OK: Found an XML parser.
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Channel: Wikileaksisdemocracy

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      ["title"]=>
      string(54) "Maintaining the right niche for blood cell development"
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      string(95) "http://wikileaksisdemocracy.org/science/maintaining-the-right-niche-for-blood-cell-development/"
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      string(690) "Journal Reference: Yoshiki Omatsu, Shota Aiba, Tomonori Maeta, Kei Higaki, Kazunari Aoki, Hitomi Watanabe, Gen Kondoh, Riko Nishimura, Shu Takeda, Ung-il Chung, Takashi Nagasawa. Runx1 and Runx2 inhibit fibrotic conversion of cellular niches for hematopoietic stem cells. Nature Communications, 2022; 13 (1) DOI: 10.1038/s41467-022-30266-y In a new study published in Nature Communications, researchers led by ... Read more"
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Journal Reference:

  1. Yoshiki Omatsu, Shota Aiba, Tomonori Maeta, Kei Higaki, Kazunari Aoki, Hitomi Watanabe, Gen Kondoh, Riko Nishimura, Shu Takeda, Ung-il Chung, Takashi Nagasawa. Runx1 and Runx2 inhibit fibrotic conversion of cellular niches for hematopoietic stem cells. Nature Communications, 2022; 13 (1) DOI: 10.1038/s41467-022-30266-y

In a new study published in Nature Communications, researchers led by Osaka University have shed new light on the role of transcription factors Runx1 and Runx2 in the bone marrow microenvironments known as HSC niches. HSC niches are essential for the maintenance of HSCs, which give rise to blood cells.

A major component of HSC niches is a cell type known as CXC chemokine ligand 12-abundant reticular (CAR) cells. CAR cells express signaling molecules known as cytokines that are important for the maintenance of hematopoietic stem and progenitor cells (HSPCs). The team previously found that CAR cells express a transcription factor called Runx2, which is known to play a role in the development of the skeleton. In this study, they newly found that CAR cells also express Runx1, which is known to be essential for development of hematopoietic stem cells. However, it is completely unknown how Runx transcription factors function in the maintenance of HSC niches, which prompted the research team to investigate this role.

“To evaluate the impact of Runx transcription factors on the bone marrow, we used mouse models in which Runx1 and/or Runx2 was deleted specifically within CAR cells,” says lead author Yoshiki Omatsu.

The researchers found that mice lacking Runx1 in mesenchymal cells including CAR cells showed normal bone and bone marrow development, while mice lacking Runx2 exhibited normal CAR cells and bone marrow but short and immature bone. However, mice lacking both Runx1 and Runx2 in CAR cells showed a significant reduction of HSPCs and immune cells, along with an increase in fibrosis (the abnormal build-up of connective tissue) in the bone marrow, a hallmark of a condition known as myelofibrosis.

“Our results strongly indicate the essential role of Runx1 and/or Runx2 in the inhibition of fibrosis and maintenance of the HSC niche,” says senior author Takashi Nagasawa.

The research team also found that in a mouse model of primary myelofibrosis, expression of Runx1 and Runx2 was reduced while expression of fibrotic genes was increased, further highlighting the role of Runx1 and Runx2 in the inhibition of fibrosis in the bone marrow. Although more work is needed on the topic, these findings suggest that Runx1 and Runx2 may be potential targets for the diagnosis and treatment of myelofibrosis.

We wish to give thanks to the writer of this post for this remarkable content

Maintaining the right niche for blood cell development

Check out our social media accounts and other related pageshttp://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(690) "Journal Reference: Yoshiki Omatsu, Shota Aiba, Tomonori Maeta, Kei Higaki, Kazunari Aoki, Hitomi Watanabe, Gen Kondoh, Riko Nishimura, Shu Takeda, Ung-il Chung, Takashi Nagasawa. Runx1 and Runx2 inhibit fibrotic conversion of cellular niches for hematopoietic stem cells. Nature Communications, 2022; 13 (1) DOI: 10.1038/s41467-022-30266-y In a new study published in Nature Communications, researchers led by ... Read more" ["atom_content"]=> string(3383) "

Journal Reference:

  1. Yoshiki Omatsu, Shota Aiba, Tomonori Maeta, Kei Higaki, Kazunari Aoki, Hitomi Watanabe, Gen Kondoh, Riko Nishimura, Shu Takeda, Ung-il Chung, Takashi Nagasawa. Runx1 and Runx2 inhibit fibrotic conversion of cellular niches for hematopoietic stem cells. Nature Communications, 2022; 13 (1) DOI: 10.1038/s41467-022-30266-y

In a new study published in Nature Communications, researchers led by Osaka University have shed new light on the role of transcription factors Runx1 and Runx2 in the bone marrow microenvironments known as HSC niches. HSC niches are essential for the maintenance of HSCs, which give rise to blood cells.

A major component of HSC niches is a cell type known as CXC chemokine ligand 12-abundant reticular (CAR) cells. CAR cells express signaling molecules known as cytokines that are important for the maintenance of hematopoietic stem and progenitor cells (HSPCs). The team previously found that CAR cells express a transcription factor called Runx2, which is known to play a role in the development of the skeleton. In this study, they newly found that CAR cells also express Runx1, which is known to be essential for development of hematopoietic stem cells. However, it is completely unknown how Runx transcription factors function in the maintenance of HSC niches, which prompted the research team to investigate this role.

“To evaluate the impact of Runx transcription factors on the bone marrow, we used mouse models in which Runx1 and/or Runx2 was deleted specifically within CAR cells,” says lead author Yoshiki Omatsu.

The researchers found that mice lacking Runx1 in mesenchymal cells including CAR cells showed normal bone and bone marrow development, while mice lacking Runx2 exhibited normal CAR cells and bone marrow but short and immature bone. However, mice lacking both Runx1 and Runx2 in CAR cells showed a significant reduction of HSPCs and immune cells, along with an increase in fibrosis (the abnormal build-up of connective tissue) in the bone marrow, a hallmark of a condition known as myelofibrosis.

“Our results strongly indicate the essential role of Runx1 and/or Runx2 in the inhibition of fibrosis and maintenance of the HSC niche,” says senior author Takashi Nagasawa.

The research team also found that in a mouse model of primary myelofibrosis, expression of Runx1 and Runx2 was reduced while expression of fibrotic genes was increased, further highlighting the role of Runx1 and Runx2 in the inhibition of fibrosis in the bone marrow. Although more work is needed on the topic, these findings suggest that Runx1 and Runx2 may be potential targets for the diagnosis and treatment of myelofibrosis.

We wish to give thanks to the writer of this post for this remarkable content

Maintaining the right niche for blood cell development

Check out our social media accounts and other related pageshttp://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656305959) } [1]=> array(11) { ["title"]=> string(95) "Adam Sandler: from critically scorned to Oscar’s bet while continuing to do business as usual" ["link"]=> string(130) "http://wikileaksisdemocracy.org/drama/adam-sandler-from-critically-scorned-to-oscars-bet-while-continuing-to-do-business-as-usual/" ["dc"]=> array(1) { ["creator"]=> string(13) "Beatriz Deitz" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 04:44:45 +0000" ["category"]=> string(65) "DramaAdambetBusinesscontinuingcriticallyOscarsSandlerscornedusual" ["guid"]=> string(40) "https://wikileaksisdemocracy.org/?p=8717" ["description"]=> string(716) "In one of the scenes of Claw (the basketball drama that has been, since its premiere on June 3, the most watched movie on Netflix worldwide) the character played by the player from Madrid Juancho Hernangómez rehearses his three-point shot. In front of him, the scout for him who became a coach, played by Adam ... Read more" ["content"]=> array(1) { ["encoded"]=> string(11980) "

In one of the scenes of Claw (the basketball drama that has been, since its premiere on June 3, the most watched movie on Netflix worldwide) the character played by the player from Madrid Juancho Hernangómez rehearses his three-point shot. In front of him, the scout for him who became a coach, played by Adam Sandler, tries to distract him: “Your mother is a whore!”, “Your sweat smells like piss!”. The objective of the test is to make the young man overcome his weak point, the irascibility with which he reacts to the insults of his opponents, which on the court makes him lose his temper and fail. The weak point that he also had at his age. “They will always try to touch your morale, but you have to be like an iceberg, floating full of edges and sinking ships,” he says.

Your interpreter knows what he is talking about. Few stars are so used to receiving such furious hatred as the one that Adam Sandler has been receiving since the beginning of his career from the bulk of a critic who, in turn, impotent, has seen the comedian chain one commercial success after another; the last of them, his exclusive agreements with Netflix, for which he has earned 420 million dollars since 2015. The attacks continue, but there is no doubt that Sandler is still there. Like an iceberg.

However, with Claw the same is not happening. The film has received the majority of critics (the aggregator Rotten Tomatoes, which computes the ratings of professionals from around the world, gives it an approval rating of 92%, the highest of a title starring Sandler), which has particularly praised the performance of its protagonist, whom some already place in the list of favorites for the next awards season. A situation similar to the one that the New York comedian lived with Rough diamonds (2019), when he won, among others, the award for Best Actor at the Independent Spirit Awards and he ironically threatened to make a “deliberately bad” movie if he didn’t get the Oscar too.

Despite the fact that he was not given it (nor was he nominated), Sandler has not kept his word. journalists like David Ehrlich of indiewirehave talked about Claw as a film far from what the actor usually offers, “more similar to Jerry Maguire either The WayBack than any of the other Happy Madison productions [el sello del humorista]”. However, despite the change in register, the unconditional viewer of Adam Sandler can easily appreciate certain connections between this film and his comedies as a whole.

That a process of managing emotions is at the center of the argument already puts Claw in relation to the archetype on which Sandler based his humor, at least, in its beginnings: the figure of the immature who screams and suffers violent outbursts if he does not get what he wants or things go wrong. Even in the relationship between his character and Hernangómez’s, a temperamental boy with an old injury crime chasing him, there is a mechanic similar to that in the comedy. Happy Gilmore (Terminagolf) (1996), where a teacher played by Carl Weathers tried to teach young Sandler to relax and stop continually losing his temper, in order to help him conquer the pinnacle of golf.

“Criticism insists on separating them because it is a more serious, adult, apparently deeper approach. But it is not like that”, says, consulted by ICON, Roberto Alcover Oti, who in 2015 coordinated the book Adam Sandler. infinite childhood (Macnulti Editores), where authors such as Noel Ceballos, Tonio L. Alarcón or Diego Salgado rigorously analyze the keys to the comedian’s filmography and claim the presence of a discourse in his cinema. In addition to Happy Gilmorefor Alcover Oti, who was critical in publications such as Directed by…, Current Images either Film Looks“it is difficult not to see, in the figure of the observer of Clawto the adult player of The bonebreaker clan”, a comedy starring Sandler in 2005, where he played a football player in prison. “In his last stage, mainly due to the saga Big kids [2010-2013], Sandler has reflected, always humorously, on the hard journey to maturity of his late-adolescent heroes. and this is it Clawin a certain way”.

Against the “cynical assholes”

At the climax trial of A cool dad (1999), the boy that Sandler’s character takes over to cover for a friend testifies and reviews what he learned with him: “It has taught me that Styx is the best gang in the world and that they only have a bad reputation because most of the the critics are cynical assholes.” Next, in the key interrogation to avoid jail, Sandler decides to demonstrate his maturity by offering to be interrogated by his biggest critic: his own father. During the exchange, the understanding and catharsis between the two makes everyone present in the room, in tears, decide to call their parents to also settle pending accounts and reconcile; a scene definitely not suitable for “cynical assholes”.

A young Sandra Bullock and Adam Sandler, during the gala of the MTV Video Music Awards, at Radio City Music Hall in New York, in 1994.
A young Sandra Bullock and Adam Sandler, during the gala of the MTV Video Music Awards, at Radio City Music Hall in New York, in 1994.Jeff Kravitz (Film Magic)

The film encapsulates an essential element in the works of its protagonist: the victory against the society of order by people who do not follow the discipline of the system. The main character, a downright bum, is helped in court by a gang of excluded people made up of a drunk, a beggar, an immigrant and some homosexual friends. And another theme evidently present is that of the family, also key in Claw; a constant in Sandler, which acts as a vehicle for the maturity of his characters. In infinite childhoodAlcover Oti highlights how Click (2006) leads to understand that “a narcissistic choice of existence can only lead to oblivion and loneliness”, while Big kids he draws the “lost paradise” of childhood as something that “can be enjoyed again through children”.

Oti also defends in the book that the characters that Sandler has played in his celebrated dramatic forays, such as Punch-Drunk Love (2002) or Make me laugh (2009), they can be “deciphered as dark, sorrowful, realistic versions of their usual figures”. In the first of them, directed by Paul Thomas Anderson (which won the Best Director award at the Cannes Film Festival that year), Sandler plays another character with a developmental problem in childhood and in a perpetual state of nervousness, who lives a love story while trying to make his way through a hostile world with screams and blows. The staging also allows us to observe something similar to gag at the wrong time or out of tune in the footage, like jokes whose planning is overwhelmed by reality. Though there are those who have come to interpret it as a version indie supermanAnderson, also the author of titles such as Magnolia either Licorice Pizzahas always defended that what he wanted to do was, essentially, “an Adam Sandler art house film”.

“There are not two Sandlers, but one: the one who sublimates his desire for success and the one who cannot stop expressing the human side of it,” Roberto Alcover Oti tells ICON about the disparity with which the archetype is faced from different films. In the book, precisely, he wonders whether the greater or lesser acceptance of critics and the public to the actor’s cinema can be due to whether he is presented in a “destructive way” and not as a winner who achieves success without disheveled, ” perhaps because we feel closer to those loser and fragile archetypes, or perhaps because we find it frustrating to project ourselves onto someone who turns their defects into virtues to succeed, since we don’t always achieve it”, he reflects.

In his 2020 Independent Spirit Award acceptance speech for Rough diamondsAdam Sandler, in addition to thanking the critics for the effort to “pretend” not to hate him “for five minutes”, apparently sarcastically claimed independent cinema as “an important part” of his filmography, “from my intrepid look at the American educational system Through the eyes of a privileged sociopath named billy madison [1995] to my scathing exploration of college football and its manipulation of socially challenged athletes like Bobby Boucher [personaje protagonista de El aguador, de 1999]”. Half a year from now, when awards season starts, it will be known if Claw it gives the comedian the opportunity to delve into this idea while collecting new statuettes. At the moment, with the success of his movie on Netflix, these are bad times for those who can’t stand to see Sandler succeed.

