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The best that can be said for Kiss against the ghost of the park It’s just that it’s so bad you can’t stop watching it. Her greatest achievement is that she offers such a crazy show that it is precisely for this reason that people continue to talk about her today. Surely the most intentional ... Read more

The post The crazy story of the worst rock movie ever shot first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(12933) "

The best that can be said for Kiss against the ghost of the park It’s just that it’s so bad you can’t stop watching it. Her greatest achievement is that she offers such a crazy show that it is precisely for this reason that people continue to talk about her today. Surely the most intentional dialogue in the film is the following. Has someone lost sight of the four components of Kiss. One guy says shrewdly, “Maybe they’ve gone for a swim.” Another answers, totally serious: “No, rockers don’t bathe.” The specialized film and television publication coming soon called it “the best worst movie ever”, and classic-rock he called it “the worst rock movie ever made”. Is it so horrible? One of the protagonists of it, Paul Stanley, guitar and voice of Kiss, writes in his memoir To face. A life exposed: “When filming started, it didn’t take an expert to realize that we were in deep shit and there was no way out of it.”

It was 1978 and Kiss was on top. After three albums of good rock and roll but poor sales, the group was about to throw in the towel. Then, his manager, the conspicuous Bill Aucoin, proposed to record a live album, a fashionable formula at that time. Alive! (1975) was the rocket where the quartet rose. destroyer (1976), rock and roll over (1976) and Love Gun (1977) turned Kiss into millionaire rock stars. It was four grotesquely costumed guys practicing good rock to shake their butts. For some they were geniuses, for others puppets.

At the end of the seventies there was no show more insane and irresistible than his, with fire-throwers, blood, flying drums, pyrotechnics to set New York on fire and good hard rock songs. And the movie came. The dysfunction in the heart of the group was seething at that moment. They choked on success. The group split into two factions that did not speak to each other: on the one hand Paul Stanley (guitar and vocals) and Gene Simmons (bass and vocals), tireless businessmen; On the side of the party and drugs, Ace Frehley (guitar) and Peter Criss (drums) rear their heads.

Pop culture was dominated in the late 1970s by a rock group that wore platforms, bras and makeup; and for a film that narrated a galactic civil war and whose protagonists were two robots and a furry warrior. Conclusion? A mix of Kiss with Star Wars. It was the idea of ​​Bill Aucoin, the manager, who thought big: if the Beatles had their What a night we had that day!, we could not be less. After all, the two groups were a quartet and composed music for the youth. Kiss against the ghost of the park (1978) was cooking…

All the culture that goes with you awaits you here.

subscribe

The plot could augur for a fun B-movie: a deranged scientist traps people on rides in a park designed by him to turn them into androids. The man is furious that they want to terminate his contract and plans revenge. What does Kiss paint here? The group, which has scheduled performances in the park, will be the one to unmask the disturbed man. How? Paul, Gene, Ace and Chris have powers thanks to some talismans. Directed by Gordon Hessler, a good professional of almost always television movies, the most important name in the cast (except for the four rockers, of course) was that of Anthony Zerbea specialist in evil roles and who plays the crazy scientist.

Gene Simmons (foreground), Paul Stanley and Ace Frehley (back to back) at a concert in 1979.
Gene Simmons (foreground), Paul Stanley and Ace Frehley (back to back) at a concert in 1979. NBC NewsWire (NBC Newswire/NBCUniversal via Ge)

It is surprising to see such crappy special effects in a movie with such large figures. There are moments for the history of cinematographic nonsense: in full drunkenness, Frehley leaves the shoot and nobody realizes that the one who replaces him is a black man. Conclusion: in the momentous fight in the chamber of horrors, the Kiss guitarist is black.

The musicians were supposed to show up at six in the morning to undergo a two-hour make-up session. None had patience. In addition, they exhibited a null capacity for interpretation. They didn’t even read the script. This is how Stanley describes it: “An off-camera person acted as prompter for us. When the camera started to roll, I was yelling, ‘Sentence!’ and the prompter was like, ‘Jo, Ace, it’s time to go.’ And I repeated it. It was horrifying… Nothing remotely to do with dramatic art”. The argument is nonsense and the development appears full of disconcerting sequences: why does Simmons silence the policemen with a growl?, what are Kiss doing interpreting Beth next to the girl, they’ve tried honor Sam Peckinpah With those fight scenes in slow motion? Why haven’t they erased the cables that lift the musicians in that levitation scene?… And so on…

Carlos Palencia is the director of the Cutrecon, Festival Internacional de Cine Cutre de Madrid, where the film was screened: “It is a full-fledged conceptual disaster, and it is not understood what the producers thought or what kind of audience it is aimed at. To kids? To fans of the group? It does not satisfy one or the other. The former will be bored by its obvious lack of rhythm. And the second I doubt very much that, in the film debut of Kiss, they expected to see their idols in a semi-children’s film set in an amusement park. Raúl Calvo, head of the film blog The Cinefago of the Black Lagoon, defines it as follows: “It’s a clumsy movie that, taken seriously, is ridiculous, but seen from a junk cinema perspective it’s a lot of fun. The comic book plot shabby… It all adds up to make it enjoyable. The set has the air of a psychedelic episode of Scooby Doowhich is not surprising if we take into account that it was a Hanna-Barbera production.”

One of the movie posters, which was titled two ways: 'Kiss Meets the Phantom of the Park' and 'Kiss in Attack Of The Phantoms'.  In the Latin American market, 'Kiss against the ghost of the park' was chosen.
One of the movie posters, which was titled two ways: ‘Kiss Meets the Phantom of the Park’ and ‘Kiss in Attack Of The Phantoms’. In the Latin American market, ‘Kiss against the ghost of the park’ was chosen.

The best thing about the film is seeing the live images of the group playing cannon shots like Rock and Roll All Night, Shout It Out Loud either Almost Human. The film premiered on television and then in some cinema. It was a failure and the trigger for the group’s worst moment. “When the band’s records and t-shirts are selling and girls want to sleep with you, you don’t tend to be too analytical. There were problems: that’s easy to say after decades, but it’s not easy to understand at the time,” Simmons told classic-rock in 2022.

The result of the film muddied the group’s career. Once again manager Bill Aucoin to the rescue, he decided that each of the members would release a solo album. They were published on the same day, in September 1978. It was such a surreal game that it didn’t go wrong. At least he had the fans entertained: which was the best of the four?

In the following years Peter Criss and Ace Frehley left the group (they would return in the nineties and then leave again) and it can be said that Kiss did not record a better album than those they made in the seventies. But the machine has not stopped rolling and billing dollars. These days they perform in Spain with their usual incendiary (literal) show: effects similar to those of that infamous film, but this time executed without fudge. And the last words of the film will surely also serve to say goodbye to the concerts: “We Love You. Rock and roooool!”

Kiss perform on July 2 at the festival Barcelona Rockfest and on July 3 at the WiZink Center from Madrid.

The crazy story of the worst rock movie ever shot

The post The crazy story of the worst rock movie ever shot first appeared on Genesisblocknews.

" } ["summary"]=> string(808) "

The best that can be said for Kiss against the ghost of the park It’s just that it’s so bad you can’t stop watching it. Her greatest achievement is that she offers such a crazy show that it is precisely for this reason that people continue to talk about her today. Surely the most intentional ... Read more

The post The crazy story of the worst rock movie ever shot first appeared on Genesisblocknews.

" ["atom_content"]=> string(12933) "

The best that can be said for Kiss against the ghost of the park It’s just that it’s so bad you can’t stop watching it. Her greatest achievement is that she offers such a crazy show that it is precisely for this reason that people continue to talk about her today. Surely the most intentional dialogue in the film is the following. Has someone lost sight of the four components of Kiss. One guy says shrewdly, “Maybe they’ve gone for a swim.” Another answers, totally serious: “No, rockers don’t bathe.” The specialized film and television publication coming soon called it “the best worst movie ever”, and classic-rock he called it “the worst rock movie ever made”. Is it so horrible? One of the protagonists of it, Paul Stanley, guitar and voice of Kiss, writes in his memoir To face. A life exposed: “When filming started, it didn’t take an expert to realize that we were in deep shit and there was no way out of it.”

It was 1978 and Kiss was on top. After three albums of good rock and roll but poor sales, the group was about to throw in the towel. Then, his manager, the conspicuous Bill Aucoin, proposed to record a live album, a fashionable formula at that time. Alive! (1975) was the rocket where the quartet rose. destroyer (1976), rock and roll over (1976) and Love Gun (1977) turned Kiss into millionaire rock stars. It was four grotesquely costumed guys practicing good rock to shake their butts. For some they were geniuses, for others puppets.

At the end of the seventies there was no show more insane and irresistible than his, with fire-throwers, blood, flying drums, pyrotechnics to set New York on fire and good hard rock songs. And the movie came. The dysfunction in the heart of the group was seething at that moment. They choked on success. The group split into two factions that did not speak to each other: on the one hand Paul Stanley (guitar and vocals) and Gene Simmons (bass and vocals), tireless businessmen; On the side of the party and drugs, Ace Frehley (guitar) and Peter Criss (drums) rear their heads.

Pop culture was dominated in the late 1970s by a rock group that wore platforms, bras and makeup; and for a film that narrated a galactic civil war and whose protagonists were two robots and a furry warrior. Conclusion? A mix of Kiss with Star Wars. It was the idea of ​​Bill Aucoin, the manager, who thought big: if the Beatles had their What a night we had that day!, we could not be less. After all, the two groups were a quartet and composed music for the youth. Kiss against the ghost of the park (1978) was cooking…

All the culture that goes with you awaits you here.

subscribe

The plot could augur for a fun B-movie: a deranged scientist traps people on rides in a park designed by him to turn them into androids. The man is furious that they want to terminate his contract and plans revenge. What does Kiss paint here? The group, which has scheduled performances in the park, will be the one to unmask the disturbed man. How? Paul, Gene, Ace and Chris have powers thanks to some talismans. Directed by Gordon Hessler, a good professional of almost always television movies, the most important name in the cast (except for the four rockers, of course) was that of Anthony Zerbea specialist in evil roles and who plays the crazy scientist.

Gene Simmons (foreground), Paul Stanley and Ace Frehley (back to back) at a concert in 1979.
Gene Simmons (foreground), Paul Stanley and Ace Frehley (back to back) at a concert in 1979. NBC NewsWire (NBC Newswire/NBCUniversal via Ge)

It is surprising to see such crappy special effects in a movie with such large figures. There are moments for the history of cinematographic nonsense: in full drunkenness, Frehley leaves the shoot and nobody realizes that the one who replaces him is a black man. Conclusion: in the momentous fight in the chamber of horrors, the Kiss guitarist is black.

The musicians were supposed to show up at six in the morning to undergo a two-hour make-up session. None had patience. In addition, they exhibited a null capacity for interpretation. They didn’t even read the script. This is how Stanley describes it: “An off-camera person acted as prompter for us. When the camera started to roll, I was yelling, ‘Sentence!’ and the prompter was like, ‘Jo, Ace, it’s time to go.’ And I repeated it. It was horrifying… Nothing remotely to do with dramatic art”. The argument is nonsense and the development appears full of disconcerting sequences: why does Simmons silence the policemen with a growl?, what are Kiss doing interpreting Beth next to the girl, they’ve tried honor Sam Peckinpah With those fight scenes in slow motion? Why haven’t they erased the cables that lift the musicians in that levitation scene?… And so on…

Carlos Palencia is the director of the Cutrecon, Festival Internacional de Cine Cutre de Madrid, where the film was screened: “It is a full-fledged conceptual disaster, and it is not understood what the producers thought or what kind of audience it is aimed at. To kids? To fans of the group? It does not satisfy one or the other. The former will be bored by its obvious lack of rhythm. And the second I doubt very much that, in the film debut of Kiss, they expected to see their idols in a semi-children’s film set in an amusement park. Raúl Calvo, head of the film blog The Cinefago of the Black Lagoon, defines it as follows: “It’s a clumsy movie that, taken seriously, is ridiculous, but seen from a junk cinema perspective it’s a lot of fun. The comic book plot shabby… It all adds up to make it enjoyable. The set has the air of a psychedelic episode of Scooby Doowhich is not surprising if we take into account that it was a Hanna-Barbera production.”

One of the movie posters, which was titled two ways: 'Kiss Meets the Phantom of the Park' and 'Kiss in Attack Of The Phantoms'.  In the Latin American market, 'Kiss against the ghost of the park' was chosen.
One of the movie posters, which was titled two ways: ‘Kiss Meets the Phantom of the Park’ and ‘Kiss in Attack Of The Phantoms’. In the Latin American market, ‘Kiss against the ghost of the park’ was chosen.

The best thing about the film is seeing the live images of the group playing cannon shots like Rock and Roll All Night, Shout It Out Loud either Almost Human. The film premiered on television and then in some cinema. It was a failure and the trigger for the group’s worst moment. “When the band’s records and t-shirts are selling and girls want to sleep with you, you don’t tend to be too analytical. There were problems: that’s easy to say after decades, but it’s not easy to understand at the time,” Simmons told classic-rock in 2022.

The result of the film muddied the group’s career. Once again manager Bill Aucoin to the rescue, he decided that each of the members would release a solo album. They were published on the same day, in September 1978. It was such a surreal game that it didn’t go wrong. At least he had the fans entertained: which was the best of the four?

In the following years Peter Criss and Ace Frehley left the group (they would return in the nineties and then leave again) and it can be said that Kiss did not record a better album than those they made in the seventies. But the machine has not stopped rolling and billing dollars. These days they perform in Spain with their usual incendiary (literal) show: effects similar to those of that infamous film, but this time executed without fudge. And the last words of the film will surely also serve to say goodbye to the concerts: “We Love You. Rock and roooool!”

Kiss perform on July 2 at the festival Barcelona Rockfest and on July 3 at the WiZink Center from Madrid.

The crazy story of the worst rock movie ever shot

The post The crazy story of the worst rock movie ever shot first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656311330) } [1]=> array(11) { ["title"]=> string(101) "Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine" ["link"]=> string(130) "http://genesisblocknews.com/christian-nodal-is-the-first-regional-mexican-artist-to-appear-on-the-cover-of-rolling-stone-magazine/" ["dc"]=> array(1) { ["creator"]=> string(11) "Shauna Tosh" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 06:18:47 +0000" ["category"]=> string(69) "MusiciansartistChristiancoverMagazineMexicanNodalregionalRollingStone" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11491" ["description"]=> string(1103) "

The singer Christian Nodal continues to reap success. Photo: Manuel Velasquez/Getty Images The singer Christian Nodal now it is part of the cover of Rolling Stone magazine in Spanish. This time they called it “Nodal: Love, tattoos and two broken hearts.” The Mexican is going through a good moment in his professional career, this in ... Read more

The post Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(4770) "

The singer Christian Nodal continues to reap success.

Photo: Manuel Velasquez/Getty Images

The singer Christian Nodal now it is part of the cover of Rolling Stone magazine in Spanish. This time they called it “Nodal: Love, tattoos and two broken hearts.” The Mexican is going through a good moment in his professional career, this in the midst of the scandal that he recently experienced due to the inconvenience that arose with the Colombian J Balvin.

There was no dad, there was no mom. my parents were my grandparents. Once I wanted to jump from a second floor, thinking that it would hurt me, but my grandmother saved me, “reviewed the magazine. In addition, she detailed how difficult it was for him to achieve fame.

As if that were not enough, he also told how the outcome of his love affair with the singer Belinda was.

The outfit she wore for the cover photo was quite form-fitting., without losing the customary and striking style that has characterized it. It is seen how much of his tattoos cover his entire chest, while he wore cowboy boots and a shirt that exposes his arms.

The Mexican also drew attention to the earring he had, as well as the chains, and the diamond studs. Also, he wore a watch with grandiose stones.

