ahlam1399
04-13-2019, 06:40 PM
https://static.rogerebert.com/uploads/blog_post/primary_image/festivals-and-awards/ebertfest-2019-day-2-coeur-fidele-rachel-getting-married-bound/primary_bound-image.jpg
by
Nick Allen
April 12, 2019
آ*آ*|آ*آ*
Print Page (javascript:window.print())
Tweet (https://twitter.com/share)
After two inspiring panels that talked about empathy and representation in movies, Ebertfest commenced its first full day with screenings of three great yet wildly different films.آ*
Any time the Alloy Orchestra plays Ebertfest, or a festival near you, go. They sound like a ragtag bunchâ??musicians whose instruments include saws, junk percussion, clarinet, accordion, keyboard, and typical percussionâ??but every time they come to town, itâ??s with a silent film you might have never seen, with a musical accompaniment thatâ??s once in a lifetime. Ebertfest has made them one of the most reliable traditions of the entire festival, and itâ??s a special moment where the best seats in the house have a view of both the screen and the orchestra pit.آ*
Advertisement
This yearâ??s Alloy Orchestra performance concerned Jean Epsteinâ??s â??Cإ?ur Fidele,â?* a 9u3459 love story that mixes elements of poetic abstraction with a classic love story. Michael Phillips (http://www.rogerebert.com/cast-and-crew/michael-phillips) of the Chicago Tribune gave the Thursday afternoon at the Virginia Theatre a premier on the film and Epstein, highlighting the importance of the film theory ofآ*photogenie. Phillips concluded his mini lecture with the remark, â??Itâ??s safe to say that if Jean Epstein were a member of the Academy of Motion Picture Arts and Sciences, he wouldnâ??t have voted for â??Green Book.â??â?*آ*
â??Cإ?ur Fideleâ?* is simple enough with its love story, focusing on a woman named Marie who is sought after by two men of wildly different intent. Thereâ??s the romantic dockworker and wet blanket Jean, whose longing for Marie was often accompanied by a swirling waltz. But heâ??s up against Petite Philâ??more brutish and possessive than his name indicatesâ??especially when accompanied by piano bass notes and timpani, like a gorilla beating its chest. The story of â??Cإ?ur Fideleâ?* concerns Jean trying to win her back after Petite Phil essentially claims ownership on her, while becoming a destructive drunk himself. Other highlights of their score this year include how they accompanied a massive carnival, or created a head banging moment out of a climax where Jean and Petite Phil scuffle (in which things do not end well for Jean).آ*
Epsteinâ??s visual approach to the film is often stunning when thinking outside the more straight-forward medium shots and any moment it wallows in Petite Philâ??s alcoholism, or Jean wistfully staring out into the water. â??Cإ?ur Fideleâ?* is most visually memorable with its close-ups or shots that impose two images into one (like a shot of Jean and Marie embracing, as chaotic water is imposed). The filmâ??s restoration by the Cinematheque Francaise, gave it a sharp second life.آ*
After the film, two members of the Alloy Orchestra took the stage with Chicago Tribune critic Michael Phillips and professor Todd Rendleman. Among the many topics of their expansive and fascinating conversation, they spoke in particular about the history of Epsteinâ??s film, finding the right tone for the music, especially for â??scenes where nothing really happens,â?* and crafting melody and accompaniment within their three to four month composition-to-stage process.آ*
Advertisement
You can watch Michael Phillips and Chaz Ebert introduce the film by clicking here (https://www.youtube.com/watch?v=zOK2rVuOxe0); a full video of the post-screening Q&A is below:آ*
<span class="Apple-converted-space"/>
In a type of follow-upآ*to the morning panel about fighting addiction stigma in the arts, Ebertfest had a special screening of “Rachel Got Married,” directed by the late Jonathan Demme (http://www.rogerebert.com/cast-and-crew/jonathan-demme).آ*
The Q&A after the film was endemic of how Ebertfest is like a friends and family affair, as Michael Barker and Stephen Apkon (http://www.rogerebert.com/cast-and-crew/stephen-apkon), who both knew Demme personally, shared stories about the making of the film. RogerEbert.com assistant editor moderated the Q&A that featured reflections upon the the late Demme, who put his own friends and family into â??Rachel Getting Married (http://www.rogerebert.com/reviews/rachel-getting-married).â?* But the Q&A received a special audio guest, when the screenwriter Jenny Lumet (http://www.rogerebert.com/cast-and-crew/jenny-lumet) called into the Virginia Theater. Sheآ*elaborated on theآ*personal aspects of the script, and the influence of her director father, Sidney Lumet (http://www.rogerebert.com/cast-and-crew/sidney-lumet).آ*