You can follow ICON at Facebook, Twitter, Instagramor subscribe here to the newsletter.



We wish to thank the author of this article for this awesome content

Adam Sandler: from critically scorned to Oscar’s bet while continuing to do business as usual


Find here our social media profiles , as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(716) "In one of the scenes of Claw (the basketball drama that has been, since its premiere on June 3, the most watched movie on Netflix worldwide) the character played by the player from Madrid Juancho Hernangómez rehearses his three-point shot. In front of him, the scout for him who became a coach, played by Adam ... Read more" ["atom_content"]=> string(11980) "

In one of the scenes of Claw (the basketball drama that has been, since its premiere on June 3, the most watched movie on Netflix worldwide) the character played by the player from Madrid Juancho Hernangómez rehearses his three-point shot. In front of him, the scout for him who became a coach, played by Adam Sandler, tries to distract him: “Your mother is a whore!”, “Your sweat smells like piss!”. The objective of the test is to make the young man overcome his weak point, the irascibility with which he reacts to the insults of his opponents, which on the court makes him lose his temper and fail. The weak point that he also had at his age. “They will always try to touch your morale, but you have to be like an iceberg, floating full of edges and sinking ships,” he says.

Your interpreter knows what he is talking about. Few stars are so used to receiving such furious hatred as the one that Adam Sandler has been receiving since the beginning of his career from the bulk of a critic who, in turn, impotent, has seen the comedian chain one commercial success after another; the last of them, his exclusive agreements with Netflix, for which he has earned 420 million dollars since 2015. The attacks continue, but there is no doubt that Sandler is still there. Like an iceberg.

However, with Claw the same is not happening. The film has received the majority of critics (the aggregator Rotten Tomatoes, which computes the ratings of professionals from around the world, gives it an approval rating of 92%, the highest of a title starring Sandler), which has particularly praised the performance of its protagonist, whom some already place in the list of favorites for the next awards season. A situation similar to the one that the New York comedian lived with Rough diamonds (2019), when he won, among others, the award for Best Actor at the Independent Spirit Awards and he ironically threatened to make a “deliberately bad” movie if he didn’t get the Oscar too.

Despite the fact that he was not given it (nor was he nominated), Sandler has not kept his word. journalists like David Ehrlich of indiewirehave talked about Claw as a film far from what the actor usually offers, “more similar to Jerry Maguire either The WayBack than any of the other Happy Madison productions [el sello del humorista]”. However, despite the change in register, the unconditional viewer of Adam Sandler can easily appreciate certain connections between this film and his comedies as a whole.

That a process of managing emotions is at the center of the argument already puts Claw in relation to the archetype on which Sandler based his humor, at least, in its beginnings: the figure of the immature who screams and suffers violent outbursts if he does not get what he wants or things go wrong. Even in the relationship between his character and Hernangómez’s, a temperamental boy with an old injury crime chasing him, there is a mechanic similar to that in the comedy. Happy Gilmore (Terminagolf) (1996), where a teacher played by Carl Weathers tried to teach young Sandler to relax and stop continually losing his temper, in order to help him conquer the pinnacle of golf.

“Criticism insists on separating them because it is a more serious, adult, apparently deeper approach. But it is not like that”, says, consulted by ICON, Roberto Alcover Oti, who in 2015 coordinated the book Adam Sandler. infinite childhood (Macnulti Editores), where authors such as Noel Ceballos, Tonio L. Alarcón or Diego Salgado rigorously analyze the keys to the comedian’s filmography and claim the presence of a discourse in his cinema. In addition to Happy Gilmorefor Alcover Oti, who was critical in publications such as Directed by…, Current Images either Film Looks“it is difficult not to see, in the figure of the observer of Clawto the adult player of The bonebreaker clan”, a comedy starring Sandler in 2005, where he played a football player in prison. “In his last stage, mainly due to the saga Big kids [2010-2013], Sandler has reflected, always humorously, on the hard journey to maturity of his late-adolescent heroes. and this is it Clawin a certain way”.

Against the “cynical assholes”

At the climax trial of A cool dad (1999), the boy that Sandler’s character takes over to cover for a friend testifies and reviews what he learned with him: “It has taught me that Styx is the best gang in the world and that they only have a bad reputation because most of the the critics are cynical assholes.” Next, in the key interrogation to avoid jail, Sandler decides to demonstrate his maturity by offering to be interrogated by his biggest critic: his own father. During the exchange, the understanding and catharsis between the two makes everyone present in the room, in tears, decide to call their parents to also settle pending accounts and reconcile; a scene definitely not suitable for “cynical assholes”.

A young Sandra Bullock and Adam Sandler, during the gala of the MTV Video Music Awards, at Radio City Music Hall in New York, in 1994.
A young Sandra Bullock and Adam Sandler, during the gala of the MTV Video Music Awards, at Radio City Music Hall in New York, in 1994.Jeff Kravitz (Film Magic)

The film encapsulates an essential element in the works of its protagonist: the victory against the society of order by people who do not follow the discipline of the system. The main character, a downright bum, is helped in court by a gang of excluded people made up of a drunk, a beggar, an immigrant and some homosexual friends. And another theme evidently present is that of the family, also key in Claw; a constant in Sandler, which acts as a vehicle for the maturity of his characters. In infinite childhoodAlcover Oti highlights how Click (2006) leads to understand that “a narcissistic choice of existence can only lead to oblivion and loneliness”, while Big kids he draws the “lost paradise” of childhood as something that “can be enjoyed again through children”.

Oti also defends in the book that the characters that Sandler has played in his celebrated dramatic forays, such as Punch-Drunk Love (2002) or Make me laugh (2009), they can be “deciphered as dark, sorrowful, realistic versions of their usual figures”. In the first of them, directed by Paul Thomas Anderson (which won the Best Director award at the Cannes Film Festival that year), Sandler plays another character with a developmental problem in childhood and in a perpetual state of nervousness, who lives a love story while trying to make his way through a hostile world with screams and blows. The staging also allows us to observe something similar to gag at the wrong time or out of tune in the footage, like jokes whose planning is overwhelmed by reality. Though there are those who have come to interpret it as a version indie supermanAnderson, also the author of titles such as Magnolia either Licorice Pizzahas always defended that what he wanted to do was, essentially, “an Adam Sandler art house film”.

“There are not two Sandlers, but one: the one who sublimates his desire for success and the one who cannot stop expressing the human side of it,” Roberto Alcover Oti tells ICON about the disparity with which the archetype is faced from different films. In the book, precisely, he wonders whether the greater or lesser acceptance of critics and the public to the actor’s cinema can be due to whether he is presented in a “destructive way” and not as a winner who achieves success without disheveled, ” perhaps because we feel closer to those loser and fragile archetypes, or perhaps because we find it frustrating to project ourselves onto someone who turns their defects into virtues to succeed, since we don’t always achieve it”, he reflects.

In his 2020 Independent Spirit Award acceptance speech for Rough diamondsAdam Sandler, in addition to thanking the critics for the effort to “pretend” not to hate him “for five minutes”, apparently sarcastically claimed independent cinema as “an important part” of his filmography, “from my intrepid look at the American educational system Through the eyes of a privileged sociopath named billy madison [1995] to my scathing exploration of college football and its manipulation of socially challenged athletes like Bobby Boucher [personaje protagonista de El aguador, de 1999]”. Half a year from now, when awards season starts, it will be known if Claw it gives the comedian the opportunity to delve into this idea while collecting new statuettes. At the moment, with the success of his movie on Netflix, these are bad times for those who can’t stand to see Sandler succeed.

You can follow ICON at Facebook, Twitter, Instagramor subscribe here to the newsletter.



We wish to thank the author of this article for this awesome content

Adam Sandler: from critically scorned to Oscar’s bet while continuing to do business as usual


Find here our social media profiles , as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656305085) } [2]=> array(11) { ["title"]=> string(60) "The 17 Best Science Fiction Movies on Netflix You Must Watch" ["link"]=> string(100) "http://wikileaksisdemocracy.org/horror/the-17-best-science-fiction-movies-on-netflix-you-must-watch/" ["dc"]=> array(1) { ["creator"]=> string(11) "Jody Bailey" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 04:27:21 +0000" ["category"]=> string(38) "HorrorfictionmoviesNetflixsciencewatch" ["guid"]=> string(40) "https://wikileaksisdemocracy.org/?p=8715" ["description"]=> string(651) "Sci-fi movies are hard to spot Netflix Especially when it comes to the classics. That’s why we created this list. We wanted to highlight some hidden gems, like synchronous, along with established classics like Looper and Starship Troopers. There are also some new movies here like The Colony if you’re looking for something you haven’t ... Read more" ["content"]=> array(1) { ["encoded"]=> string(10291) "

Sci-fi movies are hard to spot Netflix Especially when it comes to the classics. That’s why we created this list.

We wanted to highlight some hidden gems, like synchronous, along with established classics like Looper and Starship Troopers. There are also some new movies here like The Colony if you’re looking for something you haven’t seen before.

In the end, there is a lot to see if you are a user. Science fiction fan. Hang in.

Read more: Best Sci-Fi TV Shows on Netflix

The best sci-fi movies on Netflix

Warner Bros.

Blade Runner 2049 doesn’t have to be good. A sequel to perhaps the most famous and respected sci-fi film of all time, it’s strange that Denis Villeneuve has somehow managed to live up to this legacy, while carving one of his own. wonderful movie.

Warner Bros Pictures

Look, I’ll settle for you: I hate foundation. I think it’s a great, upbeat movie for people who try so hard to pretend they’re smart.

But most people love it so I put it on the list. All on your own. Enjoy this movie!

sad

I like this film. It’s great science fiction.

An often misunderstood parody of chauvinism, Starship Troopers delivers tremendously. On a surface level, it’s also a really fun and easy watch. Hang in.

Looper is the movie that helped Rian Johnson throw his Star Wars party, which led to my favorite Star Wars movie of all time, The Last Jedi.

But other than that, Looper is just great sci-fi. It’s bold with time travel options and it’s incredibly stylish. See this.

Netflix

The Adam Project is not a perfect movie, but it is The Perfect for those looking for an easy-to-watch movie for family movie night. Ryan Reynolds stars Ryan Reynolds as a time-traveling pilot who works with his 12-year-old self on a mission to save the future.

Look, it’s fun for the public!

Netflix

I just saw The Colony recently. It’s surprisingly good!

It follows an all too familiar trope: the wealthy return to Earth after years of neglect, only to find it overrun by new and unknown threats. However, the colony subverts some of these clichés and has some surprisingly powerful things to say about the ways we dehumanize one another. It’s worth giving it a try.

Screenshot by Amanda Kooser / CNET

Is this science fiction? I think it’s science fiction.

It’s science fiction. end of discussion.

Don’t look for a movie that is far from perfect. It smacks of pseudo-Hollywood activity and it’s too tall and long on the nose. But it still seems important and so…so much fun?

I think that regardless of its faults, Don’t Look For It is a movie that has a positive network in the world and is worth watching.

sony images

Gattaca is a true science fiction movie, dealing with real scientific ideas and their potential impact on the human race. It’s a film about eugenics, primarily, but it also raises big questions about predestination and how we can defend ourselves against determinism. Very cool, very funny. must be looking

Netflix

Apollo 10 1/2: An Extraterrestrial Childhood

Apollo 11 1/2 is loosely based on director Richard Linklater’s childhood. An animated story set around the time of the Apollo moon landing, starring Glenn Powell, Jack Black, Zachary Levy and Josh Wiggins, and with a beautiful animated aesthetic.

It is a very well made film that you cannot miss.

new line

Creative blade. It barely received any good reviews when it debuted in 1998, but this superhero/vampire flick has become almost an archetype for where we are now, with the Marvel movies dominating the spotlight.

This one is perfect. It’s worth it.

primordial photos

This new version/reinterpretation of War of the World is directed by Steven Spielberg and stars Tom Cruise in the title role. It’s kind of an understatement IMHO! It has really sophisticated CGI that is well integrated and solidly grounded. I loved.

read more: The best horror movies on Prime Video

Netflix

The platform is a Spanish science fiction horror film with a high impact concept. Inmates in a correctional facility are fed in a very unique way: the people upstairs get a ridiculous amount of food, and the people downstairs get their leftovers. Chaos ensues.

It’s not perfect, but it’s still worth watching.

Blade Runner: The Final Cut (1982)

Is there a science fiction movie more revered than Blade Runner? If there is, I can’t think of it. Maybe the original alien or something?

Either way, none are currently on Netflix, so it’s likely to be Blade Runner. the A science fiction movie that you must see on the service.

Netflix

Okay is it science fiction? Look, it’s an extended movie, but it’s a good movie. Just watch it anyway.

Netflix

An Australian-produced sci-fi film starring Hilary Swank and Rose Byrne, I Am Mother tells the post-apocalyptic story of Daughter, a character raised by Mother, a robot tasked with helping to repopulate the Earth. Very tense, very strange, very good.

Netflix

Mitchell vs. the Machines (2021)

The Mitchells vs. The Machines is one of the smartest and most accessible kids’ movies in recent years. It’s the kind of movie that kids and parents can watch together and have fun with both.

I should know, my kids have made me watch this… eight times now? sweet.

We would like to give thanks to the author of this write-up for this awesome material

The 17 Best Science Fiction Movies on Netflix You Must Watch


Check out our social media profiles as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(651) "Sci-fi movies are hard to spot Netflix Especially when it comes to the classics. That’s why we created this list. We wanted to highlight some hidden gems, like synchronous, along with established classics like Looper and Starship Troopers. There are also some new movies here like The Colony if you’re looking for something you haven’t ... Read more" ["atom_content"]=> string(10291) "

Sci-fi movies are hard to spot Netflix Especially when it comes to the classics. That’s why we created this list.

We wanted to highlight some hidden gems, like synchronous, along with established classics like Looper and Starship Troopers. There are also some new movies here like The Colony if you’re looking for something you haven’t seen before.

In the end, there is a lot to see if you are a user. Science fiction fan. Hang in.

Read more: Best Sci-Fi TV Shows on Netflix

The best sci-fi movies on Netflix

Warner Bros.