The Mexican regional music singer has a big tour scheduled on his agenda that he plans to finish next November, in addition, it will be held in the United States where he is expected to perform hits such as ‘Botella after bottle’, ‘Adios amor’, ‘ The kisses that I gave you.

At 23 years old, he has tried to leave his name high for the achievements in his musical career, but it has had major drawbacks that have been highlighted. It is not only about the controversies generated after having ended his relationship with the singer Belinda.

RecentlyNodal was immersed in a great controversy with the singer of the urban genre J Balvin. Everything was generated after both were compared and the Colombian uploaded a photo where he asked what the differences were.

In turn, the interpreter of “Tell me how you want” showed his indignation when he considered that all this had been a joke for him, while no one asked him how he felt about it.

It may interest you:
· This was Laura Bozzo’s surprising reaction when she saw Christian Nodal’s drastic change of look
· Christian Nodal accepted that he was wrong to reject a well-known group to collaborate
· Christian Nodal with new love? Social networks exploded and these are the memes left by the romantic outing

Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine

The post Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine first appeared on Genesisblocknews.

" } ["summary"]=> string(1103) "

The singer Christian Nodal continues to reap success. Photo: Manuel Velasquez/Getty Images The singer Christian Nodal now it is part of the cover of Rolling Stone magazine in Spanish. This time they called it “Nodal: Love, tattoos and two broken hearts.” The Mexican is going through a good moment in his professional career, this in ... Read more

The post Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine first appeared on Genesisblocknews.

" ["atom_content"]=> string(4770) "

The singer Christian Nodal continues to reap success.

Photo: Manuel Velasquez/Getty Images

The singer Christian Nodal now it is part of the cover of Rolling Stone magazine in Spanish. This time they called it “Nodal: Love, tattoos and two broken hearts.” The Mexican is going through a good moment in his professional career, this in the midst of the scandal that he recently experienced due to the inconvenience that arose with the Colombian J Balvin.

There was no dad, there was no mom. my parents were my grandparents. Once I wanted to jump from a second floor, thinking that it would hurt me, but my grandmother saved me, “reviewed the magazine. In addition, she detailed how difficult it was for him to achieve fame.

As if that were not enough, he also told how the outcome of his love affair with the singer Belinda was.

The outfit she wore for the cover photo was quite form-fitting., without losing the customary and striking style that has characterized it. It is seen how much of his tattoos cover his entire chest, while he wore cowboy boots and a shirt that exposes his arms.

The Mexican also drew attention to the earring he had, as well as the chains, and the diamond studs. Also, he wore a watch with grandiose stones.

The Mexican regional music singer has a big tour scheduled on his agenda that he plans to finish next November, in addition, it will be held in the United States where he is expected to perform hits such as ‘Botella after bottle’, ‘Adios amor’, ‘ The kisses that I gave you.

At 23 years old, he has tried to leave his name high for the achievements in his musical career, but it has had major drawbacks that have been highlighted. It is not only about the controversies generated after having ended his relationship with the singer Belinda.

RecentlyNodal was immersed in a great controversy with the singer of the urban genre J Balvin. Everything was generated after both were compared and the Colombian uploaded a photo where he asked what the differences were.

In turn, the interpreter of “Tell me how you want” showed his indignation when he considered that all this had been a joke for him, while no one asked him how he felt about it.

It may interest you:
· This was Laura Bozzo’s surprising reaction when she saw Christian Nodal’s drastic change of look
· Christian Nodal accepted that he was wrong to reject a well-known group to collaborate
· Christian Nodal with new love? Social networks exploded and these are the memes left by the romantic outing

Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine

The post Christian Nodal is the first regional Mexican artist to appear on the cover of Rolling Stone magazine first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656310727) } [2]=> array(11) { ["title"]=> string(58) "Disney+ France: new films and series to watch in July 2022" ["link"]=> string(85) "http://genesisblocknews.com/disney-france-new-films-and-series-to-watch-in-july-2022/" ["dc"]=> array(1) { ["creator"]=> string(12) "Thomas Smith" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 06:15:38 +0000" ["category"]=> string(38) "ActorsDisneyfilmsFranceJulyserieswatch" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11488" ["description"]=> string(830) "

Summer will be beautiful, summer will be hot on Disney+ in July? Nothing is less sure. Disney+ is coming out of two big months in terms of event series: Obi-Wan Kenobi in May (which has just ended) and Miss Marvel in June (which is not yet finished). In July, the soufflé will fall a little ... Read more

The post Disney+ France: new films and series to watch in July 2022 first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(14967) "

Summer will be beautiful, summer will be hot on Disney+ in July? Nothing is less sure.

Disney+ is coming out of two big months in terms of event series: Obi-Wan Kenobi in May (which has just ended) and Miss Marvel in June (which is not yet finished). In July, the soufflé will fall a little for the SVOD platform.

Young and old alike will still have the opportunity to (re)discover The Lion King in 3D animation, three years after its release in cinemas. Other spectators will be able to devour the entire Ghost Whispereror that ofAmerican Horror Story.

Disney+ is a service which now costs €8.99 per month (an increase of 2 euros accompanied the launch of Star) or 89.90 euros per year.

The series arriving in July 2022 on Disney+ France.

July 6: Ghost Whispererthe integral

Jennifer Love Hewitt has a gift: she can communicate with the spirits of the dead. She will use it to help those who are still alive and have lost a loved one.

July 6: The Griffinsseason 20

A super funny animated series, centered on a family whose father is lazy.

July 6: Captive Audience

Documentary series that explores how authentic crime stories are told through 50 years of the Steyner family’s life.

July 13: American Horror Storyseasons 1–9

The House of Horror, The Asylum, The Assembly, Freak Show, Hotel, Roanoke, Cult, Apocalypse and 1984.

July 20: americancrimeseasons 1–3

An anthology series that focuses on the study of racial, social or political crimes. In the casting, we find Felicity Huffman, star of Desperate Housewives.

July 27: 9-1-1: Lone Starseasons 1 and 2

A New York firefighter is sent to Texas to take over the management of a barracks whose members have been decimated after a dramatic intervention.

July 27: By order of God

Inspector Jeb Pyre, a practicing Mormon, will question his faith during an investigation into a savage murder.

Films arriving in July 2022 on Disney+ France.

July, 1st : ACure for Life

A strange wellness center located in Switzerland hides horrifying secrets about the care provided. And that’s what Lockhart will discover.

July 8: Lining

To hide his adultery, Daniel Auteuil asks Gad Elmaleh to pose as Alice Taglioni’s boyfriend.

July 15th : 120 beats per minute

Immersed in the Act Up-Paris association, which multiplies actions to fight against AIDS. A must-see movie.

July 19: Aftershock

This documentary highlights a dramatic phenomenon: in the United States, a large number of black women are left to their own devices during their pregnancy. And some die due to preventable medical flaws.

July 29: The Lion King (2019)

It’s like the cartoon, but with 3D animation. Spoiler: it’s less good.

July 29: LA Confidential

Three detectives with radically different styles must work together to investigate a massacre. A big cast carries this successful detective film.

Some links in this article are affiliate. We’ll explaine everything here.

Disney+ France: new films and series to watch in July 2022

The post Disney+ France: new films and series to watch in July 2022 first appeared on Genesisblocknews.

" } ["summary"]=> string(830) "

Summer will be beautiful, summer will be hot on Disney+ in July? Nothing is less sure. Disney+ is coming out of two big months in terms of event series: Obi-Wan Kenobi in May (which has just ended) and Miss Marvel in June (which is not yet finished). In July, the soufflé will fall a little ... Read more

The post Disney+ France: new films and series to watch in July 2022 first appeared on Genesisblocknews.

" ["atom_content"]=> string(14967) "

Summer will be beautiful, summer will be hot on Disney+ in July? Nothing is less sure.

Disney+ is coming out of two big months in terms of event series: Obi-Wan Kenobi in May (which has just ended) and Miss Marvel in June (which is not yet finished). In July, the soufflé will fall a little for the SVOD platform.

Young and old alike will still have the opportunity to (re)discover The Lion King in 3D animation, three years after its release in cinemas. Other spectators will be able to devour the entire Ghost Whispereror that ofAmerican Horror Story.

Disney+ is a service which now costs €8.99 per month (an increase of 2 euros accompanied the launch of Star) or 89.90 euros per year.

The series arriving in July 2022 on Disney+ France.

July 6: Ghost Whispererthe integral

Jennifer Love Hewitt has a gift: she can communicate with the spirits of the dead. She will use it to help those who are still alive and have lost a loved one.

July 6: The Griffinsseason 20

A super funny animated series, centered on a family whose father is lazy.

July 6: Captive Audience

Documentary series that explores how authentic crime stories are told through 50 years of the Steyner family’s life.

July 13: American Horror Storyseasons 1–9

The House of Horror, The Asylum, The Assembly, Freak Show, Hotel, Roanoke, Cult, Apocalypse and 1984.

July 20: americancrimeseasons 1–3

An anthology series that focuses on the study of racial, social or political crimes. In the casting, we find Felicity Huffman, star of Desperate Housewives.

July 27: 9-1-1: Lone Starseasons 1 and 2

A New York firefighter is sent to Texas to take over the management of a barracks whose members have been decimated after a dramatic intervention.

July 27: By order of God

Inspector Jeb Pyre, a practicing Mormon, will question his faith during an investigation into a savage murder.

Films arriving in July 2022 on Disney+ France.

July, 1st : ACure for Life

A strange wellness center located in Switzerland hides horrifying secrets about the care provided. And that’s what Lockhart will discover.

July 8: Lining

To hide his adultery, Daniel Auteuil asks Gad Elmaleh to pose as Alice Taglioni’s boyfriend.

July 15th : 120 beats per minute

Immersed in the Act Up-Paris association, which multiplies actions to fight against AIDS. A must-see movie.

July 19: Aftershock

This documentary highlights a dramatic phenomenon: in the United States, a large number of black women are left to their own devices during their pregnancy. And some die due to preventable medical flaws.

July 29: The Lion King (2019)

It’s like the cartoon, but with 3D animation. Spoiler: it’s less good.

July 29: LA Confidential

Three detectives with radically different styles must work together to investigate a massacre. A big cast carries this successful detective film.

Some links in this article are affiliate. We’ll explaine everything here.

Disney+ France: new films and series to watch in July 2022

The post Disney+ France: new films and series to watch in July 2022 first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656310538) } [3]=> array(11) { ["title"]=> string(43) "From the armchair of my house… in Mislata" ["link"]=> string(69) "http://genesisblocknews.com/from-the-armchair-of-my-house-in-mislata/" ["dc"]=> array(1) { ["creator"]=> string(13) "Vanessa Sweat" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 05:53:14 +0000" ["category"]=> string(26) "ActorsarmchairHouseMislata" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11485" ["description"]=> string(771) "

by Rafa Mari June 26, 2022. We have spent several weeks with a sticky heat that if it gets worse it will cause us numerous hot flashes in July and August. This seasonal reality has brought to mind excellent films in which the sun and the heat, sometimes as physical as mental, decisively condition the ... Read more

The post From the armchair of my house… in Mislata first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(13663) "

by Rafa Mari


June 26, 2022.

We have spent several weeks with a sticky heat that if it gets worse it will cause us numerous hot flashes in July and August. This seasonal reality has brought to mind excellent films in which the sun and the heat, sometimes as physical as mental, decisively condition the behavior of the characters. I choose ten films not in chronological order, which is too comfortable an option, but in order of personal preference. Subjectivity has attractive (and controversial) aspects. With this fiery chronicle, the Diary of a movie buff. From the armchair of my house… in Mislata says goodbye to readers until September.

1. rear window (Alfred Hitchcock, 1954). It was deemed “culturally, historically, and aesthetically significant” by the United States Library of Congress in 1997 and selected for preservation in the National Film Registry. Godard Y Truffaut fell in love with this film, starring a voyeur plastered, which runs for a few days in the summer in a small apartment recreated in the Paramount Studios (the challenges of having to stick to limited spaces Hitch loved: castaways, 1944, The rope1948, Perfect Crime, 1954). The distribution of rear window is magnificent: James Stewart, Grace Kelly, Raymond Burr Y Thelma Ritter (the best secondary of American cinema years 40-60).

Thelma Ritter, Grace Kelly and James Stewart.

two. Lawrence of Arabia (David Lee, 1962). The masterpiece of the great David Lean. The extreme heat of the desert. It was voted No. 5 of the 100 Greatest Movies by the American Film Institute in its original 1998 list and No. 7 in its updated 2007 list. It tops AFI’s 10 Top 10 in the epic film category. The protagonist, Peter O’Toole irritates a bit in some sequences with his overacted gestures of stupor, madness, ambition, fear, repressed desires or self-absorption, but what about the supporting actors? Nothing less than Claude Rains, Anthony Quinn, Alec Guinness, Jack Hawkins, José Ferrer, Anthony Quayle, Arthur Kennedy…

David Lean directing the Lawrence Arab March through the desert in Almería.

3. duel in the sun (KingVidor, 1946). A vibrant melodrama stronger than life. The disheveled final sequence has been honored by several filmmakers. The death of Lillian Gish is another sublime moment. Insuperable Gregory Peck in his role as a wicked and sexy pimp. As far as I know, the popular actor did not repeat that record again. As for the exaggerated Jennifer Jones, I apologize for all your excesses. In duel in the sun Yes. They suit the story that Vidor tells us.

Jennifer Jones with Lillian Gish.

Four. A Streetcar Named Desire (Elijah Kazan, 1951). I only admire two interpretations of Marlon Brando: the quasi-biography of The last Tango in Paris (Bernardo Bertolucci1972) and his launch as a star playing Stanley Kowalski in A tram... The sweaty shirt he wore in this exemplary adaptation of the homonymous play by tennessee williams did a lot for the fame of a celebrated actor whom I find irritating in almost all of his films (heavy with heavy “Actor’s Studio doctrine”), beginning with his abusively praised Vito Corleone in The Godfather (Francis Ford Coppola 1972). Return to A Streetcar Named Desire: Vivien Leigh she was really wonderful as Blanche Dubois. Vivien Leigh was actually Blanche Dubois.

Vivien Leigh and Marlon Brando.

5. Full sun (Rene Clement, 1960). The best film by its director and the best performance by Alain Delon together with his Rocco, a good and always wrong young man, in Rocco and his brothers (Luchino Visconti, 1960). Based on the crime story of Patricia Highsmith, Anthony Minghella directed a new version that wasn’t bad at all, with Matt Damon as the envious and manipulative Tom Ripley.

Alain Delon.

6. thirst for evil (Orson Welles, 1958). I admire Welles less than implacable cinephile taste demands. I have my reasons: in Orson’s tortuous career there are plenty of failed, leaden or intricately random films (Macbeth1947; Othello1952; Mr Arkadin1955; The process, 1962; the pitiful Don Quixote by Orson Welles...). Now, here we are in the realm of artistic achievement. thirst for evil it is a superb film noir that Welles shot in a state of supreme inspiration. The opening sequence is just very famous. The cast, dazzling: CharltonHeston, Orson Welles, Janet Leigh, Marlene Dietrich, Mercedes McCambridge, Akim Tamiroff, Joseph Calleia... It even comes out, seen and not seen, the simpar Zsa Zsa Gabor.

Orson Welles and Marlene Dietrich.

7. twelve merciless men (Sidney Lumet, 1957). In the middle of summer and in a poorly cooled room, the twelve members of a jury must try a teenager accused of having killed his father. The evidence seems conclusive. But the reasonable doubt of one of the jurors makes his companions reconsider. Intelligent and difficult search for the possible truth. Possible, only possible. Based on the play by ReginaldRose (Twelve Angry Men), Lumet had another great cast: Henry Fonda, Lee J. Cobb, Jack Warden, EG Marshall, Martin Balsam…

The jury of Twelve men without mercy.