You can watch Michael Barker introduce the film by clicking here (https://www.youtube.com/watch?v=DfSLt4iA2xY): a full video of the post-screening Q&A is below:آ*
Thursday was capped with a raucous screening of the exhilarating Chicago noir â??Bound,â?* the Wachowskisâ?? directorial debut back from 1996. The Virginia Theatre screened a special film print of â??Bound (http://www.rogerebert.com/reviews/bound-1996),â?* which was introduced by a clip from â??At the Movies,â?* where Roger and Gene shared their enthusiastic praise for the movie (and its stars). Gershon and Tilly have proved to be a dynamic duo during the festival, appearing throughout Champaign-Urbana, and they brought that infectious energy to the stage. آ*
Introducing the film, Gershon said that itâ??s â??one of my favorite movies Iâ??ve ever done. Iâ??m really proud of it.â?* And Tilly talked about the importance of Rogerâ??s support for the movie. â??He was one of the few people who really understood the movie, right off the bat,â?* Tilly said.آ*
After â??Bound,â?* the two stars received one of Rogerâ??s golden thumb statues. The Q&A with Tilly and Gershon was moderated by Chaz Ebert, who was joined on stage by Chicago critics Pamela Powell and Chuck Koplinski. Gershon and Tilly talked about how they first responded to the project, the â??myth of the closed set,â?* the homophobia within the rating system, how they view the film differently 23 years later, the 10 million dollars the Wachowskis were offered to make Gershonâ??s character Corky a man, and much more.آ*
You can watch Gershon and Tilly introduce the film by clicking here (https://www.youtube.com/watch?v=FeK6-Jr_1bU); a full video of the post-screening Q&A is below: آ*
Advertisement
Previous Article: Ebertfest 2019, The Panels: Challenging Stigma Through the Arts; Women in Cinema (http://www.rogerebert.com/festivals-and-awards/ebertfest-2019-the-panels-challenging-stigma-through-the-arts-women-in-cinema)
Please enable JavaScript to view the comments powered by Disqus. (http://disqus.com/?ref_noscript)
comments powered by (http://disqus.com)
Source link (https://www.rogerebert.com/festivals-and-awards/ebertfest-2019-day-2-coeur-fidele-rachel-getting-married-bound)
More (http://ahlam1399.i234.me:8888/m/2019/04/12/ebertfest-2019-day-2-coeur-fidele-rachel-getting-married-bound-festivals-awards/)
by
Nick Allen
April 12, 2019
آ*آ*|آ*آ*
Print Page (javascript:window.print())
Tweet (https://twitter.com/share)
After two inspiring panels that talked about empathy and representation in movies, Ebertfest commenced its first full day with screenings of three great yet wildly different films.آ*
Any time the Alloy Orchestra plays Ebertfest, or a festival near you, go. They sound like a ragtag bunchâ??musicians whose instruments include saws, junk percussion, clarinet, accordion, keyboard, and typical percussionâ??but every time they come to town, itâ??s with a silent film you might have never seen, with a musical accompaniment thatâ??s once in a lifetime. Ebertfest has made them one of the most reliable traditions of the entire festival, and itâ??s a special moment where the best seats in the house have a view of both the screen and the orchestra pit.آ*
Advertisement
This yearâ??s Alloy Orchestra performance concerned Jean Epsteinâ??s â??Cإ?ur Fidele,â?* a 9u3459 love story that mixes elements of poetic abstraction with a classic love story. Michael Phillips (http://www.rogerebert.com/cast-and-crew/michael-phillips) of the Chicago Tribune gave the Thursday afternoon at the Virginia Theatre a premier on the film and Epstein, highlighting the importance of the film theory ofآ*photogenie. Phillips concluded his mini lecture with the remark, â??Itâ??s safe to say that if Jean Epstein were a member of the Academy of Motion Picture Arts and Sciences, he wouldnâ??t have voted for â??Green Book.â??â?*آ*
â??Cإ?ur Fideleâ?* is simple enough with its love story, focusing on a woman named Marie who is sought after by two men of wildly different intent. Thereâ??s the romantic dockworker and wet blanket Jean, whose longing for Marie was often accompanied by a swirling waltz. But heâ??s up against Petite Philâ??more brutish and possessive than his name indicatesâ??especially when accompanied by piano bass notes and timpani, like a gorilla beating its chest. The story of â??Cإ?ur Fideleâ?* concerns Jean trying to win her back after Petite Phil essentially claims ownership on her, while becoming a destructive drunk himself. Other highlights of their score this year include how they accompanied a massive carnival, or created a head banging moment out of a climax where Jean and Petite Phil scuffle (in which things do not end well for Jean).آ*