Blade Runner 2049 doesn’t have to be good. A sequel to perhaps the most famous and respected sci-fi film of all time, it’s strange that Denis Villeneuve has somehow managed to live up to this legacy, while carving one of his own. wonderful movie.

Warner Bros Pictures

Look, I’ll settle for you: I hate foundation. I think it’s a great, upbeat movie for people who try so hard to pretend they’re smart.

But most people love it so I put it on the list. All on your own. Enjoy this movie!

sad

I like this film. It’s great science fiction.

An often misunderstood parody of chauvinism, Starship Troopers delivers tremendously. On a surface level, it’s also a really fun and easy watch. Hang in.

Looper is the movie that helped Rian Johnson throw his Star Wars party, which led to my favorite Star Wars movie of all time, The Last Jedi.

But other than that, Looper is just great sci-fi. It’s bold with time travel options and it’s incredibly stylish. See this.

Netflix

The Adam Project is not a perfect movie, but it is The Perfect for those looking for an easy-to-watch movie for family movie night. Ryan Reynolds stars Ryan Reynolds as a time-traveling pilot who works with his 12-year-old self on a mission to save the future.

Look, it’s fun for the public!

Netflix

I just saw The Colony recently. It’s surprisingly good!

It follows an all too familiar trope: the wealthy return to Earth after years of neglect, only to find it overrun by new and unknown threats. However, the colony subverts some of these clichés and has some surprisingly powerful things to say about the ways we dehumanize one another. It’s worth giving it a try.

Screenshot by Amanda Kooser / CNET

Is this science fiction? I think it’s science fiction.

It’s science fiction. end of discussion.

Don’t look for a movie that is far from perfect. It smacks of pseudo-Hollywood activity and it’s too tall and long on the nose. But it still seems important and so…so much fun?

I think that regardless of its faults, Don’t Look For It is a movie that has a positive network in the world and is worth watching.

sony images

Gattaca is a true science fiction movie, dealing with real scientific ideas and their potential impact on the human race. It’s a film about eugenics, primarily, but it also raises big questions about predestination and how we can defend ourselves against determinism. Very cool, very funny. must be looking

Netflix

Apollo 10 1/2: An Extraterrestrial Childhood

Apollo 11 1/2 is loosely based on director Richard Linklater’s childhood. An animated story set around the time of the Apollo moon landing, starring Glenn Powell, Jack Black, Zachary Levy and Josh Wiggins, and with a beautiful animated aesthetic.

It is a very well made film that you cannot miss.

new line

Creative blade. It barely received any good reviews when it debuted in 1998, but this superhero/vampire flick has become almost an archetype for where we are now, with the Marvel movies dominating the spotlight.

This one is perfect. It’s worth it.

primordial photos

This new version/reinterpretation of War of the World is directed by Steven Spielberg and stars Tom Cruise in the title role. It’s kind of an understatement IMHO! It has really sophisticated CGI that is well integrated and solidly grounded. I loved.

read more: The best horror movies on Prime Video

Netflix

The platform is a Spanish science fiction horror film with a high impact concept. Inmates in a correctional facility are fed in a very unique way: the people upstairs get a ridiculous amount of food, and the people downstairs get their leftovers. Chaos ensues.

It’s not perfect, but it’s still worth watching.

Blade Runner: The Final Cut (1982)

Is there a science fiction movie more revered than Blade Runner? If there is, I can’t think of it. Maybe the original alien or something?

Either way, none are currently on Netflix, so it’s likely to be Blade Runner. the A science fiction movie that you must see on the service.

Netflix

Okay is it science fiction? Look, it’s an extended movie, but it’s a good movie. Just watch it anyway.

Netflix

An Australian-produced sci-fi film starring Hilary Swank and Rose Byrne, I Am Mother tells the post-apocalyptic story of Daughter, a character raised by Mother, a robot tasked with helping to repopulate the Earth. Very tense, very strange, very good.

Netflix

Mitchell vs. the Machines (2021)

The Mitchells vs. The Machines is one of the smartest and most accessible kids’ movies in recent years. It’s the kind of movie that kids and parents can watch together and have fun with both.

I should know, my kids have made me watch this… eight times now? sweet.

We would like to give thanks to the author of this write-up for this awesome material

The 17 Best Science Fiction Movies on Netflix You Must Watch


Check out our social media profiles as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656304041) } [3]=> array(11) { ["title"]=> string(66) "5 streaming premieres on Netflix and other platforms for this week" ["link"]=> string(106) "http://wikileaksisdemocracy.org/comedy/5-streaming-premieres-on-netflix-and-other-platforms-for-this-week/" ["dc"]=> array(1) { ["creator"]=> string(12) "David Zander" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 03:54:53 +0000" ["category"]=> string(44) "ComedyNetflixplatformspremieresstreamingweek" ["guid"]=> string(40) "https://wikileaksisdemocracy.org/?p=8703" ["description"]=> string(621) "Mystery and comedy television series, as well as classic films for lovers of detective and mafia films, are several of the many premieres that will be available during the next week on the most popular streaming content platforms at the moment . Here we leave you with a sample of what is to come. “Only ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8215) "

Mystery and comedy television series, as well as classic films for lovers of detective and mafia films, are several of the many premieres that will be available during the next week on the most popular streaming content platforms at the moment . Here we leave you with a sample of what is to come.

“Only Murders in the Building”

Platform: Hulu

Premiere: June 28th

Steve Martin, Martin Short Y Selena Gomez they’re crime-solving New Yorkers again on Hulu’s “Only Murders in the Building.” In season two, the amateur sleuths are the talk of the town, or at least their apartment building, when they’re linked to the death of the condominium board president. In a cruel twist, the trio who started a podcast to unravel a murder come under scrutiny from a rival podcast. Shirley McLaine Y Cara Delevingne are some of the celebrity guests who will appear when the series returns on Tuesday with two episodes and weekly episodes.

“More Power”

Platform: History Channel

Premiere: June 29

Tim Allen Y Richard Carn, friends on the sitcom “Home Improvement,” reunite for “More Power,” a nonfiction series that explores the development and mechanics of tools big and small. Each half-hour episode focuses on one implement, which is dissected in Allen’s workshop with the help of april wilkerson. Karn explains the history of the tool, followed by field tests and a segment challenging an expert creator to come up with innovative, “crazy new builds.” The series premieres Wednesday on the History Channel.

“ThePrincess”

Platform: Hulu

Premiere: 1st of July

The biggest movie streaming next week is “The Princess,” which premieres on Hulu on Friday, July 1, starring Joey King as a royal who refuses to marry her fiancé (rightfully so, he’s a sociopath). Still, her act of defiance gets her kidnapped and imprisoned while her fiancé tries to overthrow the kingdom. Le Van Kiet directed the film, co-starring Dominic Cooper Y Olga Kurylenko. Hulu will also offer on July 1 “Independence Day”for those who like to see something nostalgic before the American holiday.

“Goodfellas” and “The Talented Mr. Ripley”

Platform: Netflix

Premiere: 1st of July

Netflix adds a whole list of classic films to its offer starting Friday, July 1, including several with recently deceased actors. One of them is “Goodfellas” by Martin Scorsesewith Ray Liotta like the wannabe mobster Henry Hill. Liotta, who died last month at age 67, had to fight for the role in that heavyweight cast as Robert DeNiro Y Joe Pesci. The intensity of his performance and his memorable narration made him stand out. Also coming to Netflix on July 1 are “The Talented Mr. Ripley” and “Boogie Nights,” featuring two memorable performances by Philip Baker Hallwho died earlier this month at the age of 90, as a dogged detective and unsentimental producer.

“House of Gucci”

Platform: Amazon Prime Video

Premiere: July 2nd

And if “The Talented Mr. Ripley” doesn’t fulfill your dreams of an Italian vacation, Amazon Prime Video will have “House of Gucci” from Ridley Scott on Saturday July 2. The eye-catching two-and-a-half-hour family drama stars Adam Driver as the hapless Gucci heir, Maurizio Gucci, and Lady Gaga as his spurned wife Patrizia Reggiani, alongside an all-star cast that includes Al Pacino, Jared Leto (unrecognizable under prosthetics and makeup) and Jeremy Irons.

We would love to give thanks to the writer of this post for this incredible web content

5 streaming premieres on Netflix and other platforms for this week


Check out our social media accounts as well as other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(621) "Mystery and comedy television series, as well as classic films for lovers of detective and mafia films, are several of the many premieres that will be available during the next week on the most popular streaming content platforms at the moment . Here we leave you with a sample of what is to come. “Only ... Read more" ["atom_content"]=> string(8215) "

Mystery and comedy television series, as well as classic films for lovers of detective and mafia films, are several of the many premieres that will be available during the next week on the most popular streaming content platforms at the moment . Here we leave you with a sample of what is to come.

“Only Murders in the Building”

Platform: Hulu

Premiere: June 28th

Steve Martin, Martin Short Y Selena Gomez they’re crime-solving New Yorkers again on Hulu’s “Only Murders in the Building.” In season two, the amateur sleuths are the talk of the town, or at least their apartment building, when they’re linked to the death of the condominium board president. In a cruel twist, the trio who started a podcast to unravel a murder come under scrutiny from a rival podcast. Shirley McLaine Y Cara Delevingne are some of the celebrity guests who will appear when the series returns on Tuesday with two episodes and weekly episodes.

“More Power”

Platform: History Channel

Premiere: June 29

Tim Allen Y Richard Carn, friends on the sitcom “Home Improvement,” reunite for “More Power,” a nonfiction series that explores the development and mechanics of tools big and small. Each half-hour episode focuses on one implement, which is dissected in Allen’s workshop with the help of april wilkerson. Karn explains the history of the tool, followed by field tests and a segment challenging an expert creator to come up with innovative, “crazy new builds.” The series premieres Wednesday on the History Channel.

“ThePrincess”

Platform: Hulu

Premiere: 1st of July

The biggest movie streaming next week is “The Princess,” which premieres on Hulu on Friday, July 1, starring Joey King as a royal who refuses to marry her fiancé (rightfully so, he’s a sociopath). Still, her act of defiance gets her kidnapped and imprisoned while her fiancé tries to overthrow the kingdom. Le Van Kiet directed the film, co-starring Dominic Cooper Y Olga Kurylenko. Hulu will also offer on July 1 “Independence Day”for those who like to see something nostalgic before the American holiday.

“Goodfellas” and “The Talented Mr. Ripley”

Platform: Netflix

Premiere: 1st of July

Netflix adds a whole list of classic films to its offer starting Friday, July 1, including several with recently deceased actors. One of them is “Goodfellas” by Martin Scorsesewith Ray Liotta like the wannabe mobster Henry Hill. Liotta, who died last month at age 67, had to fight for the role in that heavyweight cast as Robert DeNiro Y Joe Pesci. The intensity of his performance and his memorable narration made him stand out. Also coming to Netflix on July 1 are “The Talented Mr. Ripley” and “Boogie Nights,” featuring two memorable performances by Philip Baker Hallwho died earlier this month at the age of 90, as a dogged detective and unsentimental producer.

“House of Gucci”

Platform: Amazon Prime Video

Premiere: July 2nd

And if “The Talented Mr. Ripley” doesn’t fulfill your dreams of an Italian vacation, Amazon Prime Video will have “House of Gucci” from Ridley Scott on Saturday July 2. The eye-catching two-and-a-half-hour family drama stars Adam Driver as the hapless Gucci heir, Maurizio Gucci, and Lady Gaga as his spurned wife Patrizia Reggiani, alongside an all-star cast that includes Al Pacino, Jared Leto (unrecognizable under prosthetics and makeup) and Jeremy Irons.

We would love to give thanks to the writer of this post for this incredible web content

5 streaming premieres on Netflix and other platforms for this week


Check out our social media accounts as well as other pages related to themhttp://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656302093) } [4]=> array(11) { ["title"]=> string(32) "Helen of Troy – By Naïm Kamal" ["link"]=> string(68) "http://wikileaksisdemocracy.org/western/helen-of-troy-by-naim-kamal/" ["dc"]=> array(1) { ["creator"]=> string(12) "David Zander" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 02:59:53 +0000" ["category"]=> string(26) "WesternHelenKamalNaïmTroy" ["guid"]=> string(39) "http://wikileaksisdemocracy.org/?p=8700" ["description"]=> string(524) "Ukraine is a vast country, a breadbasket of history and a place of memory. Its Saint Sophia Cathedral is one of the most beautiful Saint Sophia in the Christian world, with the exception of Saint Sophia in Istanbul, which was converted to Islam by Sultan Mehmet II, which spared it the disastrous fate reserved for ... Read more" ["content"]=> array(1) { ["encoded"]=> string(3729) "

Ukraine is a vast country, a breadbasket of history and a place of memory. Its Saint Sophia Cathedral is one of the most beautiful Saint Sophia in the Christian world, with the exception of Saint Sophia in Istanbul, which was converted to Islam by Sultan Mehmet II, which spared it the disastrous fate reserved for it by the crusaders at the beginning of the thirteenth century.

Ukraine is also a beautiful country, as beautiful as its women, it seems, are beautiful. The Femen are a sample of this, sirens who sported their breasts as the guerrillas once sported their beards and rifles. Then disappeared as mysteriously as they appeared to reappear retrospectively as an element in the larger plan to take Ukraine out of the bosom of Greater Russia and integrate it into the Western enclosure.

Their leader, Inna Chevtchenko, is in reality as beautiful as the incarnations of Helen of Troy in the fictions devoted to the eponymous war. The director of Troy with Brad Pitt in the role of the implacable of Achilles, could just as well have entrusted him with the role of Hélène held in this film by Diane Kurger.

However, is the Ukraine worth a war, or even several, as in 16th century France, in a less Homeric and more real register, where the blood of Protestants and Catholics flowed freely, Paris was worth well, for Henri IV, a mass? This would be to believe that it is Ukraine that interests Westerners and not Russia that is the target.

Ulysses’ trick

In Wolfgang Petersen’s film Troy, inspired by the Iliad, Helen, wife of Melenas, king of Sparta and brother of Agamemnon, king of Mycenae who is waging war to extend his empire to all of Greece and beyond, is kidnapped. , in fact she is also in love with him and follows him, through the young prince Paris (pronounced S) of Troy. To clear his honor and recover his beautiful wife, Melenas asks for the support of his brother, the powerful and ruthless Agamemnon who sees in it a good opportunity to finally subjugate the kingdom of Troy over which the old Priam reigned, heroically resisting the hegemonism of the king of Mycenae.