8. the wages of fear (H. G. Clouzot, 1953). The tension between four workers of an oil company will explode during a dangerous trip during which they transport nitroglycerin. Fear and heat turns them into human bombs. Clouzot is a director who has pending, among moviegoers, a revaluation in style: in addition to the wages of fearmany other of his films (The Raven1943; Manon1949; the diabolical, 1955; either The truth1960) are extraordinary.

9. The hunt (Charles Saura, 1966). Twelve production companies did not accept Carlos Saura’s project. If he did Elijah Querejeta, which put half the budget. The other half was contributed by Saura’s father. Filming took place over four weeks in August 1964 in the towns of Seseña, Esquivias and Aranjuez. The actors and the technical team had difficulties due to the high temperatures. The movie should have been titled rabbit huntinga title that however was banned due to its sexual connotations. Luis Bunuel repeatedly expressed his admiration for The hunt.

Ismael Merlo, Alfredo Mayo, José María Prada and a secondary youngster: Emilio Gutiérrez Caba.

10. fire in the body (Lawrence Casdan, 1981). Maximum erotic temperature. More than 50º in the shade. We will always remember its star actors for this film whose story has been told dozens of times in the cinema, now with torrid Kathleen Turner Y William Hurt (died last March) in the leading roles.

Kathleen Turner and William Hurt.

Other films that could have perfectly been part of my “10 favorites” in the hot movie genre, since all the choices are permeable and organic: Temptation lives above (billy wilder1955), The cat on the tin roof (Richard Brooks1958), in the heat of the night (Norman Jewinson1967), The law of Desire (Pedro Almodovar, 1987), A day of fury (Joel Schumacher, 1993)… And now, the holidays. Until September, when the thermometers are in clear decline!


FROM THE ARMCHAIR OF MY HOUSE… IN MISLATA

«That life was serious / one begins to understand later”
Jaime Gil de Biedma

FROM THE CHAIR OF MY HOUSE… IN MISLATA (previously called DIARY OF A FILM FOLLOWER), is a section dedicated to the world of TV Series, to all its film-loving aspects but also to its sociological derivations and relative to the daily life of people . The construction of roles, family relationships, current affairs, comedy and drama, historical epics, dragons and dungeons… Everything fits in the world of series, and any perspective of the world can be seen from the point of view of a cinephile, an intelligent and insightful seriophile. The section is customized in Rafael Mari, one of the last great Spanish cinephiles. The periodicity is random, and the length of each entry, too. It can be both very short: an aphorism, such as a lengthy mini-essay, or interview, or dialogue inside.

Despite being a late journalist, Rafa Marí (Valencia, 1945) has had time to work in many media: Billboard Turia, Cal Dir, Weekly Valencia, billboard What and Where, News up to date, Papers of the Ministry of Culture, Levante-EMV, The Hype… Always in the pages of culture. In 1984 he signed for the provinces, newspaper where he is currently a columnist and art critic.

From the armchair of my house… in Mislata – Valencia City

The post From the armchair of my house… in Mislata first appeared on Genesisblocknews.

" } ["summary"]=> string(771) "

by Rafa Mari June 26, 2022. We have spent several weeks with a sticky heat that if it gets worse it will cause us numerous hot flashes in July and August. This seasonal reality has brought to mind excellent films in which the sun and the heat, sometimes as physical as mental, decisively condition the ... Read more

The post From the armchair of my house… in Mislata first appeared on Genesisblocknews.

" ["atom_content"]=> string(13663) "

by Rafa Mari


June 26, 2022.

We have spent several weeks with a sticky heat that if it gets worse it will cause us numerous hot flashes in July and August. This seasonal reality has brought to mind excellent films in which the sun and the heat, sometimes as physical as mental, decisively condition the behavior of the characters. I choose ten films not in chronological order, which is too comfortable an option, but in order of personal preference. Subjectivity has attractive (and controversial) aspects. With this fiery chronicle, the Diary of a movie buff. From the armchair of my house… in Mislata says goodbye to readers until September.

1. rear window (Alfred Hitchcock, 1954). It was deemed “culturally, historically, and aesthetically significant” by the United States Library of Congress in 1997 and selected for preservation in the National Film Registry. Godard Y Truffaut fell in love with this film, starring a voyeur plastered, which runs for a few days in the summer in a small apartment recreated in the Paramount Studios (the challenges of having to stick to limited spaces Hitch loved: castaways, 1944, The rope1948, Perfect Crime, 1954). The distribution of rear window is magnificent: James Stewart, Grace Kelly, Raymond Burr Y Thelma Ritter (the best secondary of American cinema years 40-60).

Thelma Ritter, Grace Kelly and James Stewart.

two. Lawrence of Arabia (David Lee, 1962). The masterpiece of the great David Lean. The extreme heat of the desert. It was voted No. 5 of the 100 Greatest Movies by the American Film Institute in its original 1998 list and No. 7 in its updated 2007 list. It tops AFI’s 10 Top 10 in the epic film category. The protagonist, Peter O’Toole irritates a bit in some sequences with his overacted gestures of stupor, madness, ambition, fear, repressed desires or self-absorption, but what about the supporting actors? Nothing less than Claude Rains, Anthony Quinn, Alec Guinness, Jack Hawkins, José Ferrer, Anthony Quayle, Arthur Kennedy…

David Lean directing the Lawrence Arab March through the desert in Almería.

3. duel in the sun (KingVidor, 1946). A vibrant melodrama stronger than life. The disheveled final sequence has been honored by several filmmakers. The death of Lillian Gish is another sublime moment. Insuperable Gregory Peck in his role as a wicked and sexy pimp. As far as I know, the popular actor did not repeat that record again. As for the exaggerated Jennifer Jones, I apologize for all your excesses. In duel in the sun Yes. They suit the story that Vidor tells us.

Jennifer Jones with Lillian Gish.

Four. A Streetcar Named Desire (Elijah Kazan, 1951). I only admire two interpretations of Marlon Brando: the quasi-biography of The last Tango in Paris (Bernardo Bertolucci1972) and his launch as a star playing Stanley Kowalski in A tram... The sweaty shirt he wore in this exemplary adaptation of the homonymous play by tennessee williams did a lot for the fame of a celebrated actor whom I find irritating in almost all of his films (heavy with heavy “Actor’s Studio doctrine”), beginning with his abusively praised Vito Corleone in The Godfather (Francis Ford Coppola 1972). Return to A Streetcar Named Desire: Vivien Leigh she was really wonderful as Blanche Dubois. Vivien Leigh was actually Blanche Dubois.

Vivien Leigh and Marlon Brando.

5. Full sun (Rene Clement, 1960). The best film by its director and the best performance by Alain Delon together with his Rocco, a good and always wrong young man, in Rocco and his brothers (Luchino Visconti, 1960). Based on the crime story of Patricia Highsmith, Anthony Minghella directed a new version that wasn’t bad at all, with Matt Damon as the envious and manipulative Tom Ripley.

Alain Delon.

6. thirst for evil (Orson Welles, 1958). I admire Welles less than implacable cinephile taste demands. I have my reasons: in Orson’s tortuous career there are plenty of failed, leaden or intricately random films (Macbeth1947; Othello1952; Mr Arkadin1955; The process, 1962; the pitiful Don Quixote by Orson Welles...). Now, here we are in the realm of artistic achievement. thirst for evil it is a superb film noir that Welles shot in a state of supreme inspiration. The opening sequence is just very famous. The cast, dazzling: CharltonHeston, Orson Welles, Janet Leigh, Marlene Dietrich, Mercedes McCambridge, Akim Tamiroff, Joseph Calleia... It even comes out, seen and not seen, the simpar Zsa Zsa Gabor.

Orson Welles and Marlene Dietrich.

7. twelve merciless men (Sidney Lumet, 1957). In the middle of summer and in a poorly cooled room, the twelve members of a jury must try a teenager accused of having killed his father. The evidence seems conclusive. But the reasonable doubt of one of the jurors makes his companions reconsider. Intelligent and difficult search for the possible truth. Possible, only possible. Based on the play by ReginaldRose (Twelve Angry Men), Lumet had another great cast: Henry Fonda, Lee J. Cobb, Jack Warden, EG Marshall, Martin Balsam…

The jury of Twelve men without mercy.

8. the wages of fear (H. G. Clouzot, 1953). The tension between four workers of an oil company will explode during a dangerous trip during which they transport nitroglycerin. Fear and heat turns them into human bombs. Clouzot is a director who has pending, among moviegoers, a revaluation in style: in addition to the wages of fearmany other of his films (The Raven1943; Manon1949; the diabolical, 1955; either The truth1960) are extraordinary.

9. The hunt (Charles Saura, 1966). Twelve production companies did not accept Carlos Saura’s project. If he did Elijah Querejeta, which put half the budget. The other half was contributed by Saura’s father. Filming took place over four weeks in August 1964 in the towns of Seseña, Esquivias and Aranjuez. The actors and the technical team had difficulties due to the high temperatures. The movie should have been titled rabbit huntinga title that however was banned due to its sexual connotations. Luis Bunuel repeatedly expressed his admiration for The hunt.

Ismael Merlo, Alfredo Mayo, José María Prada and a secondary youngster: Emilio Gutiérrez Caba.

10. fire in the body (Lawrence Casdan, 1981). Maximum erotic temperature. More than 50º in the shade. We will always remember its star actors for this film whose story has been told dozens of times in the cinema, now with torrid Kathleen Turner Y William Hurt (died last March) in the leading roles.

Kathleen Turner and William Hurt.

Other films that could have perfectly been part of my “10 favorites” in the hot movie genre, since all the choices are permeable and organic: Temptation lives above (billy wilder1955), The cat on the tin roof (Richard Brooks1958), in the heat of the night (Norman Jewinson1967), The law of Desire (Pedro Almodovar, 1987), A day of fury (Joel Schumacher, 1993)… And now, the holidays. Until September, when the thermometers are in clear decline!


FROM THE ARMCHAIR OF MY HOUSE… IN MISLATA

«That life was serious / one begins to understand later”
Jaime Gil de Biedma

FROM THE CHAIR OF MY HOUSE… IN MISLATA (previously called DIARY OF A FILM FOLLOWER), is a section dedicated to the world of TV Series, to all its film-loving aspects but also to its sociological derivations and relative to the daily life of people . The construction of roles, family relationships, current affairs, comedy and drama, historical epics, dragons and dungeons… Everything fits in the world of series, and any perspective of the world can be seen from the point of view of a cinephile, an intelligent and insightful seriophile. The section is customized in Rafael Mari, one of the last great Spanish cinephiles. The periodicity is random, and the length of each entry, too. It can be both very short: an aphorism, such as a lengthy mini-essay, or interview, or dialogue inside.

Despite being a late journalist, Rafa Marí (Valencia, 1945) has had time to work in many media: Billboard Turia, Cal Dir, Weekly Valencia, billboard What and Where, News up to date, Papers of the Ministry of Culture, Levante-EMV, The Hype… Always in the pages of culture. In 1984 he signed for the provinces, newspaper where he is currently a columnist and art critic.

From the armchair of my house… in Mislata – Valencia City

The post From the armchair of my house… in Mislata first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656309194) } [4]=> array(11) { ["title"]=> string(107) "This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life" ["link"]=> string(130) "http://genesisblocknews.com/this-was-the-time-that-professor-jirafales-from-el-chavo-del-8-was-discriminated-against-in-real-life/" ["dc"]=> array(1) { ["creator"]=> string(15) "Michael Brunner" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 05:25:38 +0000" ["category"]=> string(59) "TV ShowsChavodeldiscriminatedJirafaleslifeProfessorrealtime" ["guid"]=> string(36) "http://genesisblocknews.com/?p=11483" ["description"]=> string(1113) "

The character of Professor Jirafales interpreted by Ruben Aguirre was one of the most emblematic in the series of The Chavo of 8. With his airs of superiority within the neighborhood and his seductive techniques with Doña Florinda, he managed to win the affection of the public through the years in which he recorded the ... Read more

The post This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(3724) "

The character of Professor Jirafales interpreted by Ruben Aguirre was one of the most emblematic in the series of The Chavo of 8. With his airs of superiority within the neighborhood and his seductive techniques with Doña Florinda, he managed to win the affection of the public through the years in which he recorded the series, which continues to this day.

The role of Professor Jirafales He lasted throughout the seven years that the Mexican comedy was broadcast live, however his career did not end in the best way. After suffering a car accident with his wife and due to many medical expenses, he was confined to living in poverty. Because of the accident, the wife of Ruben Aguirre one leg had to be amputated; but Professor Jirafales It didn’t go any better either, he was forever in a wheelchair.

Topics

This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life

The post This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life first appeared on Genesisblocknews.

" } ["summary"]=> string(1113) "

The character of Professor Jirafales interpreted by Ruben Aguirre was one of the most emblematic in the series of The Chavo of 8. With his airs of superiority within the neighborhood and his seductive techniques with Doña Florinda, he managed to win the affection of the public through the years in which he recorded the ... Read more

The post This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life first appeared on Genesisblocknews.

" ["atom_content"]=> string(3724) "

The character of Professor Jirafales interpreted by Ruben Aguirre was one of the most emblematic in the series of The Chavo of 8. With his airs of superiority within the neighborhood and his seductive techniques with Doña Florinda, he managed to win the affection of the public through the years in which he recorded the series, which continues to this day.

The role of Professor Jirafales He lasted throughout the seven years that the Mexican comedy was broadcast live, however his career did not end in the best way. After suffering a car accident with his wife and due to many medical expenses, he was confined to living in poverty. Because of the accident, the wife of Ruben Aguirre one leg had to be amputated; but Professor Jirafales It didn’t go any better either, he was forever in a wheelchair.

Topics

This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life

The post This was the time that Professor Jirafales from “El Chavo del 8” was discriminated against in real life first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656307538) } [5]=> array(11) { ["title"]=> string(64) "Kids on a farm with guns and drugs; the new ezra miller scandal" ["link"]=> string(91) "http://genesisblocknews.com/kids-on-a-farm-with-guns-and-drugs-the-new-ezra-miller-scandal/" ["dc"]=> array(1) { ["creator"]=> string(11) "Peter Marsh" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 05:20:38 +0000" ["category"]=> string(40) "MoviesdrugsEzrafarmGunskidsMillerScandal" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11481" ["description"]=> string(855) "

It seems that the race Ezra Miller continues to plummet with a new scandal of the actor coming out every week; the protagonist of the new film is now in controversy after a father expressed his fear for his children and wife, who are in the farm of the actor. Set in Vermont, the mother ... Read more

The post Kids on a farm with guns and drugs; the new ezra miller scandal first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(3287) "

It seems that the race Ezra Miller continues to plummet with a new scandal of the actor coming out every week; the protagonist of the new film is now in controversy after a father expressed his fear for his children and wife, who are in the farm of the actor.

Set in Vermont, the mother and her two children are living with Ezra in its farmand according to information compiled by “Rlling Stone”, the father of the kids ensure there is weapons and drugs within the reach of his children, which is why he is worried.

Kids on a farm with guns and drugs; the new ezra miller scandal

The post Kids on a farm with guns and drugs; the new ezra miller scandal first appeared on Genesisblocknews.

" } ["summary"]=> string(855) "

It seems that the race Ezra Miller continues to plummet with a new scandal of the actor coming out every week; the protagonist of the new film is now in controversy after a father expressed his fear for his children and wife, who are in the farm of the actor. Set in Vermont, the mother ... Read more

The post Kids on a farm with guns and drugs; the new ezra miller scandal first appeared on Genesisblocknews.

" ["atom_content"]=> string(3287) "

It seems that the race Ezra Miller continues to plummet with a new scandal of the actor coming out every week; the protagonist of the new film is now in controversy after a father expressed his fear for his children and wife, who are in the farm of the actor.

