doesn't really look good on you when you're 130.

37) When you're son is arrested by the police, it's generally a good idea not to attack the police car with an umbrella.
 
36) When writing your autobiography, feel free to change things around. You'll forget it soon anyway, so best to reread it with a happy ending.

35) When you lie about something, wait a good five years before realizing the damage you've done. Chances are, everyone's lives will be ruined, so you won't have anything to feel guilty about.
 
34) Completely believe every word an author writes when they suffer from dementia.

33) James McAvoy is amazingly hot, especially in this movie.
 
32) Always pack a lot of extra matches when going to a war.

31) If you are responsible for the downfall of two innocent people, write a book and give them a happy ending to make yourself feel better.

30) Always invite a guest into the library before dinner...

29) Lock the damn door.

28) It's okay to hurt the people you love, as long as you imagine them happy in the end.

27) Don't save Briony next time she jumps in the water. (Woulda solved everything)

26) When you're rich.. the most valuable thing you own is an ugly vase.

25) If you get the lead role, Briony gets to be the damned director!

24) Parents will always trust and listen to the younger sibling when it comes to charging a family friend with statutory rape.
 
23) Trying to drown won't make a person love you.

22) When you're done hallucinating, put your boots back on.

21) The best way to show how much you love a girl is to send her a letter describing your fantasies of her vagina;

20) I am perfectly capable of falling in love with a fictional character.
 
19) If you have the chance you should not by any means hesitate to have unprotected sex, especially if it's in a library which anyone can walk into;
 
18) If you like one sibling, before making any moves, make sure the other one doesn't have a crush on you.
 
17) Cambridge is a better place because Briony didn't go to school there.

16) No music playing in the background is the key to a successful sex scene.
 
15) It is impossible to find drinking water in Dunkirk, even when alcohol is flowing freely.
 
14) If you dream of having sex with someone all day (and who doesn't ?)... you are a sex maniac and nothing good will become of you.
 
13) You have to let the love of your life get on the bus, let the bus leave and then chase the bus for dramatic effect. By doing this, you are showing that you can run, love the chase and that your life story is being written by an 80 year old hopeless romantic.
 
12) Don't expect to finish writing, cast, rehearse, and perform a play all in the same day. It's not going to happen.
 
11) Three and a half minutes of hot library sex can lead to a lifetime of misery.
 
10) Don't follow a delirious man not wearing boots

9) Throwing one down the stairs versus breaking one's neck then and there is indeed a tough call.

8) If you're meeting someone you love after 3 1/2 years apart, make sure to get the directions to the place of rendevous so that you won't be late.
 
7) Always humour the hallucinations of a dying, French soldier.

6) Learn how to clip your nails with your left hand because if you can't find anyone to do it for you, you're doomed. Briony won't always be around, y'know.

5) Your father is wrong, there will be a war.

4) The C-word makes Robbie giggly.
 
3) A good mother will show up to beat on the hood of the police car that is taking her son to jail.

2) Library sex is so mind-blowing, you can ride off those fumes for a few chaste years afterwards.

1) There is no Briony.  







Aug. 12th, 2008

robbie lol

100 Things I Learned From "Atonement"

A wonderful collective thread at IMDb...funny, moving, smart. Thanks to all the posters at the Atonement IMDb board! :-)


100 Things I Learned From "Atonement"
 
100) Libraries are the new bedrooms.
 
99) Never trust 13 year olds with anything.
 
93) To atone for your sins, all you have to do is write a book!
 
92) Think twice before you make a really stupid decision and end up ruining people's lives, even if you're just 13
 
91) That green dress is insanely gorgeous (I want one!!!)

90) To hell with Keira's green dress! James McAvoy is drop dead gorgeous and...I want one!
 
89) True love can survive through passionate letters
 
88) Old school swimming costumes look damn good on Keira Knightley
 
87) James McAvoy sounds even hotter when he speaks French
 
86) Fielding is a passionate author

85) Garden fountains can be a hell of a lot deeper than I thought
 
84) He's a sex maniac
 
83) Heat makes James McAvoy write 'naughty' love letters
 
82) Maybe Briony wouldn't have ruined peoples lives if they just gave her a pet or something.
 
81) Think of Grace Turner, when you see your face on polished silver.
 
80) Always take along a lighter and/or matches when you go off to War so you can view photographs you have taken along 
 
79) Things are not always what they seem 
 
78) It's always the guy with a mustache who did it.
 
77) Break some expensive vases.

76) Typewriters are musical instruments.

75) Hope the bus never comes.
 
74) Choctails are for pedophiles

73) It's always important to send your own letters.
 
72) Sometimes you should just let little girls drown.
 
71) Contraception is not a worry if you're in love.
 
70) French people just want to give you food.
 
69) If a man asks you to loosen his bandages, don't do it.

68) Set things right before it's too late.
 
67) When watering flowers, always go for the fountain with the hot guy next to it...never go for the sink in the house.
 
66) Isn't it strange how the best day of your life can also be the worst day of your life?
 
65) Never hand over an important note to a girl who is viciously whacking away at weeds, and then comes and glares at you over the fence.
 
64) Don't write love letters while listening to passionate opera music. It will make you think and write obscene things.

63) Be sure to always carry a bottle of water around with you so you don't become delirious during war.
 
62) You don't have to worry about washing your feet when you're delusional, a vision of your mother will take care of that.

61) Never go to sleep when you're delusional.
 
60) Never use the word 'cunt' , especially if you are thinking about it all day.
 