The siege of the impregnable Troy lasts for ages and at one point, Paris, consumed by guilt, offers Melenas, as was done in Homeric times, to settle the dispute by a duel. Agamemnon initially refuses, declaring “a courageous but insufficient offer. There is then this exchange between the two brothers:

Melenas: Let me kill this pretentious little one…

Agamemnon: I didn’t come here to save your beautiful wife. If I came it’s for Troy.

We know how the epic ended, with the capture of the fortress city thanks to a ruse by Odysseus, a wooden horse, the Trojan horse whose name has survived to our days to be given sometimes to computer malware. At the cost of thousands of deaths, which was a lot for the time. But who knows how the war in Ukraine will end, which history will perhaps tell in two or three millennia in a story about our world that has become ancient America, like the Helen of modern times.

We wish to thank the author of this article for this amazing material

Helen of Troy – By Naïm Kamal


You can view our social media profiles here and other related pages herehttp://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(524) "Ukraine is a vast country, a breadbasket of history and a place of memory. Its Saint Sophia Cathedral is one of the most beautiful Saint Sophia in the Christian world, with the exception of Saint Sophia in Istanbul, which was converted to Islam by Sultan Mehmet II, which spared it the disastrous fate reserved for ... Read more" ["atom_content"]=> string(3729) "

Ukraine is a vast country, a breadbasket of history and a place of memory. Its Saint Sophia Cathedral is one of the most beautiful Saint Sophia in the Christian world, with the exception of Saint Sophia in Istanbul, which was converted to Islam by Sultan Mehmet II, which spared it the disastrous fate reserved for it by the crusaders at the beginning of the thirteenth century.

Ukraine is also a beautiful country, as beautiful as its women, it seems, are beautiful. The Femen are a sample of this, sirens who sported their breasts as the guerrillas once sported their beards and rifles. Then disappeared as mysteriously as they appeared to reappear retrospectively as an element in the larger plan to take Ukraine out of the bosom of Greater Russia and integrate it into the Western enclosure.

Their leader, Inna Chevtchenko, is in reality as beautiful as the incarnations of Helen of Troy in the fictions devoted to the eponymous war. The director of Troy with Brad Pitt in the role of the implacable of Achilles, could just as well have entrusted him with the role of Hélène held in this film by Diane Kurger.

However, is the Ukraine worth a war, or even several, as in 16th century France, in a less Homeric and more real register, where the blood of Protestants and Catholics flowed freely, Paris was worth well, for Henri IV, a mass? This would be to believe that it is Ukraine that interests Westerners and not Russia that is the target.

Ulysses’ trick

In Wolfgang Petersen’s film Troy, inspired by the Iliad, Helen, wife of Melenas, king of Sparta and brother of Agamemnon, king of Mycenae who is waging war to extend his empire to all of Greece and beyond, is kidnapped. , in fact she is also in love with him and follows him, through the young prince Paris (pronounced S) of Troy. To clear his honor and recover his beautiful wife, Melenas asks for the support of his brother, the powerful and ruthless Agamemnon who sees in it a good opportunity to finally subjugate the kingdom of Troy over which the old Priam reigned, heroically resisting the hegemonism of the king of Mycenae.

The siege of the impregnable Troy lasts for ages and at one point, Paris, consumed by guilt, offers Melenas, as was done in Homeric times, to settle the dispute by a duel. Agamemnon initially refuses, declaring “a courageous but insufficient offer. There is then this exchange between the two brothers:

Melenas: Let me kill this pretentious little one…

Agamemnon: I didn’t come here to save your beautiful wife. If I came it’s for Troy.

We know how the epic ended, with the capture of the fortress city thanks to a ruse by Odysseus, a wooden horse, the Trojan horse whose name has survived to our days to be given sometimes to computer malware. At the cost of thousands of deaths, which was a lot for the time. But who knows how the war in Ukraine will end, which history will perhaps tell in two or three millennia in a story about our world that has become ancient America, like the Helen of modern times.

We wish to thank the author of this article for this amazing material

Helen of Troy – By Naïm Kamal


You can view our social media profiles here and other related pages herehttp://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656298793) } [5]=> array(11) { ["title"]=> string(68) "Google Ranking: the movies preferred this day by the American public" ["link"]=> string(107) "http://wikileaksisdemocracy.org/action/google-ranking-the-movies-preferred-this-day-by-the-american-public/" ["dc"]=> array(1) { ["creator"]=> string(11) "Amanda Tyer" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 02:51:41 +0000" ["category"]=> string(51) "ActionAmericanDayGooglemoviespreferredpublicRanking" ["guid"]=> string(39) "http://wikileaksisdemocracy.org/?p=8697" ["description"]=> string(637) "The advance of the technology of the new millennium, added to the coronavirus pandemic that hit the international level, led citizens to seek new ways to enjoy cinema from the comfort of home. As a result, various streaming platforms have been born, as is the case of Googlewhich has managed to take advantage of its ... Read more" ["content"]=> array(1) { ["encoded"]=> string(7122) "

The advance of the technology of the new millennium, added to the coronavirus pandemic that hit the international level, led citizens to seek new ways to enjoy cinema from the comfort of home.

As a result, various streaming platforms have been born, as is the case of Googlewhich has managed to take advantage of its extensive catalog of productions and has positioned itself in the taste of users.

From that catalog stand out these 10 movieswhich have gained fame and become the topic of conversation in recent days.

Here is the list of the most viewed Google united states:

1. Doctor Strange in the Multiverse of Madness

Journey into the unknown with Doctor Strange, who, with the help of mystical allies both old and new, journeys through the complex and dangerous alternate realities of the multiverse to confront a mysterious new adversary.

two. Sonic 2: The Movie

After settling in Green Hills, Sonic is dying to prove that he has the makings of a true hero, but Robotnik returns with a new partner Knuckles, in search of an emerald that has the power to destroy civilizations, but Sonic is not alone, Tails will help him.

3. Morbius

Dangerously ill with a rare blood disorder and determined to save others suffering the same fate, Doctor Morbius makes a desperate gamble. What at first appears to be a radical success is soon revealed to be a remedy potentially worse than the disease.

Four. Spider-Man: No Way Home

Peter Parker is unmasked and therefore is unable to separate his normal life from the enormous risks that come with being a superhero. When he asks Doctor Strange for help, the stakes become even more dangerous, forcing him to discover what it really means to be Spider-Man.

5. All at once everywhere

An elderly Chinese immigrant is thrown into a crazy adventure, where only she can save what’s important to her by connecting with the lives she might have led in other universes.

6. Uncharted

A descendant of explorer Sir Francis Drake discovers the location of the legendary city of El Dorado. With the help of his mentor Victor Sullivan and the ambitious journalist Elena Fischer, Nathan Drake will work to discover its secrets, while surviving on an island full of pirates, mercenaries and a mysterious enemy, they will embark on an unprecedented search to reach the treasure before than his pursuers. Adaptation of the acclaimed homonymous video game.

7. The lost City

A lonely romance novelist on tour with the cover model for her latest book finds herself embroiled in an attempted kidnapping that leads them both on a fiery jungle adventure.

8. The Weight of Talent

Nicolas Cage plays himself in this wacky action-comedy. The fictional version of Cage is a penniless actor who is forced to accept a million dollar offer to attend the birthday of an eccentric billionaire superfan (Pedro Pascal). But things take an unexpected turn when Cage is recruited by a CIA agent (Tiffany Haddish) and forced to live up to his own legend in order to save himself and his loved ones. With a career built for this very moment, the award-winning actor must take on the role of his life: Nick Cage.

9. the bad guys

Five notorious villains: Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark, and Ms. Tarantula, who have spent a lifetime together pulling off grand heists.

10. The Miracle of Father Stu

The true story of a boxer turned priest. When an injury ends his career as an amateur boxer, Stuart Long moves to Los Angeles in search of money and fame. While managing as a supermarket clerk, he meets Carmen, a Sunday school teacher who seems immune to his bad boy charm. Determined to win her over, the lifelong agnostic starts going to church to impress her. However, a motorcycle accident leaves him wondering if he can use his second chance to help others, leading him to realize that he is destined to be a Catholic priest.

*Some titles may be repeated in the ranking because they are different episodes or seasons, and they may not have a description because the platform does not provide them.

More series and movies that we recommend in What can I watch.

Google in the age of streaming

google play is a digital distribution platform for mobile applications that uses the Android operating system; Likewise, it is an online store operated by the Google company that allows its users to download applications from games, music, books, magazines, movies and more.

Among the services offered by the internet giant is the application google tv (for the United States, Spain and Mexico) and Play Movies (in Latin American countries), through which users can watch movies and series purchased through Google Play.

It should be noted that films can be bought or rented, while in the case of series, seasons or episodes are not available for rent. The content can also be downloaded so that the subscriber can view it later without the need for internet access.

Play Movies is located available in more than 60 countries, while Google TV is only available on 15; In addition, the service to watch series is only available in the United States, Japan, Australia and the United Kingdom.

It was in August 2008 when Google launched its Android Market for paid applications in the United States and the United Kingdom; four years later, in 2012, the company relaunched the service and changed it to the name Google Play, which at that time it had a base of 450 thousand applications.

Subsequently, Google Play has undergone various changes such as adding PayPal payment, adding the Google Play Games section, prohibiting cryptocurrency mining applications, and placing more emphasis on the evaluation of children’s content with the “Teacher Approved” section. .

According to 2018 figures, Google had on its record 2.5 billion active Android devices and 2 billion monthly users on Google Play, which ultimately accumulated 115 billion downloads in the store in those 12 months.

KEEP READING:

More news

More about streaming

More about Google Play

We wish to say thanks to the author of this post for this amazing material

Google Ranking: the movies preferred this day by the American public


You can view our social media profiles here , as well as other pages related to them here.http://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(637) "The advance of the technology of the new millennium, added to the coronavirus pandemic that hit the international level, led citizens to seek new ways to enjoy cinema from the comfort of home. As a result, various streaming platforms have been born, as is the case of Googlewhich has managed to take advantage of its ... Read more" ["atom_content"]=> string(7122) "

The advance of the technology of the new millennium, added to the coronavirus pandemic that hit the international level, led citizens to seek new ways to enjoy cinema from the comfort of home.

As a result, various streaming platforms have been born, as is the case of Googlewhich has managed to take advantage of its extensive catalog of productions and has positioned itself in the taste of users.

From that catalog stand out these 10 movieswhich have gained fame and become the topic of conversation in recent days.

Here is the list of the most viewed Google united states:

1. Doctor Strange in the Multiverse of Madness

Journey into the unknown with Doctor Strange, who, with the help of mystical allies both old and new, journeys through the complex and dangerous alternate realities of the multiverse to confront a mysterious new adversary.

two. Sonic 2: The Movie

After settling in Green Hills, Sonic is dying to prove that he has the makings of a true hero, but Robotnik returns with a new partner Knuckles, in search of an emerald that has the power to destroy civilizations, but Sonic is not alone, Tails will help him.

3. Morbius

Dangerously ill with a rare blood disorder and determined to save others suffering the same fate, Doctor Morbius makes a desperate gamble. What at first appears to be a radical success is soon revealed to be a remedy potentially worse than the disease.

Four. Spider-Man: No Way Home

Peter Parker is unmasked and therefore is unable to separate his normal life from the enormous risks that come with being a superhero. When he asks Doctor Strange for help, the stakes become even more dangerous, forcing him to discover what it really means to be Spider-Man.

5. All at once everywhere

An elderly Chinese immigrant is thrown into a crazy adventure, where only she can save what’s important to her by connecting with the lives she might have led in other universes.

6. Uncharted

A descendant of explorer Sir Francis Drake discovers the location of the legendary city of El Dorado. With the help of his mentor Victor Sullivan and the ambitious journalist Elena Fischer, Nathan Drake will work to discover its secrets, while surviving on an island full of pirates, mercenaries and a mysterious enemy, they will embark on an unprecedented search to reach the treasure before than his pursuers. Adaptation of the acclaimed homonymous video game.

7. The lost City

A lonely romance novelist on tour with the cover model for her latest book finds herself embroiled in an attempted kidnapping that leads them both on a fiery jungle adventure.

8. The Weight of Talent

Nicolas Cage plays himself in this wacky action-comedy. The fictional version of Cage is a penniless actor who is forced to accept a million dollar offer to attend the birthday of an eccentric billionaire superfan (Pedro Pascal). But things take an unexpected turn when Cage is recruited by a CIA agent (Tiffany Haddish) and forced to live up to his own legend in order to save himself and his loved ones. With a career built for this very moment, the award-winning actor must take on the role of his life: Nick Cage.

9. the bad guys

Five notorious villains: Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark, and Ms. Tarantula, who have spent a lifetime together pulling off grand heists.

10. The Miracle of Father Stu

The true story of a boxer turned priest. When an injury ends his career as an amateur boxer, Stuart Long moves to Los Angeles in search of money and fame. While managing as a supermarket clerk, he meets Carmen, a Sunday school teacher who seems immune to his bad boy charm. Determined to win her over, the lifelong agnostic starts going to church to impress her. However, a motorcycle accident leaves him wondering if he can use his second chance to help others, leading him to realize that he is destined to be a Catholic priest.

*Some titles may be repeated in the ranking because they are different episodes or seasons, and they may not have a description because the platform does not provide them.

More series and movies that we recommend in What can I watch.

Google in the age of streaming

google play is a digital distribution platform for mobile applications that uses the Android operating system; Likewise, it is an online store operated by the Google company that allows its users to download applications from games, music, books, magazines, movies and more.

Among the services offered by the internet giant is the application google tv (for the United States, Spain and Mexico) and Play Movies (in Latin American countries), through which users can watch movies and series purchased through Google Play.

It should be noted that films can be bought or rented, while in the case of series, seasons or episodes are not available for rent. The content can also be downloaded so that the subscriber can view it later without the need for internet access.

Play Movies is located available in more than 60 countries, while Google TV is only available on 15; In addition, the service to watch series is only available in the United States, Japan, Australia and the United Kingdom.

It was in August 2008 when Google launched its Android Market for paid applications in the United States and the United Kingdom; four years later, in 2012, the company relaunched the service and changed it to the name Google Play, which at that time it had a base of 450 thousand applications.