Set in Vermont, the mother and her two children are living with Ezra in its farmand according to information compiled by “Rlling Stone”, the father of the kids ensure there is weapons and drugs within the reach of his children, which is why he is worried.

Kids on a farm with guns and drugs; the new ezra miller scandal

The post Kids on a farm with guns and drugs; the new ezra miller scandal first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656307238) } [6]=> array(11) { ["title"]=> string(69) "The 15 worst albums by classic rock bands, from Queen to Led Zeppelin" ["link"]=> string(97) "http://genesisblocknews.com/the-15-worst-albums-by-classic-rock-bands-from-queen-to-led-zeppelin/" ["dc"]=> array(1) { ["creator"]=> string(11) "Shauna Tosh" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 05:19:37 +0000" ["category"]=> string(52) "MusiciansalbumsBandsclassicledQueenRockworstZeppelin" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11479" ["description"]=> string(951) "

LRock’n’roll musicians have a habit of considering themselves secular gods, but the truth is that they are not infallible. No matter how successful a band has or hasn’t been in the past, there’s never a guarantee that their next record will be as high as they’ve climbed before. Sometimes everything that once went right just ... Read more

The post The 15 worst albums by classic rock bands, from Queen to Led Zeppelin first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(12126) "

LRock’n’roll musicians have a habit of considering themselves secular gods, but the truth is that they are not infallible. No matter how successful a band has or hasn’t been in the past, there’s never a guarantee that their next record will be as high as they’ve climbed before. Sometimes everything that once went right just goes wrong.

There are often extenuating circumstances, of course. Band members may have left due to death, drugs, or just classic “musical differences,” or an ambitious new direction may turn out more like a detour into oncoming traffic.

Whatever the cause, the fact is that just because an album has a classic band’s name on the cover, it doesn’t necessarily mean that the album itself is a classic.

Featuring artists like The Doors, The Clash, and Duran Duran, here are the fifteen worst albums ever made by big bands:

15. Guns N’ Roses – Chinese Democracy (2008)

Recorded at 15 different studios over a 10-year period at a cost of over $13 millionChinese Democracy it is the most expensive rock album ever made, proving that money can’t buy quality. Guns N’ Roses’s first guitarist, Tracii Guns, called Axl Rose’s favorite work “too indulgent, sterile and not that exciting”.

14. What in +Paul Rodgers- The Cosmos Rocks (2008)

More than a decade after lead singer Freddie Mercury’s death in 1991, Queen announced that they would reunite for a tour with former Bad Company singer Paul Rodgers. The collaboration eventually led to a new record, but the awkward and forgettable The Cosmos Rocks it failed to approach the heights of its classical period.

13.Aerosmith- Draw The Line (1977)

Aerosmith was catapulted to rock stardom by Toys in the Attic from 1975 and rocks 1976, but by the following year the band had gone off the rails. Frontman Steven Tyler alternated between huge lines of cocaine and handfuls of sedatives. Guitarist Joe Perry later told band biographer Stephen Davis that during the recording of the incoherent Draw The Line, “we were drug addicts dabbling in music, instead of musicians dabbling in drugs.”

Aerosmith’s Troubled Personal Life Led To The Release Of Their Worst Album Ever

12. The Doors- Other Voices (1971)

When their iconic frontman, Jim Morrison, died in Paris in July 1971, the three remaining members of The Doors were faced with the difficult decision of whether to carry on without him. Barely three months later they released the album the trio had been working on in his absence: the lackluster Other Voices. “We probably shouldn’t have gotten it out so quickly after Jim died,” guitarist Robby Krieger admitted in a recent interview.

11.Van Halen- Van Halen III (1998)

Van Halen only released one album with Extreme singer Gary Cherone, and you only have to listen to it to find out why. It was so bad that they didn’t release another record for 14 years. The most withering criticism came from the band’s original singer, David Lee Roth, who opined that “How Many Say I,” sung by Eddie Van Halen, sounded like “hot water poured on a cat.”

10. Motley Crue – Generation Swan (1997)

Generation Swan it was highly publicized prior to its release because it represented Vince Neil’s return to Mötley Crüe after a five-year absence. His original singer may have come back into the fold, but his initial magic didn’t reappear. In 2008, in an interview for the Cleveland newspaper The Plain DealerNeil said: “It was a terrible record, because there was so much experimentation.”

9. The Who- It’s Hard (1982)

The Who are one of Britain’s best rock bands, but by 1982 their momentum was rapidly running out. Iconic drummer Keith Moon had died four years earlier, and the remaining members weren’t sure if they still wanted to be making albums. After releasing the largely insipid It’s Hard, they wouldn’t make another record for 24 years.

Black Sabbath released their worst album in 1995

(Getty)

8.Black Sabbath- Forbidden (nineteen ninety five)

When someone at Sabbath’s record label suggested to guitarist Tony Iommi that the band collaborate with rapper Ice-T, Iommi’s response was, “Who the hell is he?” Ice-T not only ended up participating in Forbidden, Instead, his Body Count bandmate Ernie C was hired to produce the record. His style never suited the band, and Iommi has since called the album they made together “really rubbish.”

7.Kiss- Carnival of Souls: The Final Sessions (1997)

In the mid-’90s, Kiss decided that if they couldn’t beat the grunge sound of Nirvana, Soundgarden and Alice in Chains, they might as well join them. They ridiculously tried to reinvent themselves as flannel-clad alternative rockers, but initially dropped the idea before releasing an album. Then, after the hacking versions started circulating, they put out Carnival of Souls: The Final Sessions by anyway. It would have been fine if they hadn’t.

6. Led Zeppelin – presence (1976)

The end of 1975 was a difficult time for Led Zep. Singer Robert Plant was still recovering after being seriously injured in a car accident, so their tour was canceled and they booked studio time instead. presence it was put together in just a few weeks, with guitarist/producer Jimmy Page working 20 hours a day to finish it and Plant singing through the pain. In hindsight, bed rest may have been a better option.

5.Genesis- Calling All Stations (1997)

When drummer/singer Phil Collins left Genesis in 1996, only two original members remained: keyboardist Tony Banks and guitarist Mike Rutherford. The pair hired Scottish singer Ray Wilson to replace Collins, but they shouldn’t have bothered. The album was widely criticized, and the Chicago Tribune he called it “an amorphous mass of synth sounds”.

(Getty Images)

4.The Clash- cut the crap (1985)

The final album from punk heroes The Clash is now largely forgotten, excluded from anthologies and compilations, and with good reason. After firing drummer Topper Headon and guitarist Mick Jones, Joe Strummer and Paul Simonon decided to go ahead with this uninspired record. The band broke up for good shortly after its release, and Strummer later disowned him, perhaps wishing he had followed his own advice on the album’s title.

3. MetallicaSt Anger (2003)

Sometimes a band playing on the formula that launched them to fame is just what they need to scale new heights. Other times, well, it doesn’t work as well. the saturated St Anger Metallica suffered from an overuse of a snare metal sound, a total lack of Kirk Hammett guitar solos and, most damning of all, a succession of bland and overly long songs.

2.Chris Cornell- scream (2009)

The cover of Chris Cornell’s third solo album shows the former frontman of grunge titans Soundgarden symbolically smashing a guitar. On the record itself, he ditched his guitar-driven rock sound in favor of electronic pop beats produced by Timbaland and “aided” by Justin Timberlake. The result was certainly a scream, but not in an amusing way.

1. Duran Duran – Thank you (nineteen ninety five)

It must have seemed like a good idea at the time: a hugely successful band paying tribute to their favorite artists and songs. The result was an album rated as the worst of all time by the magazine Q in 2006. The Bob Dylan and Sly and the Family Stone covers were bad enough, but the real bottom line was when Simon Le Bon rapped on Public Enemy’s urgent protest anthem “911 is a Joke.”

The 15 worst albums by classic rock bands, from Queen to Led Zeppelin

The post The 15 worst albums by classic rock bands, from Queen to Led Zeppelin first appeared on Genesisblocknews.

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LRock’n’roll musicians have a habit of considering themselves secular gods, but the truth is that they are not infallible. No matter how successful a band has or hasn’t been in the past, there’s never a guarantee that their next record will be as high as they’ve climbed before. Sometimes everything that once went right just ... Read more

The post The 15 worst albums by classic rock bands, from Queen to Led Zeppelin first appeared on Genesisblocknews.

" ["atom_content"]=> string(12126) "

LRock’n’roll musicians have a habit of considering themselves secular gods, but the truth is that they are not infallible. No matter how successful a band has or hasn’t been in the past, there’s never a guarantee that their next record will be as high as they’ve climbed before. Sometimes everything that once went right just goes wrong.

There are often extenuating circumstances, of course. Band members may have left due to death, drugs, or just classic “musical differences,” or an ambitious new direction may turn out more like a detour into oncoming traffic.

Whatever the cause, the fact is that just because an album has a classic band’s name on the cover, it doesn’t necessarily mean that the album itself is a classic.

Featuring artists like The Doors, The Clash, and Duran Duran, here are the fifteen worst albums ever made by big bands:

15. Guns N’ Roses – Chinese Democracy (2008)

Recorded at 15 different studios over a 10-year period at a cost of over $13 millionChinese Democracy it is the most expensive rock album ever made, proving that money can’t buy quality. Guns N’ Roses’s first guitarist, Tracii Guns, called Axl Rose’s favorite work “too indulgent, sterile and not that exciting”.

14. What in +Paul Rodgers- The Cosmos Rocks (2008)

More than a decade after lead singer Freddie Mercury’s death in 1991, Queen announced that they would reunite for a tour with former Bad Company singer Paul Rodgers. The collaboration eventually led to a new record, but the awkward and forgettable The Cosmos Rocks it failed to approach the heights of its classical period.

13.Aerosmith- Draw The Line (1977)

Aerosmith was catapulted to rock stardom by Toys in the Attic from 1975 and rocks 1976, but by the following year the band had gone off the rails. Frontman Steven Tyler alternated between huge lines of cocaine and handfuls of sedatives. Guitarist Joe Perry later told band biographer Stephen Davis that during the recording of the incoherent Draw The Line, “we were drug addicts dabbling in music, instead of musicians dabbling in drugs.”

Aerosmith’s Troubled Personal Life Led To The Release Of Their Worst Album Ever

12. The Doors- Other Voices (1971)

When their iconic frontman, Jim Morrison, died in Paris in July 1971, the three remaining members of The Doors were faced with the difficult decision of whether to carry on without him. Barely three months later they released the album the trio had been working on in his absence: the lackluster Other Voices. “We probably shouldn’t have gotten it out so quickly after Jim died,” guitarist Robby Krieger admitted in a recent interview.

11.Van Halen- Van Halen III (1998)

Van Halen only released one album with Extreme singer Gary Cherone, and you only have to listen to it to find out why. It was so bad that they didn’t release another record for 14 years. The most withering criticism came from the band’s original singer, David Lee Roth, who opined that “How Many Say I,” sung by Eddie Van Halen, sounded like “hot water poured on a cat.”

10. Motley Crue – Generation Swan (1997)

Generation Swan it was highly publicized prior to its release because it represented Vince Neil’s return to Mötley Crüe after a five-year absence. His original singer may have come back into the fold, but his initial magic didn’t reappear. In 2008, in an interview for the Cleveland newspaper The Plain DealerNeil said: “It was a terrible record, because there was so much experimentation.”

9. The Who- It’s Hard (1982)

The Who are one of Britain’s best rock bands, but by 1982 their momentum was rapidly running out. Iconic drummer Keith Moon had died four years earlier, and the remaining members weren’t sure if they still wanted to be making albums. After releasing the largely insipid It’s Hard, they wouldn’t make another record for 24 years.

Black Sabbath released their worst album in 1995

(Getty)

8.Black Sabbath- Forbidden (nineteen ninety five)

When someone at Sabbath’s record label suggested to guitarist Tony Iommi that the band collaborate with rapper Ice-T, Iommi’s response was, “Who the hell is he?” Ice-T not only ended up participating in Forbidden, Instead, his Body Count bandmate Ernie C was hired to produce the record. His style never suited the band, and Iommi has since called the album they made together “really rubbish.”

7.Kiss- Carnival of Souls: The Final Sessions (1997)

In the mid-’90s, Kiss decided that if they couldn’t beat the grunge sound of Nirvana, Soundgarden and Alice in Chains, they might as well join them. They ridiculously tried to reinvent themselves as flannel-clad alternative rockers, but initially dropped the idea before releasing an album. Then, after the hacking versions started circulating, they put out Carnival of Souls: The Final Sessions by anyway. It would have been fine if they hadn’t.

6. Led Zeppelin – presence (1976)

The end of 1975 was a difficult time for Led Zep. Singer Robert Plant was still recovering after being seriously injured in a car accident, so their tour was canceled and they booked studio time instead. presence it was put together in just a few weeks, with guitarist/producer Jimmy Page working 20 hours a day to finish it and Plant singing through the pain. In hindsight, bed rest may have been a better option.

5.Genesis- Calling All Stations (1997)

When drummer/singer Phil Collins left Genesis in 1996, only two original members remained: keyboardist Tony Banks and guitarist Mike Rutherford. The pair hired Scottish singer Ray Wilson to replace Collins, but they shouldn’t have bothered. The album was widely criticized, and the Chicago Tribune he called it “an amorphous mass of synth sounds”.

(Getty Images)

4.The Clash- cut the crap (1985)

The final album from punk heroes The Clash is now largely forgotten, excluded from anthologies and compilations, and with good reason. After firing drummer Topper Headon and guitarist Mick Jones, Joe Strummer and Paul Simonon decided to go ahead with this uninspired record. The band broke up for good shortly after its release, and Strummer later disowned him, perhaps wishing he had followed his own advice on the album’s title.

3. MetallicaSt Anger (2003)

Sometimes a band playing on the formula that launched them to fame is just what they need to scale new heights. Other times, well, it doesn’t work as well. the saturated St Anger Metallica suffered from an overuse of a snare metal sound, a total lack of Kirk Hammett guitar solos and, most damning of all, a succession of bland and overly long songs.

2.Chris Cornell- scream (2009)

The cover of Chris Cornell’s third solo album shows the former frontman of grunge titans Soundgarden symbolically smashing a guitar. On the record itself, he ditched his guitar-driven rock sound in favor of electronic pop beats produced by Timbaland and “aided” by Justin Timberlake. The result was certainly a scream, but not in an amusing way.

1. Duran Duran – Thank you (nineteen ninety five)

It must have seemed like a good idea at the time: a hugely successful band paying tribute to their favorite artists and songs. The result was an album rated as the worst of all time by the magazine Q in 2006. The Bob Dylan and Sly and the Family Stone covers were bad enough, but the real bottom line was when Simon Le Bon rapped on Public Enemy’s urgent protest anthem “911 is a Joke.”

The 15 worst albums by classic rock bands, from Queen to Led Zeppelin

The post The 15 worst albums by classic rock bands, from Queen to Led Zeppelin first appeared on Genesisblocknews.

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Pour se remettre du fiasco Jurassic World 3, on replonge dans 10 films de dinosaures remplis de dents, d’écailles et de stop-motion. Les communautés scientifique et cinéphile sont catégoriques : les dinosaures, c’est trop cool. Bien que Jurassic Park ait émerveillé des millions de jeunes paléontologistes en herbe (dont la moitié de cette rédaction), au point de ... Read more

The post À part Jurassic Park, les 10 meilleurs films de dinosaures que tu n’as pas vus first appeared on Genesisblocknews.

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Pour se remettre du fiasco Jurassic World 3, on replonge dans 10 films de dinosaures remplis de dents, d’écailles et de stop-motion.