Epsteinâ??s visual approach to the film is often stunning when thinking outside the more straight-forward medium shots and any moment it wallows in Petite Philâ??s alcoholism, or Jean wistfully staring out into the water. â??Cإ?ur Fideleâ?* is most visually memorable with its close-ups or shots that impose two images into one (like a shot of Jean and Marie embracing, as chaotic water is imposed). The filmâ??s restoration by the Cinematheque Francaise, gave it a sharp second life.آ*
After the film, two members of the Alloy Orchestra took the stage with Chicago Tribune critic Michael Phillips and professor Todd Rendleman. Among the many topics of their expansive and fascinating conversation, they spoke in particular about the history of Epsteinâ??s film, finding the right tone for the music, especially for â??scenes where nothing really happens,â?* and crafting melody and accompaniment within their three to four month composition-to-stage process.آ*
Advertisement
You can watch Michael Phillips and Chaz Ebert introduce the film by clicking here (https://www.youtube.com/watch?v=zOK2rVuOxe0); a full video of the post-screening Q&A is below:آ*
<span class="Apple-converted-space"/>
In a type of follow-upآ*to the morning panel about fighting addiction stigma in the arts, Ebertfest had a special screening of “Rachel Got Married,” directed by the late Jonathan Demme (http://www.rogerebert.com/cast-and-crew/jonathan-demme).آ*
The Q&A after the film was endemic of how Ebertfest is like a friends and family affair, as Michael Barker and Stephen Apkon (http://www.rogerebert.com/cast-and-crew/stephen-apkon), who both knew Demme personally, shared stories about the making of the film. RogerEbert.com assistant editor moderated the Q&A that featured reflections upon the the late Demme, who put his own friends and family into â??Rachel Getting Married (http://www.rogerebert.com/reviews/rachel-getting-married).â?* But the Q&A received a special audio guest, when the screenwriter Jenny Lumet (http://www.rogerebert.com/cast-and-crew/jenny-lumet) called into the Virginia Theater. Sheآ*elaborated on theآ*personal aspects of the script, and the influence of her director father, Sidney Lumet (http://www.rogerebert.com/cast-and-crew/sidney-lumet).آ*
You can watch Michael Barker introduce the film by clicking here (https://www.youtube.com/watch?v=DfSLt4iA2xY): a full video of the post-screening Q&A is below:آ*
Thursday was capped with a raucous screening of the exhilarating Chicago noir â??Bound,â?* the Wachowskisâ?? directorial debut back from 1996. The Virginia Theatre screened a special film print of â??Bound (http://www.rogerebert.com/reviews/bound-1996),â?* which was introduced by a clip from â??At the Movies,â?* where Roger and Gene shared their enthusiastic praise for the movie (and its stars). Gershon and Tilly have proved to be a dynamic duo during the festival, appearing throughout Champaign-Urbana, and they brought that infectious energy to the stage. آ*
Introducing the film, Gershon said that itâ??s â??one of my favorite movies Iâ??ve ever done. Iâ??m really proud of it.â?* And Tilly talked about the importance of Rogerâ??s support for the movie. â??He was one of the few people who really understood the movie, right off the bat,â?* Tilly said.آ*
After â??Bound,â?* the two stars received one of Rogerâ??s golden thumb statues. The Q&A with Tilly and Gershon was moderated by Chaz Ebert, who was joined on stage by Chicago critics Pamela Powell and Chuck Koplinski. Gershon and Tilly talked about how they first responded to the project, the â??myth of the closed set,â?* the homophobia within the rating system, how they view the film differently 23 years later, the 10 million dollars the Wachowskis were offered to make Gershonâ??s character Corky a man, and much more.آ*
You can watch Gershon and Tilly introduce the film by clicking here (https://www.youtube.com/watch?v=FeK6-Jr_1bU); a full video of the post-screening Q&A is below: آ*
Advertisement
Previous Article: Ebertfest 2019, The Panels: Challenging Stigma Through the Arts; Women in Cinema (http://www.rogerebert.com/festivals-and-awards/ebertfest-2019-the-panels-challenging-stigma-through-the-arts-women-in-cinema)
Please enable JavaScript to view the comments powered by Disqus. (http://disqus.com/?ref_noscript)
comments powered by (http://disqus.com)
Source link (https://www.rogerebert.com/festivals-and-awards/ebertfest-2019-day-2-coeur-fidele-rachel-getting-married-bound)
More (http://ahlam1399.i234.me:8888/m/2019/04/12/ebertfest-2019-day-2-coeur-fidele-rachel-getting-married-bound-festivals-awards/)