Subsequently, Google Play has undergone various changes such as adding PayPal payment, adding the Google Play Games section, prohibiting cryptocurrency mining applications, and placing more emphasis on the evaluation of children’s content with the “Teacher Approved” section. .

According to 2018 figures, Google had on its record 2.5 billion active Android devices and 2 billion monthly users on Google Play, which ultimately accumulated 115 billion downloads in the store in those 12 months.

KEEP READING:

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More about Google Play

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Google Ranking: the movies preferred this day by the American public


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" ["date_timestamp"]=> int(1656298301) } [6]=> array(11) { ["title"]=> string(86) "‘Unbelievable giant tortoise,’ believed extinct, confirmed alive in the Galápagos" ["link"]=> string(118) "http://wikileaksisdemocracy.org/science/unbelievable-giant-tortoise-believed-extinct-confirmed-alive-in-the-galapagos/" ["dc"]=> array(1) { ["creator"]=> string(12) "Laura Surber" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 01:51:27 +0000" ["category"]=> string(71) "sciencealivebelievedconfirmedextinctGalápagosGianttortoiseUnbelievable" ["guid"]=> string(39) "http://wikileaksisdemocracy.org/?p=8695" ["description"]=> string(816) "Journal Reference: Evelyn L. Jensen, Stephen J. Gaughran, Nicole A. Fusco, Nikos Poulakakis, Washington Tapia, Christian Sevilla, Jeffreys Málaga, Carol Mariani, James P. Gibbs, Adalgisa Caccone. The Galapagos giant tortoise Chelonoidis phantasticus is not extinct. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03483-w The Fernandina Island Galápagos giant tortoise (Chelonoidis phantasticus, or “fantastic giant tortoise”) was ... Read more" ["content"]=> array(1) { ["encoded"]=> string(10362) "

Journal Reference:

  1. Evelyn L. Jensen, Stephen J. Gaughran, Nicole A. Fusco, Nikos Poulakakis, Washington Tapia, Christian Sevilla, Jeffreys Málaga, Carol Mariani, James P. Gibbs, Adalgisa Caccone. The Galapagos giant tortoise Chelonoidis phantasticus is not extinct. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03483-w

The Fernandina Island Galápagos giant tortoise (Chelonoidis phantasticus, or “fantastic giant tortoise”) was known only from a single specimen, collected in 1906. The discovery in 2019 of a female tortoise living on Fernandina Island provided the opportunity to determine if the species lives on. By sequencing the genomes of both the living individual and the museum specimen, and comparing them to the other 13 species of Galápagos giant tortoises, Princeton’s Stephen Gaughran showed that the two known Fernandina tortoises are members of the same species, genetically distinct from all others. He is co-first author on a paper in the current issue of Communications Biology confirming her species’ continued existence.

“For many years it was thought that the original specimen collected in 1906 had been transplanted to the island, as it was the only one of its kind,” said Peter Grant, Princeton’s Class of 1877 Professor of Zoology, Emeritus and an emeritus professor of ecology and evolutionary biology who has spent more than 40 years studying evolution in the Galápagos islands. “It now seems to be one of a very few that were alive a century ago.”

When Fernanda was discovered, many ecologists doubted that she was actually a native phantasticus tortoise. She lacks the striking saddleback flaring of the male historical specimen, though scientists speculated that her obviously stunted growth may have distorted her features. Tortoises can’t swim from one island to another, but they do float, and they can be carried from one Galápagos island to another during hurricanes or other major storms. There are also historical records of seafarers moving the tortoises between islands.

“Like many people, my initial suspicion was that this was not a native tortoise of Fernandina Island,” said Gaughran, a postdoctoral research fellow in ecology and evolutionary biology at Princeton.

To determine Fernanda’s species definitively, Gaughran sequenced her complete genome and compared it to the genome he was able to recover from the specimen collected in 1906. He also compared those two genomes to samples from the other 13 species of Galápagos tortoises — three individuals from each of the 12 living species, and one individual of the extinct C. abingdonii.

“We saw — honestly, to my surprise — that Fernanda was very similar to the one that they found on that island more than 100 years ago, and both of those were very different from all of the other islands’ tortoises,” said Gaughran, who conducted the analyses after arriving at the University in February 2021.

In 2019, he was in the lab of Adalgisa Caccone at Yale University, who is the senior author on the paper. “The finding of one alive specimen gives hope and also opens up new questions, as many mysteries still remain,” said Caccone. “Are there more tortoises on Fernandina that can be brought back into captivity to start a breeding program? How did tortoises colonize Fernandina, and what is their evolutionary relationship to the other giant Galápagos tortoises? This also shows the importance of using museum collections to understand the past.”

“Part of my postdoc is developing a tool that analyzes DNA from ancient museum specimens so we can compare them to modern samples,” Gaughran said.

His tool is flexible enough to work on almost any ancient specimen. “The software doesn’t care if it’s a seal or a tortoise or human or Neanderthal,” he said. “Genetics is genetics, for the most part. It’s in the interpretation where it matters what kind of creature the DNA comes from.”

At Princeton, Gaughran is working with Andrea Graham and Bridgett vonHoldt to unravel the mysteries of pinniped (seal and walrus) evolution.

“Stephen solves conservation mysteries, in species ranging from tortoises to pinnipeds, with the deft and careful application of genetic and bioinformatic tools,” said Graham, a professor of ecology and evolutionary biology.

“He has such a curiosity for discovering the messages and codes tucked away in ancient remains,” said vonHoldt, an associate professor of ecology and evolutionary biology. “Stephen has been collecting specimens from several hundred years old to a few thousand, and these really hold the keys for understanding the history of when and how genomes changed over time. It is not surprising to me that he also led the effort to unravel the mystery of Fernanda, the fantastic ghost tortoise that has been rediscovered through molecular research. What a cool discovery!”

A long-standing mystery

Since 1906, scant but compelling evidence has hinted that giant tortoises might still live on Fernandina Island, an active volcano on the western edge of the Galápagos Archipelago that is reputed to be the largest pristine island on Earth.

A single specimen of C. phantasticus — “the fantastic giant tortoise” — was collected by explorer Rollo Beck during a 1906 expedition. The “fantastic” nature refers the extraordinary shape of the males’ shells, which have extreme flaring along the outer edge and conspicuous saddlebacking at the front. Saddlebacking is unique to Galápagos tortoises, and the phantasticus tortoise shows it more prominently than the other species.

Since its 1906 discovery, the survival of the Fernandina tortoise has remained an open question for biologists. In 1964, 18 scats attributable to tortoises were reported on the western slopes of the island. Scats and a possible visual observation from an aircraft were reported during the early 2000s, and another possible tortoise scat was seen in 2014.

The island has remained largely unexplored, due to extensive lava fields blocking access to the island’s interior.

“Fernandina is the highest of the Galápagos islands, geologically young, and is mainly a huge pile of jagged blocks of brown lava; Rosemary and I once climbed to the top,” said Grant, referring to his wife and research partner Rosemary Grant, an emeritus senior research biologist at Princeton. “At lower elevations, the vegetation occurs in island-like clumps in a sea of recently congealed lava. Fernanda was found in one of these, and there is evidence that a few relatives may exist in others.”

Scientists estimate that Fernanda is well over 50 years old, but she is small, possibly because the limited vegetation stunted her growth. Encouragingly, recent tracks and scat of at least 2 or 3 other tortoises were found during other recent expeditions on the island.

Tortoises of the Galápagos

Two or three million years ago, a storm carried one or more giant tortoises from the South American mainland westwards. Because they don’t swim, the tortoises bred only with others on their own islands, resulting in rapid evolution — following the pattern of the better-known Galápagos finches. Today, there are 14 different species of giant Galápagos tortoises, all descended from a single ancestor.

(Some scientists debate whether these should be considered species or subspecies, but the Princeton-Yale team concluded that they are different enough, with thousands of distinctive genetic markers, to be separate species.)

Diversification of Galápagos tortoises reveals a continuum of shell shapes, with the easternmost islands showing rounder, domed shells, and the westernmost island — Fernandina — showing the most dramatic saddlebacking. The domed tortoises live in more humid, higher elevation ecosystems, while their saddlebacked cousins inhabit drier, lower elevation environments. All 14 are listed on the IUCN Red List as either vulnerable, endangered, critically endangered or extinct.

The tortoise populations were decimated by European seafarers who hunted them for food, having discovered that they could keep tortoises alive on their ships with minimal effort, as the reptiles could survive with little food or water. “They were a great source of fresh meat for the sailors, but it meant that many of the species were severely overhunted,” said Gaughran. “And because they have such a long generation time, the populations have a hard time recovering quickly.”

“The genetic work provides intriguing hints of a mixing of genes with members of another population,” said Grant. “It would be fascinating if confirmed by future detective work on the genome. Another thought-provoking finding is the nearest relatives are not on the nearest very large island (Isabela) but on another (Española) far away on the other side of Isabela. The question of how the ancestors reached Fernandina is left hanging.”

Fernanda is now at the Galápagos National Park Tortoise Center, a rescue and breeding facility, where experts are seeing what they can do to keep her species alive.

“The discovery informs us about rare species that may persist in isolated places for a long time,” said Grant. “This information is important for conservation. It spurs biologists to search harder for the last few individuals of a population to bring them back from the brink of extinction.”

We would like to say thanks to the author of this article for this remarkable material

‘Unbelievable giant tortoise,’ believed extinct, confirmed alive in the Galápagos

Discover our social media profiles as well as other pages that are related to them.http://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(816) "Journal Reference: Evelyn L. Jensen, Stephen J. Gaughran, Nicole A. Fusco, Nikos Poulakakis, Washington Tapia, Christian Sevilla, Jeffreys Málaga, Carol Mariani, James P. Gibbs, Adalgisa Caccone. The Galapagos giant tortoise Chelonoidis phantasticus is not extinct. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03483-w The Fernandina Island Galápagos giant tortoise (Chelonoidis phantasticus, or “fantastic giant tortoise”) was ... Read more" ["atom_content"]=> string(10362) "

Journal Reference:

  1. Evelyn L. Jensen, Stephen J. Gaughran, Nicole A. Fusco, Nikos Poulakakis, Washington Tapia, Christian Sevilla, Jeffreys Málaga, Carol Mariani, James P. Gibbs, Adalgisa Caccone. The Galapagos giant tortoise Chelonoidis phantasticus is not extinct. Communications Biology, 2022; 5 (1) DOI: 10.1038/s42003-022-03483-w

The Fernandina Island Galápagos giant tortoise (Chelonoidis phantasticus, or “fantastic giant tortoise”) was known only from a single specimen, collected in 1906. The discovery in 2019 of a female tortoise living on Fernandina Island provided the opportunity to determine if the species lives on. By sequencing the genomes of both the living individual and the museum specimen, and comparing them to the other 13 species of Galápagos giant tortoises, Princeton’s Stephen Gaughran showed that the two known Fernandina tortoises are members of the same species, genetically distinct from all others. He is co-first author on a paper in the current issue of Communications Biology confirming her species’ continued existence.

“For many years it was thought that the original specimen collected in 1906 had been transplanted to the island, as it was the only one of its kind,” said Peter Grant, Princeton’s Class of 1877 Professor of Zoology, Emeritus and an emeritus professor of ecology and evolutionary biology who has spent more than 40 years studying evolution in the Galápagos islands. “It now seems to be one of a very few that were alive a century ago.”

When Fernanda was discovered, many ecologists doubted that she was actually a native phantasticus tortoise. She lacks the striking saddleback flaring of the male historical specimen, though scientists speculated that her obviously stunted growth may have distorted her features. Tortoises can’t swim from one island to another, but they do float, and they can be carried from one Galápagos island to another during hurricanes or other major storms. There are also historical records of seafarers moving the tortoises between islands.

“Like many people, my initial suspicion was that this was not a native tortoise of Fernandina Island,” said Gaughran, a postdoctoral research fellow in ecology and evolutionary biology at Princeton.

To determine Fernanda’s species definitively, Gaughran sequenced her complete genome and compared it to the genome he was able to recover from the specimen collected in 1906. He also compared those two genomes to samples from the other 13 species of Galápagos tortoises — three individuals from each of the 12 living species, and one individual of the extinct C. abingdonii.

“We saw — honestly, to my surprise — that Fernanda was very similar to the one that they found on that island more than 100 years ago, and both of those were very different from all of the other islands’ tortoises,” said Gaughran, who conducted the analyses after arriving at the University in February 2021.

In 2019, he was in the lab of Adalgisa Caccone at Yale University, who is the senior author on the paper. “The finding of one alive specimen gives hope and also opens up new questions, as many mysteries still remain,” said Caccone. “Are there more tortoises on Fernandina that can be brought back into captivity to start a breeding program? How did tortoises colonize Fernandina, and what is their evolutionary relationship to the other giant Galápagos tortoises? This also shows the importance of using museum collections to understand the past.”

“Part of my postdoc is developing a tool that analyzes DNA from ancient museum specimens so we can compare them to modern samples,” Gaughran said.

His tool is flexible enough to work on almost any ancient specimen. “The software doesn’t care if it’s a seal or a tortoise or human or Neanderthal,” he said. “Genetics is genetics, for the most part. It’s in the interpretation where it matters what kind of creature the DNA comes from.”

At Princeton, Gaughran is working with Andrea Graham and Bridgett vonHoldt to unravel the mysteries of pinniped (seal and walrus) evolution.

“Stephen solves conservation mysteries, in species ranging from tortoises to pinnipeds, with the deft and careful application of genetic and bioinformatic tools,” said Graham, a professor of ecology and evolutionary biology.

“He has such a curiosity for discovering the messages and codes tucked away in ancient remains,” said vonHoldt, an associate professor of ecology and evolutionary biology. “Stephen has been collecting specimens from several hundred years old to a few thousand, and these really hold the keys for understanding the history of when and how genomes changed over time. It is not surprising to me that he also led the effort to unravel the mystery of Fernanda, the fantastic ghost tortoise that has been rediscovered through molecular research. What a cool discovery!”

A long-standing mystery

Since 1906, scant but compelling evidence has hinted that giant tortoises might still live on Fernandina Island, an active volcano on the western edge of the Galápagos Archipelago that is reputed to be the largest pristine island on Earth.