Les communautés scientifique et cinéphile sont catégoriques : les dinosaures, c’est trop cool. Bien que Jurassic Park ait émerveillé des millions de jeunes paléontologistes en herbe (dont la moitié de cette rédaction), au point de devenir instantanément la référence en la matière, les tyrannosaures et autres diplodocus étaient déjà devenus des figures mythologies avant 1993 et la démocratisation des effets spéciaux numériques. Et le cinéma y est pour beaucoup.

Depuis la balade de Gertie, l’un des premiers héros du cinéma d’animation et l’un des premiers dinosaures anthropomorphiques, les reptiles géants s’invitent régulièrement sur les écrans, grâce à de grands artistes comme Willis H. O’Brien, Ray Harryhausen ou même Phil Tippett. Petite sélection de 10 pépites ou classiques à découvrir absolument.

 

 

Le monde perdu

Sortie : 1925 – Durée : De 1h04 à 1h46 selon les versions

 

Le grand spectacle à l’état pur

 

Ça raconte quoi ? Pour impressionner sa copine, le reporter Edward Malone s’embarque aux côtés du controversé Professeur Challenger dans une drôle d’expédition. Celui-ci entend sauver un explorateur perdu sur un plateau sud-américain. Selon lui, l’endroit grouillerait de créatures ancestrales…

Pourquoi c’est un grand film de dino ? Parmi les grands contributeurs au mythe des dinosaures, il y a bien sûr Arthur Conan Doyle. Dans son roman Le Monde perdu, l’écrivain décrit un voyage grandiose en Amérique du Sud, au coeur d’une contrée inexplorée où vivent en toute liberté quelques espèces animales disparues. Du pain béni pour une industrie hollywoodienne encore naissante et qui s’apprête à populariser le stop-motion à grande échelle.

À l’origine du miracle, un jeune artisan du nom de Willis O’Brien. L’américain, alors en train d’impressionner nombre de ses pairs avec ses animations préhistoriques, fait des merveilles grâce au format long-métrage. Il modèle – à raison de 5 secondes d’images par jour – un ptérodactyle, l’affrontement entre un Allosaure et plusieurs autres espèces, ainsi qu’un T Rex, déjà star de cinoche. Plus dingue encore, il lâche un brontosaure dans les rues de Londres. Un exploit qui sidère les spectateurs de l’époque et préfigure son futur chef-d’oeuvre : le légendaire King Kong.

 

Et ils ont déjà la dalle

 

Selon les versions, les personnages mettent plus ou moins de temps à rencontrer les bestiaux. La montée en puissance de l’intrigue, les sublimes matte-paintings et une mise en scène qui incruste assez astucieusement les humains dans l’action en font également un film d’aventure d’une pureté ahurissante. La matrice flamboyante de tout un pan du cinéma grand public américain, en somme, qui plus est désormais visible entièrement sur YouTube dans une bonne qualité. Ce sont les joies du domaine public.

Un classique, qui donne le coup d’envoi de la longue histoire d’amour entre le 7e art et les dinosaures en tous genres. Son héritage est colossal et infuse l’intégralité des films d’aventure ultérieurs. En 1960, une autre adaptation verra le jour. Steven Spielberg lui-même saura s’en souvenir au moment d’écrire la suite de son Jurassic Park, adaptation libre du roman éponyme de Crichton et relecture évidente du livre de Doyle et des films de O. Hoyt et Allen. Un retour aux sources naturel pour l’autre metteur en scène ayant su imposer nos amis les reptiles géants sur les écrans du monde entier.

Le Monstre des temps perdus

Sortie : 1953 – Durée : 1h20

 

Un gros lézard, au sens propre

 

Ça raconte quoi ? Dans les années 1950, un essai nucléaire est effectué près du cercle arctique. L’explosion réveille une gigantesque créature qui dormait sous la glace depuis 100 millions d’années et se dirige désormais vers la côte Est des États-Unis, occasionnant quelques dégâts sur son passage. 

Pourquoi c’est un grand film de dino ? Déjà réputé pour sa carrière comme décorateur pour Abel Gance (Napoléon) ou Charlie Chaplin (Les Feux de la Rampe) et collaborateur de longue date de Jean Renoir (La Grande Illusion, La Bête Humaine, La Règle du Jeu), Eugène Lourié n’a fait ses débuts en tant que réalisateur qu’à l’âge de 51 ans. Son premier long-métrage, en plus d’entretenir une plastique exceptionnelle, cristallise parfaitement les thèmes qu’il traitera dans le reste de sa filmographie : la différence d’échelle entre un colosse et les habitants d’une ville (Le Colosse de New York), la peur de la menace atomique (Behemoth the Sea Monster), mais surtout son amour des dinosaures et créatures préhistoriques (Gorgo).

En revanche, même si Eugène Lourié est capable de plonger une ville dans la terreur avec seulement quelques figurants, quelques voitures et des plans d’une grande intensité, Le Monstre des Temps Perdus est surtout un grand film grâce au travail de Ray Harryhausen, alors sorti de l’ombre de Willis O’Brien pour se charger seul des effets spéciaux (qui ont demandé près de sept mois de travail). L’animateur s’est lancé dans un travail titanesque pour que sa créature entre le varan, l’iguane et le dragon, par ailleurs baptisée Rhedosaurus, saccage les bâtiments, croque les passants et détruise les véhicules.

 

Deux formes de gigantisme

 

Alors que ce titan déambule dans ce monde miniature qu’il ne reconnaît plus et démolit ce qui se trouve sur son passage, certaines scènes regorgent d’une discrète poésie, comme lorsque le gigantesque reptile se rapproche timidement du faisceau régulier du phare, appel désespéré dans les ténèbres qui résonne comme la Corne de brume de Ray Bradbury dont s’inspire le film. L’auteur et Ray Harryhausen, qui étaient de vieux amis, avaient tous les deux été émerveillés en découvrant Le Monde Perdu en salles : le premier Ray suivra la voie de la littérature et deviendra une référence de son époque en matière de science-fiction, tandis que l’autre se dirigera vers le cinéma pour devenir le maître de l’image animée et des effets spéciaux en son temps.

Un an après la sortie du film, cette histoire de lézard géant qui se réveille après des essais nucléaires et détruit une ville sera reprise par Ishirô Honda pour créer Godzilla, qui sera ensuite couronné roi des monstres du septième art et lancera le règne des Kaijus sur les écrans. Le Monstre des Temps Perdus est ensuite retourné dans les profondeurs, laissant d’autres créatures radioactives ravager ce monde instable dans Des monstres attaquent la ville ou Tarantula.

Voyage dans la préhistoire

Sortie : 1955 – Durée : 1h26

 

Badass Babar

 

Ça raconte quoi ? Quatre garçons plein d’avenir remontent le fleuve du temps, ce qui leur permettra de découvrir moult créatures préhistoriques, jusqu’à faire face à des trilobites. Et non, ce n’est pas sale.

Pourquoi c’est un grand film de dino ? Parce que les dinosaures, ce n’est pas qu’une affaire hollywoodienne. En effet, les formidables créatures qui ont foulé la surface de la Pangée il y a 65 millions d’années sont rapidement devenues, une fois les premières découvertes publiées, des sources de fascination, de rêverie et d’exploration historique qui, pour l’essentiel, ne se sont jamais démenties depuis. Certes, les sommes nécessaires aux effets spéciaux indispensables à leur représentation ont naturellement poussé les dinos sur les rivages du cinéma américain, pour autant, on trouve ça et là des tentatives européennes de leur rendre hommage.

C’est le cas de Voyage dans La Prehistoire, réalisé par Karel Zeman. Surnommé le “Méliès tchèque”, l’artiste déploie ici une tonalité bien différente des blockbusters ou série B dans laquelle les sauriens se déploient d’ordinaire. Véritable catalogue des innombrables techniques d’illusionniste qui régnaient alors sur le cinéma, le long-métrage est d’une richesse picturale stupéfiante. En avance sur son temps de plusieurs décennies, il demeure un des films les plus artistiquement aboutis sur le sujet.

 

“Ah tu fais moins le malin sans ton orchestre symphonique !”

 

Nimbé dans une naïveté rare pour un film représentant le bestiaire préhistorique, il est à mi-chemin entre le songe enfantin et le film éducatif, que sa splendide photographie sépia éclaire d’une splendeur quasi-irrésisitble. Difficile de ne pas céder devant cette descente d’un fleuve aux airs de conte total, immensément spectaculaire, où l’on croise maquettes, peintures, modèles réduits, animation image par image et complexes jeux de perspectives forcées. On notera en outre que malgré le poids des décennies, l’ensemble est une des propositions les plus réalistes et anatomiquement précises que le genre a pu proposer.

Enfin, les amateurs du glorieux Fantasia ne manqueront pas de verser une larme en découvrant avec quel soin méticuleux Zemen rend hommage à l’une des scènes les plus bouleversantes du classique Disney, au cours de laquelle un stégosaure est terrassé par un théropode. Autant de qualités qui font de ce miracle artistique et technique un jalon indispensable pour quiconque se pâme d’émotion devant un fossile.

La Montagne mystérieuse

Sortie : 1956 – Durée : 1h19

 

Avec la langue bien pendue

 

Ça raconte quoi ? Aux abords d’une bourgade mexicaine, près d’un mystérieux marais, les animaux et les fermiers du coin disparaissent régulièrement. Moins superstitieux que les autochtones, un cow-boy américain élève son troupeau dans les environs.

Pourquoi c’est un grand film de dino ? Un western avec un tyrannosaure (enfin, un animal du style), ça vous dit ? C’est le programme de ce Beast of Hollow Mountain, plus subtilement retitré La Montagne Mystérieuse chez nous. Une curiosité à plusieurs égards.

Premièrement, il est issu d’une idée de Willis O’Brien, qui n’aura finalement pas l’opportunité de s’occuper des effets spéciaux, et ça se voit. Ensuite, il s’agit d’un des premiers films du genre utilisant le glorieux CinémaScope, alors un format de luxe né à peine un peu plus de deux ans auparavant. En couleur et fier de l’être, le film s’amuse bien avec le procédé, surtout quand attaque la bête du titre. Les réalisateurs Edward Nassour et Ismael Rodríguez composent quelques plans inédits avec la stop motion, qui compensent les rhumatismes de notre pauvre T rex.

 

Here’s rexie !

 

Enfin, il s’agit d’une co-production mexicano-américaine, d’où les décors situés au Mexique, l’hétérogénéité d’un casting qui comprend Guy Madison, Patricia Medina, Carlos Rivas (un fameux second couteau de l’époque) ou encore Pascual García Peña et une intrigue articulée autour des états d’âmes des gringos et des locaux. Des péripéties amoureuses et des rivalités masculines franchement redondantes, mais assez révélatrices dans un tel contexte diplomatique, étant donné les archétypes présents.

Résultat des courses : il faut tout de même attendre le dernier quart d’heure avant de voir débarquer le reptile enragé, ce qui a de quoi irriter le dinophile acharné, mais confère une étrangeté hybride à cette drôle de série B. Drôle de série B qui a également pavé la voie au sympathique La vallée de Gwangi, dont on vous cause plus bas. En effet, le projet à l’origine du film de 1969 était déjà dans les petits papiers d’O’Brien à cette époque. Il y a fort à parier qu’il a tiré son idée de cette histoire en gestation. À notre connaissance, il s’agit des deux seuls films à mélanger western et dinosaures. Et c’est trop peu.

Un million d’années av. J.-C.

Sortie : 1966 – Durée : 1h40

 

“Je mangerai le fruit défendu, si je veux !”

 

Ça raconte quoi ? Tumak est chassé par ses frères de la tribu des cavernes. Heureusement pour lui, il rencontre Loana, de la tribu de la mer. Elle et ses humides compagnons l’accueillent, mais comme il y a des dinosaures partout, le quotidien est plus aventureux qu’un film des frères Dardenne.

Pourquoi c’est un grand film de dino ? C’est un grand film de dinos, parce qu’on y retrouve absolument tous les clichés de deux domaines bien spécifiques, lesquels sont employés ici avec une absolue sincérité. Tout d’abord, Un million d’années avant J.C. débarque avant une série de révolutions en matière de représentation du fait préhistorique, qui nous offre un instantané passionnant. Dinosaures exclusivement représentés sous les traits de gros reptiles lézardeux, dont la queue traîne encore au sol, impavides et systématiquement hostiles… autant de visions sorties d’une image d’Épinal, encore renforcée par les décors, entre Eden inviolé déserts calcinés.

Il en va de même pour le concept du récit, qui met aux prises des hommes préhistoriques romantiques, entre sauvages bruns et primitifs blonds avec des dinosaures, deux formes de vie qui n’ont jamais cohabité. Quant aux autres espèces, si on est bien en peine d’apercevoir les mammifères à l’origine des slips et soutiens-gorges de peau de nos ancêtres, on notera la présence de formes de vie atteintes de gigantisme, à l’instar d’un varan et d’une mygale.

 

Game of peaux de bêtes

 

Cet écrin idéal pour un scénario digne des pulps de l’époque, dont les couvertures étalaient la promesse d’aventures sauvages, emmenées par des mâles musculeux partant à la rescousse de plantureuses blondes, bénéficie en outre du savoir-faire d’un artiste hors-pair : Ray Harryhausen. Parce qu’à l’époque, les longs-métrages se faisaient essentiellement sur le nom et le savoir-faire de cet animateur de génie, c’est le bestiaire qui est ici au centre du récit, plus encore que ses personnages superficiels. D’où un sentiment d’innocence assez touchant, qui nous propulse instantanément dans une galaxie aussi kitsch qu’artisanale.

Et puis, dans la catégorie des monstres sacrés d’antan, avouons que Raquel Welch fait de l’ombre à tous les allosaures et autres ceratosaures du film.

La Vallée de Gwangi

Sortie : 1969 – Durée : 1h36

 

Qu’est-ce qui pourrait mal tourner ?

 

Ça raconte quoi ? Comment un groupe de cavaliers découvre une mystérieuse vallée en Amérique du Sud peuplée de créatures préhistoriques et décide de ramener un des sauriens pour l’exhiber et faire fortune. Sauf qu’une fois arrivée en ville, la bête se libère de ses entraves. 

Pourquoi c’est un grand film de dino ? Le premier argument – et non des moindres – est le grand spectacle visuel proposé le grand Ray Harryhausen, une sommité en matière d’effets spéciaux cinématographiques, qui a étalé dans La vallée de Gwangi son talent et ses ambitions créatives pour continuer de nourrir l’imaginaire collectif autour des dinosaures. En découlent ainsi des séquences d’aventure saisissantes où sauriens et humains partagent les mêmes plans et interagissent à l’écran, comme lorsque le groupe est pris dans une bataille féroce entre un allosaure et un tricératops ou lorsqu’un des cavaliers est attaqué par un ptéranodon. 

Pour que la vanité des hommes et l’appât du gain les attirent jusqu’à la vallée, le film réalisé par Jim O’Connolly choisit cependant d’aller à contre-courant des représentations habituelles de la faune jurassique en déjouant dans un premier temps le gigantisme qu’on lui associe par défaut. L’histoire présente ainsi l’anti T-Rex avec son Eohippus, un cheval miniature tout mignon et docile qui conforte les personnages dans leur domination, jusqu’à l’inversion du rapport de force une fois dans la vallée. 

 

Une des nombreuses compositions picturales du film

 

L’histoire en elle-même est assez programmatique, ne cachant pas ses similitudes scénaristiques et thématiques avec le King Kong de 1933, mais La vallée de Gwangi se double surtout d’une sincère remise en question de l’évolution du média, métaphorisant les doutes de l’industrie face à une nouvelle ère cinématographique et des attentes toujours plus élevées de la part des spectateurs.