59) Nothing sets a romantic mood like Puccini.
 
58) You can always atone for past errors by making up your OWN story and publishing it!

57) If you move in different circles than someone else, it may very well mean you are deeply in love with them.

56) Biting a chocolate bar can lead to aggressive sexual behavior.

55) Anything you see from your window is really something else.

54) Finding a shelter in an old subway? - not the safest place.

53) In order to successfully get a small piece of vase out of a 3 ft deep fountain, it is necessary to take off your clothes.
a)Your arm will never reach to the bottom.
b)If you get in with your clothes ON then you'll be completely wet.
c)If you get in with less clothes on and put your dry clothes back over them, they will STILL be wet.
d)But you will have looked EXTREMELY sexy in front of the man you love.

52) Using a mere bobby pin to tuck back the other side of your hair is a brilliant hairstyle! Timeless in fact!

51) Saying 'come back to me' will immediately end all feelings of anger, aggression. It's the soothing replacement for aromatherapy!
 
50) Never trust a 13 year old with an over active imagination with a private letter
 
49) Always ALWAYS lock the library door when your in there with the love of your life.
 
48) Always rehearse a 13 years old's play whenever she wants to.. or else she'll spy on two people behind her bedroom window and ruin their lives.
 
47) No matter how safe you think you are, at some point in your life you'll be fucked over by an aggravating child
 
46) You are screwed if you are a soldier and dont know how to sing
 
45) Redheads are just horny as heck
 
44) Robbie Turner is not a toff, whatever that is.

43) Most of a town can be without electricity or water and torn to bits but the movie theater will still play shows as schedualed
 
42) Seventy years later...yeah, running after the one you love is still sexy.
 
41) Seventy years later...yeah, smoking in film is still sexy.
 
40) Seventy years later...yeah, being a war soldier in film is still sexy.
 
39) Always ALWAYS double check the letter before putting it in the envelope.
 
38) Avoid small girls with big typewriters.
 
37) Always ALWAYS write a dirty letter to show your confused childhood sweetheart that you want to be more than her friend.

36) Make sure to keep all hairclips on at all times so as to avoid little siblings finding them and leading them to the library

35) That vase is probably the most valuable thing the Tallis' own

34) Not anymore it isn't.
 
33) Blushing is likely caused by: a) hot weather, b) embarrassment, and/or c) recent sexual exertion.
 
32) No matter how sexy you look in a tux, or soldier uniform or gardening clothes, you will be 10000000x sexier speaking French.
 
31) If given the choice to stay in prison or join the army, stay in prison. For the love of god stay in prison.

30) Never trust a man who knows how to make a "choc-tail"
 
29) That the average audience knows what "septicemia" means
 
28) That water on the Tallis' property is always crystal clear (garden fountain, river where Briony jumps in)
 
27) The C-word is the worst word you can possibly imagine.
 
26) That James McAvoy is a brilliantly charming actor
 
25) You are NEVER to give a patient your first name. You are your last name, and that ONLY.

24) Robbie sleeps so deeply.

23) When having flashbacks of a painful past, try to stay AWAKE! You may never wake up if you go to sleep.

22) If it's the hottest day of the year, lie unshaded in the middle of a lawn and complain about the heat

21) Household servants/workers can afford a crisp black tux.
 
20) You need music to inspire you to write a love letter (especially a naughty one)

19) Doing it up against the book case seems more hot than uncomfortable, suprisingly! 

18) The c- word is sexier than the p- word.

17) Atonement is a very hard word to pronounce

16) This movie proves that are still good films out there in this world, but they are a rare treasure.
 
15) Even if you've been kept from becoming a doctor, carry antibiotics.
 
14) Don't ever let the bus get away.
 
13) When you hate someone and think they're beneath you, it's really because you want them on top. ;)
 
12) Forget the next shift at the hospital when James McAvoy's in town!
 
11) Smoking and the word c_unt can actually be used properly and sexy
 
10) Have a Guinness when you're tired. (taken from the bus during the cafe scene)
 
9) It bores Jackson and Pierrot everything that ends in "O"....like polo and aero...

8) Cecilia thinks she'll make Robbie feel bad by undressing and going into a fountain. And then coming out soaking wet and practically see through.
 
7) When James McAvoy cries, I (along with everyone else in my theater) cry.
 
6) Those books-you-can't-possibly-make-into-movies have met their match.
 
5) You can't say "pass the biscuit" or "where's me hand grenade" in France because nobody speaks the fuckin' lingo out there.
 
4) Love letters allow lovers to live infinitely and allow their TRUE story to continue
 
3) DNA testing of evidence was one of the greatest advancements in matters of crime investigations.
 
2) When the love of your life -- who is serving time for a crime he didn't commit, whose academic potential and dreams of a medical career are forever destroyed, who the whole world thinks is a perv and pedophile, who has developed a nervous tic from years in the pen, whose devoted mother is disgraced, who is on his way to fight and die a thankless, obscure death in a war where he can't even score a medal, who didn't even get to kiss you on the naughty regions that started the whole mess in the first place -- in short, whose life is utterly, completely and irrevocably destroyed because of the confused adolescent fantasies of your jacked up baby sister -- runs insanely after you on a bus, don't just stand there looking cute, HOP OFF!
 
1) Briony should burn in hell 








 

 

Aug. 9th, 2008

library

James McAvoy: Arena

James McAvoy na revista ARENA...hmmmm...! ;-)

James McAvoy in ARENA magazine. Yummy!








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