A single specimen of C. phantasticus — “the fantastic giant tortoise” — was collected by explorer Rollo Beck during a 1906 expedition. The “fantastic” nature refers the extraordinary shape of the males’ shells, which have extreme flaring along the outer edge and conspicuous saddlebacking at the front. Saddlebacking is unique to Galápagos tortoises, and the phantasticus tortoise shows it more prominently than the other species.

Since its 1906 discovery, the survival of the Fernandina tortoise has remained an open question for biologists. In 1964, 18 scats attributable to tortoises were reported on the western slopes of the island. Scats and a possible visual observation from an aircraft were reported during the early 2000s, and another possible tortoise scat was seen in 2014.

The island has remained largely unexplored, due to extensive lava fields blocking access to the island’s interior.

“Fernandina is the highest of the Galápagos islands, geologically young, and is mainly a huge pile of jagged blocks of brown lava; Rosemary and I once climbed to the top,” said Grant, referring to his wife and research partner Rosemary Grant, an emeritus senior research biologist at Princeton. “At lower elevations, the vegetation occurs in island-like clumps in a sea of recently congealed lava. Fernanda was found in one of these, and there is evidence that a few relatives may exist in others.”

Scientists estimate that Fernanda is well over 50 years old, but she is small, possibly because the limited vegetation stunted her growth. Encouragingly, recent tracks and scat of at least 2 or 3 other tortoises were found during other recent expeditions on the island.

Tortoises of the Galápagos

Two or three million years ago, a storm carried one or more giant tortoises from the South American mainland westwards. Because they don’t swim, the tortoises bred only with others on their own islands, resulting in rapid evolution — following the pattern of the better-known Galápagos finches. Today, there are 14 different species of giant Galápagos tortoises, all descended from a single ancestor.

(Some scientists debate whether these should be considered species or subspecies, but the Princeton-Yale team concluded that they are different enough, with thousands of distinctive genetic markers, to be separate species.)

Diversification of Galápagos tortoises reveals a continuum of shell shapes, with the easternmost islands showing rounder, domed shells, and the westernmost island — Fernandina — showing the most dramatic saddlebacking. The domed tortoises live in more humid, higher elevation ecosystems, while their saddlebacked cousins inhabit drier, lower elevation environments. All 14 are listed on the IUCN Red List as either vulnerable, endangered, critically endangered or extinct.

The tortoise populations were decimated by European seafarers who hunted them for food, having discovered that they could keep tortoises alive on their ships with minimal effort, as the reptiles could survive with little food or water. “They were a great source of fresh meat for the sailors, but it meant that many of the species were severely overhunted,” said Gaughran. “And because they have such a long generation time, the populations have a hard time recovering quickly.”

“The genetic work provides intriguing hints of a mixing of genes with members of another population,” said Grant. “It would be fascinating if confirmed by future detective work on the genome. Another thought-provoking finding is the nearest relatives are not on the nearest very large island (Isabela) but on another (Española) far away on the other side of Isabela. The question of how the ancestors reached Fernandina is left hanging.”

Fernanda is now at the Galápagos National Park Tortoise Center, a rescue and breeding facility, where experts are seeing what they can do to keep her species alive.

“The discovery informs us about rare species that may persist in isolated places for a long time,” said Grant. “This information is important for conservation. It spurs biologists to search harder for the last few individuals of a population to bring them back from the brink of extinction.”

We would like to say thanks to the author of this article for this remarkable material

‘Unbelievable giant tortoise,’ believed extinct, confirmed alive in the Galápagos

Discover our social media profiles as well as other pages that are related to them.http://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656294687) } [7]=> array(11) { ["title"]=> string(91) "7 Hollywood celebrities who received very little for their best movies: JLo worked for free" ["link"]=> string(131) "http://wikileaksisdemocracy.org/romance/7-hollywood-celebrities-who-received-very-little-for-their-best-movies-jlo-worked-for-free/" ["dc"]=> array(1) { ["creator"]=> string(12) "Laura Surber" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 01:03:58 +0000" ["category"]=> string(54) "RomancecelebritiesfreeHollywoodJLomoviesreceivedworked" ["guid"]=> string(40) "https://wikileaksisdemocracy.org/?p=8693" ["description"]=> string(683) "In Hollywood there are actors who had very strange demands to film for a movie, but there are also other celebrities who decided to charge very little or even work for free in order to make a name for themselves in the industry or to make their dream project come true. Here are the Hollywood ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5643) "

In Hollywood there are actors who had very strange demands to film for a movie, but there are also other celebrities who decided to charge very little or even work for free in order to make a name for themselves in the industry or to make their dream project come true.

Here are the Hollywood actors and actresses who agreed to pay very little in one of the biggest roles of their careers.

Jennifer Lopez is one of the most recognized Latin actresses in Hollywood, thanks to her work in films like ‘Selena’ or ‘Maid in Manhattan’. One of her best roles was that of Ramona, the protagonist of ‘Hustlers’, a film that managed to raise more than 150 million dollars with a production budget that barely reached 20 million.

Despite her success in that production, Jennifer Lopez did not receive a single dollar in salary. In an interview for ‘GQ’, the also singer explained that she acted and produced the film totally free just because she wanted to.

According to ‘Elle’, although Jennifer Lopez did not receive a salary as an actress, she may have earned a juicy check for her work as a producer.

While Gal Gadot already had several major movies on her resume, her career changed in 2017 when she appeared in the Wonder Woman suit on the big screen.

In the movie of the Amazon princess, released a few months after her debut as a heroine in ‘Batman V Superman’, Gal Gadot agreed to collect 300 thousand dollars.

According to ‘Deadline’, although that figure was initially agreed upon, the payment to the actress was doubled shortly before the recordings began. In ‘Wonder Woman 1984’, Gal Gadot received a payment close to 10 million dollars, according to information from ‘Insider’.

Captain America is one of the most important superheroes in the first saga of the Marvel Cinematic Universe, so it is a surprise how little money Chris Evans received for bringing him to life in ‘Captain America: The First Avenger’.

‘Forbes’ assures that Evans received 300 thousand dollars for his first appearance as the moral leader of the Avengers. But the source also clarifies that the actor’s situation has improved a lot, since between 2018 and 2019 he earned about 43 million dollars for his continuous appearances in the MCU.

American actor, comedian, and director who has been nominated for an Oscar twice, once for his work in 2013’s ‘The Wolf of Wall Street.’

For that role that made him famous, Hill received 60 thousand dollars, he tried that according to what he said in an interview on ‘The Howard Stern Show’, he would accept again without thinking twice.

“That was his offer (from Martin Scorsese) and I said: I will sign the contract tonight, send me the papers to sign them immediately, before they change their minds”

Daisy Ridley and John Boyega

‘Star Wars’ is one of the most important sagas in the history of cinema, so it is normal to assume that its stars receive millions of dollars for appearing in each of their films.

This was not the case for Daisy Ridley and John Boyega, young actors who received $100,000 and $300,000 respectively for their work on ‘Star Wars: The Force Awakens’ in 2015.

According to ‘Variety’, Harrison Ford won an amount ranging between 10 and 20 million dollars for bringing Han Solo back to life, a figure far removed from what the debuting protagonists received in the saga created by George Lucas.

The star of movies like “Interstellar” and “Dazed and Confused” received $200,000 for starring in “Dallas Buyers Club,” for which he won an Oscar in the Best Actor category.

According to ‘The Hollywood Reporter’, in 2010 McConaughey wanted to revitalize his career, plagued at the time by romantic comedies, for which he rejected a salary of 15 million dollars that they were going to give him for working on the series ‘Magnum , P.I’, to accept the role that would end up giving him a golden statuette.

We would love to give thanks to the writer of this article for this outstanding content

7 Hollywood celebrities who received very little for their best movies: JLo worked for free


Find here our social media profiles as well as other pages that are related to them.http://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(683) "In Hollywood there are actors who had very strange demands to film for a movie, but there are also other celebrities who decided to charge very little or even work for free in order to make a name for themselves in the industry or to make their dream project come true. Here are the Hollywood ... Read more" ["atom_content"]=> string(5643) "

In Hollywood there are actors who had very strange demands to film for a movie, but there are also other celebrities who decided to charge very little or even work for free in order to make a name for themselves in the industry or to make their dream project come true.

Here are the Hollywood actors and actresses who agreed to pay very little in one of the biggest roles of their careers.

Jennifer Lopez is one of the most recognized Latin actresses in Hollywood, thanks to her work in films like ‘Selena’ or ‘Maid in Manhattan’. One of her best roles was that of Ramona, the protagonist of ‘Hustlers’, a film that managed to raise more than 150 million dollars with a production budget that barely reached 20 million.

Despite her success in that production, Jennifer Lopez did not receive a single dollar in salary. In an interview for ‘GQ’, the also singer explained that she acted and produced the film totally free just because she wanted to.

According to ‘Elle’, although Jennifer Lopez did not receive a salary as an actress, she may have earned a juicy check for her work as a producer.

While Gal Gadot already had several major movies on her resume, her career changed in 2017 when she appeared in the Wonder Woman suit on the big screen.

In the movie of the Amazon princess, released a few months after her debut as a heroine in ‘Batman V Superman’, Gal Gadot agreed to collect 300 thousand dollars.

According to ‘Deadline’, although that figure was initially agreed upon, the payment to the actress was doubled shortly before the recordings began. In ‘Wonder Woman 1984’, Gal Gadot received a payment close to 10 million dollars, according to information from ‘Insider’.

Captain America is one of the most important superheroes in the first saga of the Marvel Cinematic Universe, so it is a surprise how little money Chris Evans received for bringing him to life in ‘Captain America: The First Avenger’.

‘Forbes’ assures that Evans received 300 thousand dollars for his first appearance as the moral leader of the Avengers. But the source also clarifies that the actor’s situation has improved a lot, since between 2018 and 2019 he earned about 43 million dollars for his continuous appearances in the MCU.

American actor, comedian, and director who has been nominated for an Oscar twice, once for his work in 2013’s ‘The Wolf of Wall Street.’

For that role that made him famous, Hill received 60 thousand dollars, he tried that according to what he said in an interview on ‘The Howard Stern Show’, he would accept again without thinking twice.

“That was his offer (from Martin Scorsese) and I said: I will sign the contract tonight, send me the papers to sign them immediately, before they change their minds”

Daisy Ridley and John Boyega

‘Star Wars’ is one of the most important sagas in the history of cinema, so it is normal to assume that its stars receive millions of dollars for appearing in each of their films.

This was not the case for Daisy Ridley and John Boyega, young actors who received $100,000 and $300,000 respectively for their work on ‘Star Wars: The Force Awakens’ in 2015.

According to ‘Variety’, Harrison Ford won an amount ranging between 10 and 20 million dollars for bringing Han Solo back to life, a figure far removed from what the debuting protagonists received in the saga created by George Lucas.

The star of movies like “Interstellar” and “Dazed and Confused” received $200,000 for starring in “Dallas Buyers Club,” for which he won an Oscar in the Best Actor category.

According to ‘The Hollywood Reporter’, in 2010 McConaughey wanted to revitalize his career, plagued at the time by romantic comedies, for which he rejected a salary of 15 million dollars that they were going to give him for working on the series ‘Magnum , P.I’, to accept the role that would end up giving him a golden statuette.

We would love to give thanks to the writer of this article for this outstanding content

7 Hollywood celebrities who received very little for their best movies: JLo worked for free


Find here our social media profiles as well as other pages that are related to them.http://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656291838) } [8]=> array(11) { ["title"]=> string(97) "Premieres online: review of “The man from Toronto”, by Patrick Hughes (Netflix) – Micropsia" ["link"]=> string(125) "http://wikileaksisdemocracy.org/thriller/premieres-online-review-of-the-man-from-toronto-by-patrick-hughes-netflix-micropsia/" ["dc"]=> array(1) { ["creator"]=> string(19) "Margaret Stallworth" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 01:00:12 +0000" ["category"]=> string(68) "ThrillerHughesManMicropsiaNetflixOnlinePatrickpremieresreviewToronto" ["guid"]=> string(40) "https://wikileaksisdemocracy.org/?p=8689" ["description"]=> string(767) "This action-comedy starring Woody Harrelson and Kevin Hart pairs a hitman with a bumbling everyman for dangerous adventures in this slightly retro buddy comedy. When I come across some Netflix movies I have the feeling that someone with some power to manage the platform’s programming has a great nostalgia for the cinema of the ’90s. ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8809) "

This action-comedy starring Woody Harrelson and Kevin Hart pairs a hitman with a bumbling everyman for dangerous adventures in this slightly retro buddy comedy.

1656291383 95 Premieres online review of The man from Toronto by Patrick

When I come across some Netflix movies I have the feeling that someone with some power to manage the platform’s programming has a great nostalgia for the cinema of the ’90s. I don’t know if it’s a matter of age, caprice or some statistical calculation that allows them to notice that a certain return to a cinematographic style very much in use at the end of the last century works well with subscribers and algorithms. But the truth is that THE MAN FROM TORONTO is located in a line that also includes several romantic comedies, some suspense films (of the type THE WOMAN IN THE WINDOW, with Amy Adams) and, of course, several action titles that maintain a structure similar to this one. A program of films from a time when Marvel did not exist, almost done in the opposite direction of it.

BAD BOYS, RUSH HOUR And till DEADLY WEAPON they figure in the obvious influences of this action movie that brings together two totally different people and puts them to solve a complicated case of international intrigue in which the least important thing is the police/political plot itself. A rude and efficient man who must join another likeable and clumsy man through a series of adventures that, gosh, will show that they can be friends, that what one has the other lacks, and everything else they can imagine.

1656291383 689 Premieres online review of The man from Toronto by Patrick

Having two sympathetic protagonists helps but does not redeem THE MAN FROM TORONTO, Patrick Hughes’ action-comedy, in which a dry hit man ends up working alongside a bumbling neighborhood guy who gets mistaken for him. It all starts with some kind of Airbnb scheme, as Teddy Jackson (hyperactive and highly successful comedian Kevin Hart) rents a vacation home to spend some quality time with his wife, Lori (Jasmine Matthews). Jackson works in a gym and makes a living making videos trying to sell useless products or courses that he invents and promotes himself. He is so bad at what he does that his friends have already turned his name into a verb to refer to someone who does things wrong.