Le film reprend ainsi les figures emblématiques du western qu’il tort pour transformer les cow-boys, shérifs et autres bandits anti-héroïques en une troupe de cirque, d’acteurs et des cascadeurs qui rejouent, non sans lassitude, les grandes batailles entre cow-boys et Indiens et se demandent comment moderniser ce spectacle et dépasser le mythe de l’Ouest qui ne prend plus auprès du public. En s’apparentant à un genre en déclin, l’âge d’or du western étant derrière lui à l’approche des années 70, le long-métrage s’interroge ainsi sur sa façon de se renouveler, notamment par l’hybridation des genres et des symboliques qu’il maîtrise admirablement.

Le sixième continent

Sortie : 1975 – Durée : 1h31

 

Le plastique, c’est fantastique

 

Ça raconte quoi ? En pleine Première Guerre mondiale, un sous-marin allemand ayant fait prisonniers les survivants d’un bâtiment britannique fraîchement coulé, fait la découverte d’un continent oublié, dégorgeant de dinosaures et d’hommes préhistoriques.

Pourquoi c’est un grand film de dino ? Bien sûr, on pourra se plaindre des effets spéciaux, qui évoquent plus la fin du cycle digestif d’un nourrisson qu’une authentique performance technique, ou regretter la dimension clairement surannée de ce récit qui accuse le poids de presque 50 ans d’âge. Mais ce serait passer à côté de ce qui fait son charme insubmersible. À savoir son goût pour un type de récits d’aventures, déjà largement passés de mode lors de sa sortie, étalée dans le monde entre 1974 et 1976. 

En effet, le long-métrage est une adaptation très libre d’un texte d’Edgar Rice Burroughs, écrivain visionnaire à l’origine des mythes de Tarzan ou encore John Carter. Il fut l’un des représentants émérites, durant les années 20, de la mode des “continents oubliés”, et c’est précisément ce que ressuscite le réalisateur Kevin Connor. Grâce à un rythme très soutenu, un amour débordant des modèles réduits dans sa première demi-heure, et surtout une mise en scène plutôt solide, malgré un budget bien faiblard, il parvient à impulser une énergie véritable à ce divertissement pas tout à fait fossilisé.

 

Dormir peut attendre

 

Et pour cause, en dépit des divergences avec le matériau original, on retrouve l’appétit du romancier pour des univers denses, une narration échevelée, mais aussi une galerie de morts impitoyables. En effet, l’époque était autrement moins frileuse que la nôtre en matière de divertissement, et une proportion notable de personnages se feront piétiner, dévorer, découper ou mitrailler au gré de cette promenade dans un continent mystérieux. 

On soulignait plus haut combien les effets spéciaux étaient rudimentaires, le projet n’ayant pas un budget l’autorisant à se payer un Ray Harryhausen (lequel avait déjà nettement ralenti la cadence à l’époque), mais cette limite pourra devenir une source de ravissement, tant le résultat à l’écran confère à l’ensemble une dimension étrange, parfois presque poétique. C’est le cas de l’arrivée au coeur du Sixième continent, qui vaut aux survivants de faire face à une sorte de mélange de bottes en caoutchouc et de monstre du loch’ Ness. Et quand la poésie se fait la malle, ce sont les duels de vessies en caoutchouc qui métamorphosent tout cela en formidables blagounettes.

La Planète des dinosaures

Sortie : 1977 – Durée : 1h24

 

Rex à la niche

 

Ça raconte quoi ? En plein voyage spatial, le vaisseau Odyssey rencontre un problème technique qui le force à se crasher sur une mystérieuse planète. La bonne nouvelle : elle présente des caractéristiques similaires à la Terre. La mauvaise nouvelle : elle présente des caractéristiques similaires à la Terre d’il y a plus de 66 millions d’années.

Pourquoi c’est (presque) un grand film de dino ? Tout comme Jurassic Park (voir plus bas), les grands classiques du film de dinosaures comme Le Monstre des Temps Perdus ou La vallée de Gwangi n’ont pas manqué d’inspirer un lot de séries Z opportunistes, fauchées et/ou absurdes. Trois qualités dont peut s’enorgueillir La Planète des dinosaures, qui n’a pour lui que son pitch abracadabrant et pas grand-chose d’autre.

 

Non, ce n’est pas le prochain Aardman

 

Et encore, l’argument de la science-fiction tient difficilement passé les 15 premières minutes. Quelques secondes à peine après s’être écrasé sur une exoplanète en tous points identique à la Terre, l’un des personnages explique calmement que les mondes abritant des atmosphères similaires sont quand même monnaie courante dans l’univers. Un niveau d’expertise qui résume bien le je-m’en-foutisme de la chose, où des crétins tout droit sortis des pires épisodes de Star Trek pique-niquent au milieu de dinos pas extraterrestres pour un sou.

Pourtant, malgré les dialogues qui jouent clairement la montre, des incrustations à la ramasse et une réputation peu flatteuse (il n’aurait même pas eu le droit à une sortie salle), La Planète des dinosaures reste un film attachant avec ses bastons de reptiles en stop-motion, dans la lignée des expérimentations de Ray Harryhausen, et ses personnages au flegme inattaquable. D’autant que l’idée reste amusante : privé de toute aide, le groupe de survivants doit s’installer sur cette planète hostile et par conséquent bouter le dernier T rex du coin loin d’eux. On signe où pour un remake plein de fric ?

Carnosaur

Sortie : 1993 – Durée : 1h25

 

Un dinosaure vorace, pour de vrai

 

Ça raconte quoi ? Comment la mère de Laura Dern a transformé des poulets en dinosaures dans le but d’exterminer l’Humanité (et de faire un doigt d’honneur à John Hammond).

Pourquoi c’est un grand film de dino ? Carnosaur a tout de la série B à tendance Z opportuniste avec un dino en plastique, un scénario en carton et des personnages en mousse. Même si le film réalisé par Adam Simon est sorti quelques semaines avant Jurassic Park et s’inspire d’un livre publié six ans avant le roman de Michael Crichton, le producteur Roger Corman a lancé la production de Carnosaur au moment où Steven Spielberg terminait celle de Jurassic Park pour profiter de la campagne marketing du blockbuster. 

Mais contrairement à Piranhas de Joe Dante qui parodiait ouvertement Les Dents de la Mer, Carnosaur cultive ses différences avec le film d’Universal, chacun représentant à un même moment et sur un même sujet deux branches de l’industrie cinématographique : les superproductions qui s’approprient les grosses bestioles du cinéma de genre et le cinéma bis vampirisé par les majors. Le fait que le Dr Triptree veuille rendre la planète aux dinosaures parce que « l’Homme est une espèce infidèle » prend dès lors une tournure plus métaphorique.

 

Un combat qui rappelle une certaine saga avec des aliens

 

Malgré ses bribes d’intrigues nanardesques – notamment les femmes qui accouchent de bébés dinos après avoir mangé des oeufs de poule génétiquement modifiés – Carnosaur est donc moins bête que méchant. Le film verse dans le gore et l’hémoglobine en éviscérant et démembrant ses personnages – qui n’existent que pour être massacrés à l’écran -, mais aussi en charcutant ses dinos. Une boucherie et un défouloir bienvenus après Jurassic World 3 et ses dinos en liberté qui mangent de l’air. 

Mais plus qu’être sadique et sanglant, Carnosaur est aussi étonnamment cynique et nihiliste, en témoigne les réactions gouvernementales plus que drastiques, le dénouement radical, le dernier plan cryptique et la musique grave du générique qui dénotent de l’absurdité ambiante dans ce film tout compte fait plus surprenant que rebutant. 

Tammy and the T-Rex

Sortie : 1995 – Durée : 1h22

 

Deux doigts coupe-faim

 

Ça raconte quoi ? Elle est belle, elle est douce, c’est une apprentie pom-pom girl et elle aime son petit ami d’amour. Malheureusement, son ex le tue jusqu’à ce que mort s’ensuive. Tout aurait pu en rester là, si le cerveau du copain refroidi n’était pas soudain transféré dans un tyrannosaure robotique.

Pourquoi c’est un grand film de dino ? C’est un grand film de dino pour une raison rien de moins qu’évidente. Sorti à peine un an après Jurassic Park, ce nanar de l’espace aurait pu (dû ?) coûter leur carrière aux débutants Denise Richards et Paul Walker, marqués au fer rouge du Z absurde. Et pourtant, preuve que les dinosaures sont des déités magnanimes, celle qui devait marquer la puberté de toute une génération avec Sexcrimes et celui qui fut jusqu’à sa tragique disparition était la caution neuronale de Fast & Furious ont survécu à la sortie de cette radioactive étrangeté.

 

“Et mon compte personnel de formation gros tarba ?”

 

Mélange de délire improbable, de premier degré absurde, de non-sens incompréhensible et trip gore partiellement charcuté sur son banc de montage, Tammy and the T-Rex engendre une forme de fascination morbide, au fur et à mesure que son intrigue progresse vers le n’importe quoi radical. Ainsi l’ensemble est-il traversé d’images aussi mémorables que curieuses. Un tyrannosaure téléphonant à sa bien-aimée, cette dernière s’assoupissant entre ses petits bras lubriques, ou encore notre théropode dégoulinant d’amour et de circuit imprimés, balançant en travers de nos rétines un immortel doigt d’honneur.

On regarde la chose comme on ralentit devant un accident de la route. Pour se souvenir que malgré les coups du sort, en dépit des récifs qui nous déchirent les mollets, n’en déplaise au froid, à la faim et à la maladie, il est toujours une lueur d’espoir qui survit. Fut-elle nichée dans le scrotum d’un dinosaure robot, abandonné loin de Michael Bay.

À part Jurassic Park, les 10 meilleurs films de dinosaures que tu n’as pas vus

The post À part Jurassic Park, les 10 meilleurs films de dinosaures que tu n’as pas vus first appeared on Genesisblocknews.

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Pour se remettre du fiasco Jurassic World 3, on replonge dans 10 films de dinosaures remplis de dents, d’écailles et de stop-motion. Les communautés scientifique et cinéphile sont catégoriques : les dinosaures, c’est trop cool. Bien que Jurassic Park ait émerveillé des millions de jeunes paléontologistes en herbe (dont la moitié de cette rédaction), au point de ... Read more

The post À part Jurassic Park, les 10 meilleurs films de dinosaures que tu n’as pas vus first appeared on Genesisblocknews.

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Pour se remettre du fiasco Jurassic World 3, on replonge dans 10 films de dinosaures remplis de dents, d’écailles et de stop-motion.

Les communautés scientifique et cinéphile sont catégoriques : les dinosaures, c’est trop cool. Bien que Jurassic Park ait émerveillé des millions de jeunes paléontologistes en herbe (dont la moitié de cette rédaction), au point de devenir instantanément la référence en la matière, les tyrannosaures et autres diplodocus étaient déjà devenus des figures mythologies avant 1993 et la démocratisation des effets spéciaux numériques. Et le cinéma y est pour beaucoup.

Depuis la balade de Gertie, l’un des premiers héros du cinéma d’animation et l’un des premiers dinosaures anthropomorphiques, les reptiles géants s’invitent régulièrement sur les écrans, grâce à de grands artistes comme Willis H. O’Brien, Ray Harryhausen ou même Phil Tippett. Petite sélection de 10 pépites ou classiques à découvrir absolument.

 

 

Le monde perdu

Sortie : 1925 – Durée : De 1h04 à 1h46 selon les versions

 

Le grand spectacle à l’état pur

 

Ça raconte quoi ? Pour impressionner sa copine, le reporter Edward Malone s’embarque aux côtés du controversé Professeur Challenger dans une drôle d’expédition. Celui-ci entend sauver un explorateur perdu sur un plateau sud-américain. Selon lui, l’endroit grouillerait de créatures ancestrales…

Pourquoi c’est un grand film de dino ? Parmi les grands contributeurs au mythe des dinosaures, il y a bien sûr Arthur Conan Doyle. Dans son roman Le Monde perdu, l’écrivain décrit un voyage grandiose en Amérique du Sud, au coeur d’une contrée inexplorée où vivent en toute liberté quelques espèces animales disparues. Du pain béni pour une industrie hollywoodienne encore naissante et qui s’apprête à populariser le stop-motion à grande échelle.

À l’origine du miracle, un jeune artisan du nom de Willis O’Brien. L’américain, alors en train d’impressionner nombre de ses pairs avec ses animations préhistoriques, fait des merveilles grâce au format long-métrage. Il modèle – à raison de 5 secondes d’images par jour – un ptérodactyle, l’affrontement entre un Allosaure et plusieurs autres espèces, ainsi qu’un T Rex, déjà star de cinoche. Plus dingue encore, il lâche un brontosaure dans les rues de Londres. Un exploit qui sidère les spectateurs de l’époque et préfigure son futur chef-d’oeuvre : le légendaire King Kong.

 

Et ils ont déjà la dalle

 

Selon les versions, les personnages mettent plus ou moins de temps à rencontrer les bestiaux. La montée en puissance de l’intrigue, les sublimes matte-paintings et une mise en scène qui incruste assez astucieusement les humains dans l’action en font également un film d’aventure d’une pureté ahurissante. La matrice flamboyante de tout un pan du cinéma grand public américain, en somme, qui plus est désormais visible entièrement sur YouTube dans une bonne qualité. Ce sont les joies du domaine public.

Un classique, qui donne le coup d’envoi de la longue histoire d’amour entre le 7e art et les dinosaures en tous genres. Son héritage est colossal et infuse l’intégralité des films d’aventure ultérieurs. En 1960, une autre adaptation verra le jour. Steven Spielberg lui-même saura s’en souvenir au moment d’écrire la suite de son Jurassic Park, adaptation libre du roman éponyme de Crichton et relecture évidente du livre de Doyle et des films de O. Hoyt et Allen. Un retour aux sources naturel pour l’autre metteur en scène ayant su imposer nos amis les reptiles géants sur les écrans du monde entier.

Le Monstre des temps perdus

Sortie : 1953 – Durée : 1h20

 

Un gros lézard, au sens propre

 

Ça raconte quoi ? Dans les années 1950, un essai nucléaire est effectué près du cercle arctique. L’explosion réveille une gigantesque créature qui dormait sous la glace depuis 100 millions d’années et se dirige désormais vers la côte Est des États-Unis, occasionnant quelques dégâts sur son passage. 

Pourquoi c’est un grand film de dino ? Déjà réputé pour sa carrière comme décorateur pour Abel Gance (Napoléon) ou Charlie Chaplin (Les Feux de la Rampe) et collaborateur de longue date de Jean Renoir (La Grande Illusion, La Bête Humaine, La Règle du Jeu), Eugène Lourié n’a fait ses débuts en tant que réalisateur qu’à l’âge de 51 ans. Son premier long-métrage, en plus d’entretenir une plastique exceptionnelle, cristallise parfaitement les thèmes qu’il traitera dans le reste de sa filmographie : la différence d’échelle entre un colosse et les habitants d’une ville (Le Colosse de New York), la peur de la menace atomique (Behemoth the Sea Monster), mais surtout son amour des dinosaures et créatures préhistoriques (Gorgo).

En revanche, même si Eugène Lourié est capable de plonger une ville dans la terreur avec seulement quelques figurants, quelques voitures et des plans d’une grande intensité, Le Monstre des Temps Perdus est surtout un grand film grâce au travail de Ray Harryhausen, alors sorti de l’ombre de Willis O’Brien pour se charger seul des effets spéciaux (qui ont demandé près de sept mois de travail). L’animateur s’est lancé dans un travail titanesque pour que sa créature entre le varan, l’iguane et le dragon, par ailleurs baptisée Rhedosaurus, saccage les bâtiments, croque les passants et détruise les véhicules.

 

Deux formes de gigantisme

 

Alors que ce titan déambule dans ce monde miniature qu’il ne reconnaît plus et démolit ce qui se trouve sur son passage, certaines scènes regorgent d’une discrète poésie, comme lorsque le gigantesque reptile se rapproche timidement du faisceau régulier du phare, appel désespéré dans les ténèbres qui résonne comme la Corne de brume de Ray Bradbury dont s’inspire le film. L’auteur et Ray Harryhausen, qui étaient de vieux amis, avaient tous les deux été émerveillés en découvrant Le Monde Perdu en salles : le premier Ray suivra la voie de la littérature et deviendra une référence de son époque en matière de science-fiction, tandis que l’autre se dirigera vers le cinéma pour devenir le maître de l’image animée et des effets spéciaux en son temps.

Un an après la sortie du film, cette histoire de lézard géant qui se réveille après des essais nucléaires et détruit une ville sera reprise par Ishirô Honda pour créer Godzilla, qui sera ensuite couronné roi des monstres du septième art et lancera le règne des Kaijus sur les écrans. Le Monstre des Temps Perdus est ensuite retourné dans les profondeurs, laissant d’autres créatures radioactives ravager ce monde instable dans Des monstres attaquent la ville ou Tarantula.

Voyage dans la préhistoire

Sortie : 1955 – Durée : 1h26

 

Badass Babar

 

Ça raconte quoi ? Quatre garçons plein d’avenir remontent le fleuve du temps, ce qui leur permettra de découvrir moult créatures préhistoriques, jusqu’à faire face à des trilobites. Et non, ce n’est pas sale.

Pourquoi c’est un grand film de dino ? Parce que les dinosaures, ce n’est pas qu’une affaire hollywoodienne. En effet, les formidables créatures qui ont foulé la surface de la Pangée il y a 65 millions d’années sont rapidement devenues, une fois les premières découvertes publiées, des sources de fascination, de rêverie et d’exploration historique qui, pour l’essentiel, ne se sont jamais démenties depuis. Certes, les sommes nécessaires aux effets spéciaux indispensables à leur représentation ont naturellement poussé les dinos sur les rivages du cinéma américain, pour autant, on trouve ça et là des tentatives européennes de leur rendre hommage.

C’est le cas de Voyage dans La Prehistoire, réalisé par Karel Zeman. Surnommé le “Méliès tchèque”, l’artiste déploie ici une tonalité bien différente des blockbusters ou série B dans laquelle les sauriens se déploient d’ordinaire. Véritable catalogue des innombrables techniques d’illusionniste qui régnaient alors sur le cinéma, le long-métrage est d’une richesse picturale stupéfiante. En avance sur son temps de plusieurs décennies, il demeure un des films les plus artistiquement aboutis sur le sujet.

 

“Ah tu fais moins le malin sans ton orchestre symphonique !”

 

Nimbé dans une naïveté rare pour un film représentant le bestiaire préhistorique, il est à mi-chemin entre le songe enfantin et le film éducatif, que sa splendide photographie sépia éclaire d’une splendeur quasi-irrésisitble. Difficile de ne pas céder devant cette descente d’un fleuve aux airs de conte total, immensément spectaculaire, où l’on croise maquettes, peintures, modèles réduits, animation image par image et complexes jeux de perspectives forcées. On notera en outre que malgré le poids des décennies, l’ensemble est une des propositions les plus réalistes et anatomiquement précises que le genre a pu proposer.

Enfin, les amateurs du glorieux Fantasia ne manqueront pas de verser une larme en découvrant avec quel soin méticuleux Zemen rend hommage à l’une des scènes les plus bouleversantes du classique Disney, au cours de laquelle un stégosaure est terrassé par un théropode. Autant de qualités qui font de ce miracle artistique et technique un jalon indispensable pour quiconque se pâme d’émotion devant un fossile.

La Montagne mystérieuse

Sortie : 1956 – Durée : 1h19

 

Avec la langue bien pendue

 

Ça raconte quoi ? Aux abords d’une bourgade mexicaine, près d’un mystérieux marais, les animaux et les fermiers du coin disparaissent régulièrement. Moins superstitieux que les autochtones, un cow-boy américain élève son troupeau dans les environs.

Pourquoi c’est un grand film de dino ? Un western avec un tyrannosaure (enfin, un animal du style), ça vous dit ? C’est le programme de ce Beast of Hollow Mountain, plus subtilement retitré La Montagne Mystérieuse chez nous. Une curiosité à plusieurs égards.

Premièrement, il est issu d’une idée de Willis O’Brien, qui n’aura finalement pas l’opportunité de s’occuper des effets spéciaux, et ça se voit. Ensuite, il s’agit d’un des premiers films du genre utilisant le glorieux CinémaScope, alors un format de luxe né à peine un peu plus de deux ans auparavant. En couleur et fier de l’être, le film s’amuse bien avec le procédé, surtout quand attaque la bête du titre. Les réalisateurs Edward Nassour et Ismael Rodríguez composent quelques plans inédits avec la stop motion, qui compensent les rhumatismes de notre pauvre T rex.

 

Here’s rexie !

 

Enfin, il s’agit d’une co-production mexicano-américaine, d’où les décors situés au Mexique, l’hétérogénéité d’un casting qui comprend Guy Madison, Patricia Medina, Carlos Rivas (un fameux second couteau de l’époque) ou encore Pascual García Peña et une intrigue articulée autour des états d’âmes des gringos et des locaux. Des péripéties amoureuses et des rivalités masculines franchement redondantes, mais assez révélatrices dans un tel contexte diplomatique, étant donné les archétypes présents.

Résultat des courses : il faut tout de même attendre le dernier quart d’heure avant de voir débarquer le reptile enragé, ce qui a de quoi irriter le dinophile acharné, mais confère une étrangeté hybride à cette drôle de série B. Drôle de série B qui a également pavé la voie au sympathique La vallée de Gwangi, dont on vous cause plus bas. En effet, le projet à l’origine du film de 1969 était déjà dans les petits papiers d’O’Brien à cette époque. Il y a fort à parier qu’il a tiré son idée de cette histoire en gestation. À notre connaissance, il s’agit des deux seuls films à mélanger western et dinosaures. Et c’est trop peu.

Un million d’années av. J.-C.

Sortie : 1966 – Durée : 1h40

 

“Je mangerai le fruit défendu, si je veux !”

 

Ça raconte quoi ? Tumak est chassé par ses frères de la tribu des cavernes. Heureusement pour lui, il rencontre Loana, de la tribu de la mer. Elle et ses humides compagnons l’accueillent, mais comme il y a des dinosaures partout, le quotidien est plus aventureux qu’un film des frères Dardenne.

Pourquoi c’est un grand film de dino ? C’est un grand film de dinos, parce qu’on y retrouve absolument tous les clichés de deux domaines bien spécifiques, lesquels sont employés ici avec une absolue sincérité. Tout d’abord, Un million d’années avant J.C. débarque avant une série de révolutions en matière de représentation du fait préhistorique, qui nous offre un instantané passionnant. Dinosaures exclusivement représentés sous les traits de gros reptiles lézardeux, dont la queue traîne encore au sol, impavides et systématiquement hostiles… autant de visions sorties d’une image d’Épinal, encore renforcée par les décors, entre Eden inviolé déserts calcinés.

Il en va de même pour le concept du récit, qui met aux prises des hommes préhistoriques romantiques, entre sauvages bruns et primitifs blonds avec des dinosaures, deux formes de vie qui n’ont jamais cohabité. Quant aux autres espèces, si on est bien en peine d’apercevoir les mammifères à l’origine des slips et soutiens-gorges de peau de nos ancêtres, on notera la présence de formes de vie atteintes de gigantisme, à l’instar d’un varan et d’une mygale.

 

Game of peaux de bêtes

 

Cet écrin idéal pour un scénario digne des pulps de l’époque, dont les couvertures étalaient la promesse d’aventures sauvages, emmenées par des mâles musculeux partant à la rescousse de plantureuses blondes, bénéficie en outre du savoir-faire d’un artiste hors-pair : Ray Harryhausen. Parce qu’à l’époque, les longs-métrages se faisaient essentiellement sur le nom et le savoir-faire de cet animateur de génie, c’est le bestiaire qui est ici au centre du récit, plus encore que ses personnages superficiels. D’où un sentiment d’innocence assez touchant, qui nous propulse instantanément dans une galaxie aussi kitsch qu’artisanale.

Et puis, dans la catégorie des monstres sacrés d’antan, avouons que Raquel Welch fait de l’ombre à tous les allosaures et autres ceratosaures du film.

La Vallée de Gwangi

Sortie : 1969 – Durée : 1h36

 

Qu’est-ce qui pourrait mal tourner ?

 

Ça raconte quoi ? Comment un groupe de cavaliers découvre une mystérieuse vallée en Amérique du Sud peuplée de créatures préhistoriques et décide de ramener un des sauriens pour l’exhiber et faire fortune. Sauf qu’une fois arrivée en ville, la bête se libère de ses entraves. 

Pourquoi c’est un grand film de dino ? Le premier argument – et non des moindres – est le grand spectacle visuel proposé le grand Ray Harryhausen, une sommité en matière d’effets spéciaux cinématographiques, qui a étalé dans La vallée de Gwangi son talent et ses ambitions créatives pour continuer de nourrir l’imaginaire collectif autour des dinosaures. En découlent ainsi des séquences d’aventure saisissantes où sauriens et humains partagent les mêmes plans et interagissent à l’écran, comme lorsque le groupe est pris dans une bataille féroce entre un allosaure et un tricératops ou lorsqu’un des cavaliers est attaqué par un ptéranodon. 

Pour que la vanité des hommes et l’appât du gain les attirent jusqu’à la vallée, le film réalisé par Jim O’Connolly choisit cependant d’aller à contre-courant des représentations habituelles de la faune jurassique en déjouant dans un premier temps le gigantisme qu’on lui associe par défaut. L’histoire présente ainsi l’anti T-Rex avec son Eohippus, un cheval miniature tout mignon et docile qui conforte les personnages dans leur domination, jusqu’à l’inversion du rapport de force une fois dans la vallée. 

 

Une des nombreuses compositions picturales du film

 

L’histoire en elle-même est assez programmatique, ne cachant pas ses similitudes scénaristiques et thématiques avec le King Kong de 1933, mais La vallée de Gwangi se double surtout d’une sincère remise en question de l’évolution du média, métaphorisant les doutes de l’industrie face à une nouvelle ère cinématographique et des attentes toujours plus élevées de la part des spectateurs.

Le film reprend ainsi les figures emblématiques du western qu’il tort pour transformer les cow-boys, shérifs et autres bandits anti-héroïques en une troupe de cirque, d’acteurs et des cascadeurs qui rejouent, non sans lassitude, les grandes batailles entre cow-boys et Indiens et se demandent comment moderniser ce spectacle et dépasser le mythe de l’Ouest qui ne prend plus auprès du public. En s’apparentant à un genre en déclin, l’âge d’or du western étant derrière lui à l’approche des années 70, le long-métrage s’interroge ainsi sur sa façon de se renouveler, notamment par l’hybridation des genres et des symboliques qu’il maîtrise admirablement.

Le sixième continent

Sortie : 1975 – Durée : 1h31

 

Le plastique, c’est fantastique

 

Ça raconte quoi ? En pleine Première Guerre mondiale, un sous-marin allemand ayant fait prisonniers les survivants d’un bâtiment britannique fraîchement coulé, fait la découverte d’un continent oublié, dégorgeant de dinosaures et d’hommes préhistoriques.

Pourquoi c’est un grand film de dino ? Bien sûr, on pourra se plaindre des effets spéciaux, qui évoquent plus la fin du cycle digestif d’un nourrisson qu’une authentique performance technique, ou regretter la dimension clairement surannée de ce récit qui accuse le poids de presque 50 ans d’âge. Mais ce serait passer à côté de ce qui fait son charme insubmersible. À savoir son goût pour un type de récits d’aventures, déjà largement passés de mode lors de sa sortie, étalée dans le monde entre 1974 et 1976. 

En effet, le long-métrage est une adaptation très libre d’un texte d’Edgar Rice Burroughs, écrivain visionnaire à l’origine des mythes de Tarzan ou encore John Carter. Il fut l’un des représentants émérites, durant les années 20, de la mode des “continents oubliés”, et c’est précisément ce que ressuscite le réalisateur Kevin Connor. Grâce à un rythme très soutenu, un amour débordant des modèles réduits dans sa première demi-heure, et surtout une mise en scène plutôt solide, malgré un budget bien faiblard, il parvient à impulser une énergie véritable à ce divertissement pas tout à fait fossilisé.

 

Dormir peut attendre

 

Et pour cause, en dépit des divergences avec le matériau original, on retrouve l’appétit du romancier pour des univers denses, une narration échevelée, mais aussi une galerie de morts impitoyables. En effet, l’époque était autrement moins frileuse que la nôtre en matière de divertissement, et une proportion notable de personnages se feront piétiner, dévorer, découper ou mitrailler au gré de cette promenade dans un continent mystérieux. 

On soulignait plus haut combien les effets spéciaux étaient rudimentaires, le projet n’ayant pas un budget l’autorisant à se payer un Ray Harryhausen (lequel avait déjà nettement ralenti la cadence à l’époque), mais cette limite pourra devenir une source de ravissement, tant le résultat à l’écran confère à l’ensemble une dimension étrange, parfois presque poétique. C’est le cas de l’arrivée au coeur du Sixième continent, qui vaut aux survivants de faire face à une sorte de mélange de bottes en caoutchouc et de monstre du loch’ Ness. Et quand la poésie se fait la malle, ce sont les duels de vessies en caoutchouc qui métamorphosent tout cela en formidables blagounettes.

La Planète des dinosaures

Sortie : 1977 – Durée : 1h24

 

Rex à la niche

 

Ça raconte quoi ? En plein voyage spatial, le vaisseau Odyssey rencontre un problème technique qui le force à se crasher sur une mystérieuse planète. La bonne nouvelle : elle présente des caractéristiques similaires à la Terre. La mauvaise nouvelle : elle présente des caractéristiques similaires à la Terre d’il y a plus de 66 millions d’années.

Pourquoi c’est (presque) un grand film de dino ? Tout comme Jurassic Park (voir plus bas), les grands classiques du film de dinosaures comme Le Monstre des Temps Perdus ou La vallée de Gwangi n’ont pas manqué d’inspirer un lot de séries Z opportunistes, fauchées et/ou absurdes. Trois qualités dont peut s’enorgueillir La Planète des dinosaures, qui n’a pour lui que son pitch abracadabrant et pas grand-chose d’autre.

 

Non, ce n’est pas le prochain Aardman

 

Et encore, l’argument de la science-fiction tient difficilement passé les 15 premières minutes. Quelques secondes à peine après s’être écrasé sur une exoplanète en tous points identique à la Terre, l’un des personnages explique calmement que les mondes abritant des atmosphères similaires sont quand même monnaie courante dans l’univers. Un niveau d’expertise qui résume bien le je-m’en-foutisme de la chose, où des crétins tout droit sortis des pires épisodes de Star Trek pique-niquent au milieu de dinos pas extraterrestres pour un sou.

Pourtant, malgré les dialogues qui jouent clairement la montre, des incrustations à la ramasse et une réputation peu flatteuse (il n’aurait même pas eu le droit à une sortie salle), La Planète des dinosaures reste un film attachant avec ses bastons de reptiles en stop-motion, dans la lignée des expérimentations de Ray Harryhausen, et ses personnages au flegme inattaquable. D’autant que l’idée reste amusante : privé de toute aide, le groupe de survivants doit s’installer sur cette planète hostile et par conséquent bouter le dernier T rex du coin loin d’eux. On signe où pour un remake plein de fric ?

Carnosaur

Sortie : 1993 – Durée : 1h25

 

Un dinosaure vorace, pour de vrai

 

Ça raconte quoi ? Comment la mère de Laura Dern a transformé des poulets en dinosaures dans le but d’exterminer l’Humanité (et de faire un doigt d’honneur à John Hammond).