In parallel, we see a hit man act, or rather we should call him a potential torturer. He is a dry guy who goes by the name «the man from Toronto» (Woody Harrelson) and that works as the rules of the genre say it should: speaks little and in a manner between threatening and poetic, draws outlandish weapons and behaves as if he owned the world. If he doesn’t get to torture his victims (he’s hired to do that) it’s because everyone confesses just by seeing his preparations and what he’s supposed to do to break them.

The problem is that Teddy misreads the Airbnb address since he has little toner in the printer (it seems that nobody receives emails here or that the script was written in 1994) and he does not end up in the vacation spot but in a house where they wait for the “Man from Toronto” in question. With those confusions typical of the genre, Teddy is taken by that man, they take him to do his “threatening routine” and although the guy does not understand anything of what is happening, his own clumsiness leads him to get his job . And then there will appear, yes, the man born in Canada. But not only him. By casually falling into that business, Teddy has gotten himself involved in a complicated matter of international espionage and political crimes linked to… a coup in Venezuela.

1656291383 271 Premieres online review of The man from Toronto by Patrick

From then on, first with annoyance and then with a little more “affection”, Harrelson and Hart will do their show of dry type and loquacious type, entanglements that go well by chance and miraculously survive several situations of action and violence in which they also the intelligence services and the “Latin American brothers” are involved. Meanwhile, Teddy lives worried about his wife, whom he has had to abandon by force for this task and who has been given a sort of escort which makes the girl not be too aware of his return.

This approach generates a certain intrigue in its first half hour, especially when Hart begins to understand what is happening around him and takes dimension of what he is asked to do. His first clashes and misunderstandings with Harrelson are also nice because of the game of opposites that they present (Woody is very little talkative here, something that draws attention) and because of the way in which the Man from Toronto does not understand the clumsiness of his injured adventure partner. But when other characters appear both from the FBI and criminals (as with the title, their names seem to be an homage to THE MONEY HEIST) and everything leads to countless action scenes, the film loses grace. And it still has half its duration left.

Director of THE UNDESTRUCTIBLES 3 and the two parts of the recent HARD TO CARE FOR he seems to have seen all the movies with Mel Gibson, Eddie Murphy, Martin Lawrence, Sylvester Stallone, Arnold Schwarzenegger and Will Smith. Y THE MAN FROM TORONTO works like a regular, barely passable, reversal of so many buddy comedies of the old guard slightly updated to the current times. So clear is this tribute that, as in those films, the door is more than open to sequels. When the man from Netflix who loves these movies sees the numbers, he will have to decide if it is time to continue the matter with sequels until the last drop of inspiration is removed.



We want to thank the writer of this short article for this incredible material

Premieres online: review of “The man from Toronto”, by Patrick Hughes (Netflix) – Micropsia


Explore our social media profiles as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

" } ["summary"]=> string(767) "This action-comedy starring Woody Harrelson and Kevin Hart pairs a hitman with a bumbling everyman for dangerous adventures in this slightly retro buddy comedy. When I come across some Netflix movies I have the feeling that someone with some power to manage the platform’s programming has a great nostalgia for the cinema of the ’90s. ... Read more" ["atom_content"]=> string(8809) "

This action-comedy starring Woody Harrelson and Kevin Hart pairs a hitman with a bumbling everyman for dangerous adventures in this slightly retro buddy comedy.

1656291383 95 Premieres online review of The man from Toronto by Patrick

When I come across some Netflix movies I have the feeling that someone with some power to manage the platform’s programming has a great nostalgia for the cinema of the ’90s. I don’t know if it’s a matter of age, caprice or some statistical calculation that allows them to notice that a certain return to a cinematographic style very much in use at the end of the last century works well with subscribers and algorithms. But the truth is that THE MAN FROM TORONTO is located in a line that also includes several romantic comedies, some suspense films (of the type THE WOMAN IN THE WINDOW, with Amy Adams) and, of course, several action titles that maintain a structure similar to this one. A program of films from a time when Marvel did not exist, almost done in the opposite direction of it.

BAD BOYS, RUSH HOUR And till DEADLY WEAPON they figure in the obvious influences of this action movie that brings together two totally different people and puts them to solve a complicated case of international intrigue in which the least important thing is the police/political plot itself. A rude and efficient man who must join another likeable and clumsy man through a series of adventures that, gosh, will show that they can be friends, that what one has the other lacks, and everything else they can imagine.

1656291383 689 Premieres online review of The man from Toronto by Patrick

Having two sympathetic protagonists helps but does not redeem THE MAN FROM TORONTO, Patrick Hughes’ action-comedy, in which a dry hit man ends up working alongside a bumbling neighborhood guy who gets mistaken for him. It all starts with some kind of Airbnb scheme, as Teddy Jackson (hyperactive and highly successful comedian Kevin Hart) rents a vacation home to spend some quality time with his wife, Lori (Jasmine Matthews). Jackson works in a gym and makes a living making videos trying to sell useless products or courses that he invents and promotes himself. He is so bad at what he does that his friends have already turned his name into a verb to refer to someone who does things wrong.

In parallel, we see a hit man act, or rather we should call him a potential torturer. He is a dry guy who goes by the name «the man from Toronto» (Woody Harrelson) and that works as the rules of the genre say it should: speaks little and in a manner between threatening and poetic, draws outlandish weapons and behaves as if he owned the world. If he doesn’t get to torture his victims (he’s hired to do that) it’s because everyone confesses just by seeing his preparations and what he’s supposed to do to break them.

The problem is that Teddy misreads the Airbnb address since he has little toner in the printer (it seems that nobody receives emails here or that the script was written in 1994) and he does not end up in the vacation spot but in a house where they wait for the “Man from Toronto” in question. With those confusions typical of the genre, Teddy is taken by that man, they take him to do his “threatening routine” and although the guy does not understand anything of what is happening, his own clumsiness leads him to get his job . And then there will appear, yes, the man born in Canada. But not only him. By casually falling into that business, Teddy has gotten himself involved in a complicated matter of international espionage and political crimes linked to… a coup in Venezuela.

1656291383 271 Premieres online review of The man from Toronto by Patrick

From then on, first with annoyance and then with a little more “affection”, Harrelson and Hart will do their show of dry type and loquacious type, entanglements that go well by chance and miraculously survive several situations of action and violence in which they also the intelligence services and the “Latin American brothers” are involved. Meanwhile, Teddy lives worried about his wife, whom he has had to abandon by force for this task and who has been given a sort of escort which makes the girl not be too aware of his return.

This approach generates a certain intrigue in its first half hour, especially when Hart begins to understand what is happening around him and takes dimension of what he is asked to do. His first clashes and misunderstandings with Harrelson are also nice because of the game of opposites that they present (Woody is very little talkative here, something that draws attention) and because of the way in which the Man from Toronto does not understand the clumsiness of his injured adventure partner. But when other characters appear both from the FBI and criminals (as with the title, their names seem to be an homage to THE MONEY HEIST) and everything leads to countless action scenes, the film loses grace. And it still has half its duration left.

Director of THE UNDESTRUCTIBLES 3 and the two parts of the recent HARD TO CARE FOR he seems to have seen all the movies with Mel Gibson, Eddie Murphy, Martin Lawrence, Sylvester Stallone, Arnold Schwarzenegger and Will Smith. Y THE MAN FROM TORONTO works like a regular, barely passable, reversal of so many buddy comedies of the old guard slightly updated to the current times. So clear is this tribute that, as in those films, the door is more than open to sequels. When the man from Netflix who loves these movies sees the numbers, he will have to decide if it is time to continue the matter with sequels until the last drop of inspiration is removed.



We want to thank the writer of this short article for this incredible material

Premieres online: review of “The man from Toronto”, by Patrick Hughes (Netflix) – Micropsia


Explore our social media profiles as well as other related pageshttp://wikileaksisdemocracy.org/related-pages/

" ["date_timestamp"]=> int(1656291612) } [9]=> array(11) { ["title"]=> string(85) "Moulin Rouge, Gatsby, Elvis… Baz Luhrmann, le plus beau cauchemar des épileptiques" ["link"]=> string(118) "http://wikileaksisdemocracy.org/action/moulin-rouge-gatsby-elvis-baz-luhrmann-le-plus-beau-cauchemar-des-epileptiques/" ["dc"]=> array(1) { ["creator"]=> string(14) "Vincent Hughes" } ["pubdate"]=> string(31) "Mon, 27 Jun 2022 00:57:01 +0000" ["category"]=> string(68) "ActionBazbeaucauchemardesElvisépileptiquesGatsbyLuhrmannMoulinRouge" ["guid"]=> string(40) "https://wikileaksisdemocracy.org/?p=8687" ["description"]=> string(797) "Roméo + Juliette, Moulin Rouge !, Australia, Gatsby le magnifique et maintenant Elvis… Baz Luhrmann est un cinéaste dont la filmographie doit être (re)découverte.  L’Australien Baz Luhrmann n’est pas du genre à mettre tout le monde d’accord et c’est justement ce qui en fait un cinéaste passionnant, son oeuvre regorgeant d’excès, de spectacle, de paillettes, d’amour passionné et surtout ... Read more" ["content"]=> array(1) { ["encoded"]=> string(50046) "

Roméo + Juliette, Moulin Rouge !, Australia, Gatsby le magnifique et maintenant Elvis… Baz Luhrmann est un cinéaste dont la filmographie doit être (re)découverte. 

L’Australien Baz Luhrmann n’est pas du genre à mettre tout le monde d’accord et c’est justement ce qui en fait un cinéaste passionnant, son oeuvre regorgeant d’excès, de spectacle, de paillettes, d’amour passionné et surtout d’inattendu. Ses films mélangent les genres, les styles et les époques, du contemporain au baroque en passant par le burlesque et le drame romantique pour un résultat souvent flamboyant et qui a le mérite de ne jamais laisser de marbre.

C’est un artiste touche-à-tout qui a jonglé entre le cinéma, la télévision, l’opéra, le théâtre et la musique, mais aussi un habitué du Festival de Cannes avec quatre longs-métrages sur six présentés lors de l’événement, dont un en compétition. Véritable découverte des années 90, il a notamment tourné avec Nicole Kidman, Ewan McGregor et Hugh Jackman, mais surtout porté Leonardo DiCaprio à l’aube de sa carrière, pour le retrouver ensuite au sommet avec Gatsby le magnifique, souvent considéré comme le joyau de sa couronne. Après presque 10 ans d’absence, Baz Luhrmann a fait son retour au cinéma avec Elvis, son biopic sur le King qui est l’occasion rêvée pour décortiquer ses films.

 

Tous en scène

 

Ballroom Dancing

Sortie : 1992 – Durée : 1h34

 

À la sueur du front

 

L’histoire de Scott Hastings, jeune champion de danse qui se rebelle contre la toute-puissante Fédération en introduisant ses propres figures contre celles imposées par les concours.

Durant ses études à la National Institute of Dramatic Arts de Sydney (école prestigieuse qui a notamment accueilli Cate Blanchett, Mel Gibson ou encore Hugo Weaving), Baz Luhrmann crée avec d’autres élèves la pièce de théâtre Strictly Ballroom, qui rencontre un certain succès dès 1984. Deux ans plus tard, le futur cinéaste fait une tournée avec sa création en Tchécoslovaquie, et remporte quantité de prix. De retour en Australie, le producteur exécutif Ted Albert tombe amoureux de la pièce, et propose à Luhrmann de l’adapter sur grand écran. L’artiste accepte, mais à condition de lui-même assurer la réalisation.

Mine de rien, le style très ampoulé et fantasque du réalisateur peut s’expliquer par ce début de carrière rêvé. D’après Luhrmann lui-même, toute la problématique de Ballroom Dancing (titre français décevant, soyons honnête) a résidé dans le fait de transformer en récit “naturaliste” (avec de gros guillemets) une pièce de théâtre exubérante. S’il s’agit de loin du projet le plus sobre et réaliste du cinéaste (dans le sens ancré dans une certaine réalité sociale), Ballroom Dancing crée malgré tout par sa mise en scène un univers qui n’appartient qu’à lui, à mi-chemin entre le cinéma bollywoodien, la comédie musicale américaine des années 30 et 40 et la farce ironique.

 

Before the Tektonik

 

Un peu à la manière d’un Dirty Dancing déviant, Ballroom Dancing permet à Luhrmann de déployer un récit d’émancipation en appuyant déjà un bling-bling fascinant dans son jeu de textures. Les méchants de la fédération de danse à l’esprit étroit sont des hommes obèses à deux doigts d’exploser. La moindre paillette ou le moindre sequin provoque des cascades de lens flares et les personnages se baladent en sueur dans un monde de publicité, symbolisé par ce logo Coca-Cola sur le toit d’un immeuble.

Sous ces airs de comédie romantique assez clichée, Ballroom Dancing cache en réalité une narration plus maline qu’il n’y paraît, prenant à bras le corps la danse comme transcription d’un désir qui ne demande qu’à se libérer. Baz Luhrmann s’adapte au point de vue de ses personnages, hypnotisés par le corps de l’autre. A priori, ses effets de style peuvent sortir le spectateur de l’immersion de sa diégèse, mais le coup d’essai du cinéaste s’intéresse déjà à une fabrication du septième art visible et revendiquée, à ses tours de passe-passe qui ne font que refléter les fantasmes de ses protagonistes, qui veulent échapper à une oppression de la culture. Tout est déjà là : il faut accepter de recevoir des étoiles dans les yeux.

Roméo + Juliette

Sortie : 1996 – Durée : 2h
 

Quand Roméo rencontre Juliette

 

Dans le quartier de Verona Beach à Los Angeles, les familles Montaigus et Capulet se vouent une haine profonde, jusqu’au jour où Roméo, le fils des Montaigus, et Juliette, la fille des Capulet, tombent follement amoureux après s’être rencontrés à une fête costumée. Tout le monde connaît la suite.  

Après Ballroom Dancing, Baz Luhrmann a poussé l’excentricité de son cinéma plus loin avec Roméo + Juliette, un deuxième long-métrage kamikaze qui dynamite la pièce de William Shakespeare tout en conservant ses dialogues d’origine au mot près. Pour moderniser le cadre, le cinéaste a déplacé l’action dans un quartier défavorisé imaginaire et brisé consciencieusement nos repères en versant un peu plus dans l’outrance et la surenchère, nourrissant ainsi son sens maîtrisé du grotesque et de la démesure.