Pourquoi c’est un grand film de dino ? Carnosaur a tout de la série B à tendance Z opportuniste avec un dino en plastique, un scénario en carton et des personnages en mousse. Même si le film réalisé par Adam Simon est sorti quelques semaines avant Jurassic Park et s’inspire d’un livre publié six ans avant le roman de Michael Crichton, le producteur Roger Corman a lancé la production de Carnosaur au moment où Steven Spielberg terminait celle de Jurassic Park pour profiter de la campagne marketing du blockbuster. 

Mais contrairement à Piranhas de Joe Dante qui parodiait ouvertement Les Dents de la Mer, Carnosaur cultive ses différences avec le film d’Universal, chacun représentant à un même moment et sur un même sujet deux branches de l’industrie cinématographique : les superproductions qui s’approprient les grosses bestioles du cinéma de genre et le cinéma bis vampirisé par les majors. Le fait que le Dr Triptree veuille rendre la planète aux dinosaures parce que « l’Homme est une espèce infidèle » prend dès lors une tournure plus métaphorique.

 

Un combat qui rappelle une certaine saga avec des aliens

 

Malgré ses bribes d’intrigues nanardesques – notamment les femmes qui accouchent de bébés dinos après avoir mangé des oeufs de poule génétiquement modifiés – Carnosaur est donc moins bête que méchant. Le film verse dans le gore et l’hémoglobine en éviscérant et démembrant ses personnages – qui n’existent que pour être massacrés à l’écran -, mais aussi en charcutant ses dinos. Une boucherie et un défouloir bienvenus après Jurassic World 3 et ses dinos en liberté qui mangent de l’air. 

Mais plus qu’être sadique et sanglant, Carnosaur est aussi étonnamment cynique et nihiliste, en témoigne les réactions gouvernementales plus que drastiques, le dénouement radical, le dernier plan cryptique et la musique grave du générique qui dénotent de l’absurdité ambiante dans ce film tout compte fait plus surprenant que rebutant. 

Tammy and the T-Rex

Sortie : 1995 – Durée : 1h22

 

Deux doigts coupe-faim

 

Ça raconte quoi ? Elle est belle, elle est douce, c’est une apprentie pom-pom girl et elle aime son petit ami d’amour. Malheureusement, son ex le tue jusqu’à ce que mort s’ensuive. Tout aurait pu en rester là, si le cerveau du copain refroidi n’était pas soudain transféré dans un tyrannosaure robotique.

Pourquoi c’est un grand film de dino ? C’est un grand film de dino pour une raison rien de moins qu’évidente. Sorti à peine un an après Jurassic Park, ce nanar de l’espace aurait pu (dû ?) coûter leur carrière aux débutants Denise Richards et Paul Walker, marqués au fer rouge du Z absurde. Et pourtant, preuve que les dinosaures sont des déités magnanimes, celle qui devait marquer la puberté de toute une génération avec Sexcrimes et celui qui fut jusqu’à sa tragique disparition était la caution neuronale de Fast & Furious ont survécu à la sortie de cette radioactive étrangeté.

 

“Et mon compte personnel de formation gros tarba ?”

 

Mélange de délire improbable, de premier degré absurde, de non-sens incompréhensible et trip gore partiellement charcuté sur son banc de montage, Tammy and the T-Rex engendre une forme de fascination morbide, au fur et à mesure que son intrigue progresse vers le n’importe quoi radical. Ainsi l’ensemble est-il traversé d’images aussi mémorables que curieuses. Un tyrannosaure téléphonant à sa bien-aimée, cette dernière s’assoupissant entre ses petits bras lubriques, ou encore notre théropode dégoulinant d’amour et de circuit imprimés, balançant en travers de nos rétines un immortel doigt d’honneur.

On regarde la chose comme on ralentit devant un accident de la route. Pour se souvenir que malgré les coups du sort, en dépit des récifs qui nous déchirent les mollets, n’en déplaise au froid, à la faim et à la maladie, il est toujours une lueur d’espoir qui survit. Fut-elle nichée dans le scrotum d’un dinosaure robot, abandonné loin de Michael Bay.

À part Jurassic Park, les 10 meilleurs films de dinosaures que tu n’as pas vus

The post À part Jurassic Park, les 10 meilleurs films de dinosaures que tu n’as pas vus first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656307098) } [8]=> array(11) { ["title"]=> string(99) "Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture”" ["link"]=> string(121) "http://genesisblocknews.com/aroldo-betancourt-we-put-one-foot-forward-so-that-the-country-continues-to-grow-with-culture/" ["dc"]=> array(1) { ["creator"]=> string(13) "Vanessa Sweat" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 04:51:31 +0000" ["category"]=> string(56) "ActorsAroldoBetancourtcontinuescountryCulturefootgrowput" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11473" ["description"]=> string(1057) "

In Caesar and Cleopatraoriginal by George Bernard Shaw, the Egyptian god Ra looks at the audience and speaks of the conflict between Caesar and Pompey, the battle of Pharsalia and the murder of the latter in Egypt, at the hands of Lucius Septimius. The presenter is not anyone. He is about the very maker of ... Read more

The post Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture” first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(6252) "

In Caesar and Cleopatraoriginal by George Bernard Shaw, the Egyptian god Ra looks at the audience and speaks of the conflict between Caesar and Pompey, the battle of Pharsalia and the murder of the latter in Egypt, at the hands of Lucius Septimius.

The presenter is not anyone. He is about the very maker of heaven and earth, the creator of waters, winds, light, darkness and the Nile River.

One hundred and twenty-one years after the premiere of the play, in Newcastle, England, the story continues to arouse the interest of playwrights in the world and the Venezuelans José Tomás Angola and Elizabeth Yrausquín from Postalian did not escape their influence and made their own version, which finally It will hit the stage next July 1st in the Sala Ríos Reyna, of the Teresa Carreño Theater.

In the local assembly of Caesar and Cleopatra, Angola plays Cesar; Silvia De Abreu to Cleopatra, and Aroldo Betancourt (Valencia, 1955) to the god Ra.

How has the process of building your character been?
-It is wonderful to be able to think about this old god because it has many ramifications. It has been a wonderful informative chain; a dream to enter that world and know it; a beautiful opportunity to get into a character that I hadn’t done for so long, to be able to enjoy it, see each of its details, its movements, its way of seeing life. It comes at an ideal time, from the hand of José Tomas Angola, who gives me all the premises. It has been a process of research and knowledge. It has been beautiful.

For the actor, composing the character of the god Ra has been a learning process (YGNACIO NAREA)

-How did you feel in the skin of the god Ra?
-Wonderfully well. When you grow into the characters you feel wonderful. I have a wonderful duo with Luis Vicente (González), the choreographer (along with Carolina Wolf), who plays the other god, the other ego. We are image and likeness. I have felt cool. Forming the spaces with the characters is wonderful. The characters are given step by step, through rehearsals, training, gesture, what the director tells you so you can reach them. It is one thing to study them and another to pierce their skin. It has been interesting to give myself to the process and insist on the search because it is not easy. He is not a living character. He is a god, the god Ra, who has a story.

-You made a career in dramatics, if you will, mass entertainment, but the tables suppose something more intimate, how do you value it?
-Getting back on stage has been wonderful. I was really born in the theater, so I feel honored to return in this way, after these two years of pandemic, in which the public was locked up in their homes, and even more so with a classic. The most wonderful thing that can happen to my life is to return to a stage with a classic that has been performed many times on Broadway and in the movies by Elizabeth Taylor and Vivien Leigh, and thus be able to give my country, art, a smile and a heart.

-How do you weigh the interest of the Venezuelan theater to look again at classic stories?
-I am struck by this opening in an extraordinary way. I think that we actors can do comedy, monologues and social networks, but it is important that the Venezuelan people know that we can rescue and learn from the classics. One of the things I want to highlight is the number of people involved in this project. Once again, my thanks to José Tomas Angola, Eduardo Viloria and a great team. And to all this we join the Venezuela Symphony Orchestra, with original music and direction by Alfonso López Chollet, and the participation of electronic musician Miguel Ángel Noya. The magic of theater and music merges. The costumes are in charge of Elizabeth Yrausquín of Postalian. The emotion I feel is incalculable. We put one foot forward so that the country continues to grow with culture.

“José Tomás (Angola) is an extremely intelligent guy; Silvia (De Abreu) ​​is a Cleopatra who is trained in the theater,” says Betancourt (YGNACIO NAREA).

-How do you describe the synergy you share with José Tomás Angola and Silvia De Abreu?
-We had a feeling extraordinary. They have a beautiful show, a wonderful cast of professionals. I think that synergy will work with the public. José Tomás is an extremely intelligent guy, a creator, whom I have known for many years, and Silvia is a Cleopatra who is trained in the theater, in chaos, to take on new professional challenges.

-What are the biggest challenges you face with the staging of this work?
-Everything is a challenge: getting the money, the support they are giving us, combining music, cinema and theater. We are a hundred and something people with the symphony, the dance corps, the Teresa Carreño workers, although the most important challenge is to be able to reach the hearts of Venezuelans. We dream that we will do very well. Let the people go. Tickets are accessible so that the biggest event is that the public can return to the theater. We are doing the work with our hearts raw. I really get excited. My heart swells for being able to give my country, love and culture.
@yolimer

Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture”

The post Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture” first appeared on Genesisblocknews.

" } ["summary"]=> string(1057) "

In Caesar and Cleopatraoriginal by George Bernard Shaw, the Egyptian god Ra looks at the audience and speaks of the conflict between Caesar and Pompey, the battle of Pharsalia and the murder of the latter in Egypt, at the hands of Lucius Septimius. The presenter is not anyone. He is about the very maker of ... Read more

The post Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture” first appeared on Genesisblocknews.

" ["atom_content"]=> string(6252) "

In Caesar and Cleopatraoriginal by George Bernard Shaw, the Egyptian god Ra looks at the audience and speaks of the conflict between Caesar and Pompey, the battle of Pharsalia and the murder of the latter in Egypt, at the hands of Lucius Septimius.

The presenter is not anyone. He is about the very maker of heaven and earth, the creator of waters, winds, light, darkness and the Nile River.

One hundred and twenty-one years after the premiere of the play, in Newcastle, England, the story continues to arouse the interest of playwrights in the world and the Venezuelans José Tomás Angola and Elizabeth Yrausquín from Postalian did not escape their influence and made their own version, which finally It will hit the stage next July 1st in the Sala Ríos Reyna, of the Teresa Carreño Theater.

In the local assembly of Caesar and Cleopatra, Angola plays Cesar; Silvia De Abreu to Cleopatra, and Aroldo Betancourt (Valencia, 1955) to the god Ra.

How has the process of building your character been?
-It is wonderful to be able to think about this old god because it has many ramifications. It has been a wonderful informative chain; a dream to enter that world and know it; a beautiful opportunity to get into a character that I hadn’t done for so long, to be able to enjoy it, see each of its details, its movements, its way of seeing life. It comes at an ideal time, from the hand of José Tomas Angola, who gives me all the premises. It has been a process of research and knowledge. It has been beautiful.

For the actor, composing the character of the god Ra has been a learning process (YGNACIO NAREA)

-How did you feel in the skin of the god Ra?
-Wonderfully well. When you grow into the characters you feel wonderful. I have a wonderful duo with Luis Vicente (González), the choreographer (along with Carolina Wolf), who plays the other god, the other ego. We are image and likeness. I have felt cool. Forming the spaces with the characters is wonderful. The characters are given step by step, through rehearsals, training, gesture, what the director tells you so you can reach them. It is one thing to study them and another to pierce their skin. It has been interesting to give myself to the process and insist on the search because it is not easy. He is not a living character. He is a god, the god Ra, who has a story.

-You made a career in dramatics, if you will, mass entertainment, but the tables suppose something more intimate, how do you value it?
-Getting back on stage has been wonderful. I was really born in the theater, so I feel honored to return in this way, after these two years of pandemic, in which the public was locked up in their homes, and even more so with a classic. The most wonderful thing that can happen to my life is to return to a stage with a classic that has been performed many times on Broadway and in the movies by Elizabeth Taylor and Vivien Leigh, and thus be able to give my country, art, a smile and a heart.

-How do you weigh the interest of the Venezuelan theater to look again at classic stories?
-I am struck by this opening in an extraordinary way. I think that we actors can do comedy, monologues and social networks, but it is important that the Venezuelan people know that we can rescue and learn from the classics. One of the things I want to highlight is the number of people involved in this project. Once again, my thanks to José Tomas Angola, Eduardo Viloria and a great team. And to all this we join the Venezuela Symphony Orchestra, with original music and direction by Alfonso López Chollet, and the participation of electronic musician Miguel Ángel Noya. The magic of theater and music merges. The costumes are in charge of Elizabeth Yrausquín of Postalian. The emotion I feel is incalculable. We put one foot forward so that the country continues to grow with culture.

“José Tomás (Angola) is an extremely intelligent guy; Silvia (De Abreu) ​​is a Cleopatra who is trained in the theater,” says Betancourt (YGNACIO NAREA).

-How do you describe the synergy you share with José Tomás Angola and Silvia De Abreu?
-We had a feeling extraordinary. They have a beautiful show, a wonderful cast of professionals. I think that synergy will work with the public. José Tomás is an extremely intelligent guy, a creator, whom I have known for many years, and Silvia is a Cleopatra who is trained in the theater, in chaos, to take on new professional challenges.

-What are the biggest challenges you face with the staging of this work?
-Everything is a challenge: getting the money, the support they are giving us, combining music, cinema and theater. We are a hundred and something people with the symphony, the dance corps, the Teresa Carreño workers, although the most important challenge is to be able to reach the hearts of Venezuelans. We dream that we will do very well. Let the people go. Tickets are accessible so that the biggest event is that the public can return to the theater. We are doing the work with our hearts raw. I really get excited. My heart swells for being able to give my country, love and culture.
@yolimer

Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture”

The post Aroldo Betancourt: “We put one foot forward so that the country continues to grow with culture” first appeared on Genesisblocknews.

" ["date_timestamp"]=> int(1656305491) } [9]=> array(11) { ["title"]=> string(74) "The atypical and complicated life of Maye Musk, Elon Musk’s model mother" ["link"]=> string(99) "http://genesisblocknews.com/the-atypical-and-complicated-life-of-maye-musk-elon-musks-model-mother/" ["dc"]=> array(1) { ["creator"]=> string(15) "Michael Steiner" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 04:23:15 +0000" ["category"]=> string(64) "EntrepreneursatypicalcomplicatedElonlifeMayemodelmotherMuskMusks" ["guid"]=> string(37) "https://genesisblocknews.com/?p=11470" ["description"]=> string(948) "

The atypical and complicated life of Maye Musk, Elon Musk’s model mother Elon Musk, Maye’s son To speak of Elon Musk is to speak of the richest man in the world and one of the most famous businessmen in contemporary history. ... Read more

The post The atypical and complicated life of Maye Musk, Elon Musk’s model mother first appeared on Genesisblocknews.

" ["content"]=> array(1) { ["encoded"]=> string(33696) "

The atypical and complicated life of Maye Musk, Elon Musk’s model mother





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The atypical and complicated life of Maye Musk, Elon Musk’s model mother

The post The atypical and complicated life of Maye Musk, Elon Musk’s model mother first appeared on Genesisblocknews.

" } ["summary"]=> string(948) "

The atypical and complicated life of Maye Musk, Elon Musk’s model mother Elon Musk, Maye’s son To speak of Elon Musk is to speak of the richest man in the world and one of the most famous businessmen in contemporary history. ... Read more

The post The atypical and complicated life of Maye Musk, Elon Musk’s model mother first appeared on Genesisblocknews.

" ["atom_content"]=> string(33696) "

The atypical and complicated life of Maye Musk, Elon Musk’s model mother





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The atypical and complicated life of Maye Musk, Elon Musk’s model mother

The post The atypical and complicated life of Maye Musk, Elon Musk’s model mother first appeared on Genesisblocknews.

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