Le cinéaste privilégie une esthétique kitsch et débridée : les costumes pour commencer, mais aussi l’imagerie catholique dégoulinante ou la photographie ensoleillée et surannée. En plus du montage hyperactif et de la musique pop-rock qui laisse parfois place à la grandiloquence de l’opéra, la mise en scène tapageuse multiplie les zooms avant, les gros plans, les accélérations, les bruitages cartoonesques et les rapides mouvements de caméra. Le long-métrage reprend ainsi la grammaire télévisuelle dite “de la génération MTV” pour s’éloigner de l’aspect scénique et sacral de l’oeuvre originale

 

Live fast, die young

 

Le réalisateur entretient également un goût évident pour la parodie, et ce dès son ouverture montée comme une bande-annonce hyperbolique. Il reprend les figures imposées de genres bien spécifiques qu’il brasse dans un joyeux bordel : le western spaghetti, le film de guerre, le cinéma d’action hongkongais ou bien le drame romantique -, tout en prêtant une charge prophétique assez risible aux images, dont il s’amuse des clichés et de leur portée significative. Lors de la fête costumée des Capulet, Roméo est ainsi déguisé en chevalier, Juliette en ange, son père son empereur romain, sa mère en Cléopâtre et son cousin en diable.

Cette accumulation d’effets chaotiques et déstabilisants, notamment le décalage entre les dialogues d’époque, la violence du scénario et son contexte contemporain (on parle de gangs armés qui se traitent de “racailles“), donne au film des airs de comédie burlesque. La confrontation à la station-service est d’ailleurs le meilleur exemple de cette proposition punk volontaire excessive qui peut rebuter. En adaptant du Shakespeare, Baz Luhrmann dévoile cependant un autre motif théâtral – soit le fil conducteur de sa trilogie du rideau rouge – en installant plusieurs scènes pivot devant une scène de théâtre éventrée donnant sur l’océan, mais aussi en conservant le pathos de l’oeuvre qui rebascule vers une tragédie plus digeste dans son dernier acte.

 

Le duo porte toute la sensibilité du film et maintient son équilibre de ton

 

Si le film réussit à déborder et à s’épancher sans tourner à la mauvaise farce, c’est surtout grâce au jeu subtil d’amoureux transi de Leonardo DiCaprio, qui exhibait sa belle gueule d’ange un an avant sa révélation internationale dans Titanic. La jeune Claire Danes – déjà connue pour la série Angela, 15 ans – est quant à elle le choix idéal pour incarner la douceur, l’euphorie et la fausse innocence de Juliette. Les scènes qu’ils partagent forment des parenthèses bienvenues dans le récit, qui sait aussi mettre la poésie et la sincérité au premier plan

Le reste du casting compte quant à lui une belle brochette d’acteurs secondaires comme John Leguizamo (58 minutes pour vivreSuper Mario Bros.), Harold Perrineau (The King of News York), Pete Postlethwaite (Alien 3Usual Suspects), Vondie Curtis-Hall (58 minutes pour vivre, Danger Immédiat) et Diane Venora (HeatIronweed). Mais aussi immodéré et atypique qu’il soit, Roméo + Juliette n’était encore qu’un premier coup de projecteur avant un projet encore plus grand, plus fou, plus spectaculaire et haut en couleur. 

Moulin Rouge

Sortie : 2001 – Durée : 2h06
 

Nicole KidMAN

 

Paris, 1899. Christina, poète sans le sou, tombe fou amoureux de Satine, courtisane superstar du Moulin Rouge. Mais vu que Satine est promise au riche duc de Monroth, et condamnée par la maladie, donc ça va très mal finir.

Moulin Rouge ! est probablement le grand film ultime de Baz Luhrmann, qui illustre toute sa démesure, sa candeur, sa violence et son approche punk du cinéma. Qui d’autre que lui pouvait rêver d’un mix entre Shakespeare, Emile Zola, La Bohème (qu’il avait mis en scène en 1993 à l’opéra de Sydney), Bollywood, la musique du XIXe siècle (Madonna, Nirvana, David Bowie, Queen, Fatboy Slim, The Police, Elton John), et le Paris de 1900 ? Qui d’autre que lui pouvait faire tenir un tel pari, avec un budget de 50 millions, et finalement un immense succès au box-office et jusqu’aux Oscars (deux Oscars, et une pluie de nominations, dont meilleur film et meilleure actrice) ?

Créé comme un pot-pourri pop fabuleux (une précédente version du scénario se déroulait au Studio 54, mythique QG du New York des années 70), ce shot de cinéma provoque quelques overdoses, et ce n’est pas accidentel : c’est quasiment la note d’intention de ce bordel de paillettes, de larmes, de cris, de plumes et de rage. À peu près chaque scène est une démonstration de force où Baz Luhrmann va trop loin, et pousse les curseurs au maximum, quitte à éreinter et saturer les yeux et les oreilles pour créer une expérience de tous les extrêmes.

 

Come What May et tu chiales

 

Le film se réinvente toutes les 10 minutes, passant par toutes les couleurs du cinéma, souvent de la comédie la plus bête à la tragédie la plus noire. Dans une scène, Nicole Kidman se trémousse sur le sol comme dans une parodie de John Waters, avant de basculer vers une douceur extrême quand Ewan McGregor décolle sur du Elton John. Dans la foulée, le grotesque théâtre de boulevard de Spectacular Spectacular, avec des effets sonores de cartoon, laisse place au sentimental absolu lorsque Satine chante sa douleur (“One day I’ll fly away…”) avant de décoller sur l’inoubliable Elephant Love Medley  avec Christian.

À l’harmonie, Baz Luhrmann préfère une forme de chaos coloré, comme un buffet à volonté où tout le monde pourra vomir, ou se remplir la panse comme jamais. Moulin Rouge !, c’est une comédie musicale, c’est un théâtre de boulevard, c’est une tragédie, c’est une romance, c’est un show, c’est un cirque. C’est un monde entier qui brille, vit et vibre à l’écran, à coups de ralentis, accélérations, travellings, très gros plans, effets de montage et autres instruments que Baz Luhrmann agite dans tous les sens.

Le réalisateur n’a probablement jamais été inspiré que dans cette bulle hors du temps, où il emballe quelques-unes des plus belles scènes de sa filmographie. Il n’y a qu’à revoir son tango de Roxane pour mesurer l’ampleur de sa mise en scène, sa maîtrise formidable du montage pour créer violence et émotions, et l’énergie étourdissante de son cinéma.

 

Appelez la Police

 

Moulin Rouge ! changera tout ou presque pour ses étoiles. Les portes s’ouvriront en grand pour Baz Luhrmann, qui ne s’est finalement jamais vraiment remis d’un tel miracle. Sortie d’Eyes Wide Shut, Nicole Kidman était alors possédée par un beau démon, puisqu’elle allait enchaîner sur Les Autres, The Hours et Dogville, dans un élan de cinéma magique. Et bien sûr, Hollywood s’est engouffré dans la brèche musicale, avec une ration quasi annuelle par la suite (Chicago, Le Fantôme de l’Opéra, Les Producteurs, Rent, Dreamgirls, Across the Universe, Hairspray, Sweeney Todd, Mamma Mia !,…).

Rien n’arrivera à la cheville de Moulin Rouge ! en termes de dimension, d’audace et de risque. Baz Luhrmann n’a certainement rien inventé, mais comme un Tarantino, il a bouffé, digéré et remixé quantité d’influences pour créer une petite folie éternelle, et unique en son genre. Et c’est tellement beau que même le simple générique de fin, sur un Bolero réarrangé, est un bijou.

Australia

Sortie : 2008 – Durée : 2h35

 

Autant en emporte le ranch

 

Australie, 1939. Alors que la Seconde Guerre mondiale approche, l’aristocrate Lady Sarah Ashley débarque en Australie avec ses grands airs et ses belles robes. Découvrant que son mari a été tué, elle se met en tête de reprendre en main son ranch, perdu au milieu de nulle part, avec des employés aborigènes et du bétail convoité par la concurrence. Le seul moyen de s’en sortir : traverser l’outback pour amener le bétail à la ville, dans un périple que personne n’aurait osé entreprendre.

Australia est resté dans les mémoires comme le grand crash de Baz Luhrmann, et c’est largement vrai. Ce Autant en emporte le vent australien a été un échec en salles (budget de 130 millions, environ 211 millions au box-office), avec également une critique très mitigée et zéro gloire aux Oscars (hormis une nomination pour les costumes). Mais passer après le succès phénoménal de Moulin Rouge ! était kamikaze pour le réalisateur et Nicole Kidman, surtout avec une fresque old school aussi chère (130 millions, contre 50 pour la comédie musicale).

 

Kid et Kidman

 

C’est d’autant plus triste que le film est né dans la douleur. Luhrmann planchait sur sa version d’Alexandre le Grand, avec Leonardo DiCaprio et Nicole Kidman, qui a finalement été abandonnée face au film d’Oliver Stone. Il a donc changé son fusil d’épaule pour assouvir son véritable désir : une grande fresque dans son Australie natale, dont il a étudié l’histoire avant de se décider à raconter la relation à l’Angleterre et le destin des aborigènes, et plus particulièrement des Générations volées (les enfants des aborigènes, souvent métis, enlevés de force par le gouvernement australien pour être placés dans des orphelinats ou des familles blanches, de 1869 à 1969).

La production a en plus été une épreuve du début à la fin, que ce soit avec le casting (Luhrmann a longtemps attendu Russell Crowe, avant de choisir Hugh Jackman, et Nicole Kidman a appris qu’elle était enceinte avant de commencer l’aventure très sportive), le tournage lui-même (premières pluies dans le désert australien depuis un siècle, chevaux mis en quarantaine pour grippe équine), ou des rumeurs de gros problèmes (dépassement de budget et désaccord avec les producteurs sur le montage, notamment la fin du film).

Mais peu importe. Ce désordre est presque parfait puisque le film est une anomalie un peu magique.

 

On achève bien les chevaux

 

Conçu aux antipodes de la trilogie du rideau rouge, Australia est probablement le plus sobre des films de Baz Luhrmann – et c’est dire à quel point le cinéaste est un fervent ennemi des épileptiques. Rêvant d’une grande fresque à la Autant en emporte le vent et Lawrence d’Arabie, il voulait une histoire simple et épique, qui rassemble la comédie et le drame, l’aventure et la romance, pour réunir tous les publics. C’est donc l’abécédaire des clichés du genre, de la romance entre l’aristo et le cow-boy au happy end absurde, en passant par les miracles en cours de route et le grand vilain parfaitement vilain.

C’est à la fois la force et la grande limite du film : cette foi inébranlable et suicidaire dans son ambition, son histoire, ses personnages, pour former un grand tableau. Baz Luhrmann a peut-être un peu calmé sa mise en scène et son montage, mais Australia demeure une grande démonstration de son appétit de cinéma. Il rêve grand, très grand, peut-être trop grand, mais toujours avec une candeur fantastique, et unique en son genre.

Dès l’intro, d’une beauté à couper le souffle en quelques plans (Nullah sous l’eau, qui assiste à la mort de Maitland), un vent romanesque souffle sur le film. Le pic de la tempête arrivera une heure après, avec une grande scène aux airs de Roi Lion redux, où le petit héros arrête un troupeau au bord d’une falaise. Le choix est là : rire devant cette démonstration de force extrême, ou s’émouvoir devant une pure énergie de cinéma que le réalisateur utilise comme un feu d’artifice. Car Baz Luhrmann maîtrise indéniablement sa caméra, et parvient toujours à mettre en scène et en harmonie personnages, mouvements et décor pour créer un monde qui regorge de vie et détails.

 

Magic in the sunlight

 

Australia ne se remettra pas de cette première heure fabuleuse, qui laisse rêver d’un film entièrement dédié à ce périple sauvage. Une fois la ville retrouvée, le film retombe dans les chemins tristounets du grand drame sentimentalo-guerre, avec une suite de scènes convenues qui mettent en lumière l’écriture très pauvre des personnages – et Nicole Kidman, qui a rarement été aussi mal dirigée. Sans l’énergie des grandes étendues de l’Australie, sans le mouvement désespéré pour rejoindre l’océan, l’histoire commence à trembler.

Depuis, Baz Luhrmann a annoncé un remontage entier du film, pour le transformer en une mini-série de 6 épisodes, intitulée Faraway Downs (le nom du ranch de l’héroïne). “Pour plusieurs raisons qui ne méritent pas que j’en reparle, je n’ai jamais pu finir ce film comme je l’avais envisagé. (…) J’ai enfin réussi à achever ce que j’avais commencé, de la façon dont je le souhaitais. Le public a estimé que le film était trop long, mais la véritable raison derrière cette longueur ressentie, c’est que plusieurs points clefs de l’histoire n’étaient pas là.” Le point final d’une aventure un peu maudite et empêchée ? Réponse bientôt sur Hulu, aux États-Unis, courant 2022.

Gatsby le magnifique

Sortie : 2013 – Durée : 2h22

 

Well done Baz

 

Printemps 1922, en plein dans les années folles, l’aspirant écrivain Nick Carraway s’installe à New York où il vogue entre les fêtes mondaines délirantes des milliardaires, les innombrables mensonges de la haute bourgeoisie et les désillusions du rêve américain. Au milieu de tout ça, il se retrouve mêlé à l’amour impossible de son mystérieux voisin, Jay Gatsby, et de sa cousine, Daisy Buchanan, et devient le témoin privilégié d’une tragédie dont il va tenter de rétablir la vérité.

Après l’échec de Australia, comment Baz Lurhmann pouvait revenir sur le devant de la scène et retrouver le style si particulier ayant fait sa renommée ? Honnêtement, il y avait sans doute de nombreuses manières, mais son Gatsby le magnifique était sûrement un objet en or pour le réussir. Car les années folles correspondent évidemment à la décadence de l’Australien entre leurs costumes luxueux, leurs manoirs somptueux, leurs voitures classieuses et évidemment leurs débauches de richesse, d’alcool, de trucs qui brillent… Il n’y avait absolument personne de mieux placer pour capturer l’opulence de cette période, et assurément, le pari visuel est à la hauteur.

 

Les années 20 comme si on y était

 

Il faut dire qu’encore une fois, l’Australien a convaincu le studio (ici Warner, après des années de collaboration avec 20th Century Fox) de lui confier un budget mirobolant : 125 millions de dollars. Alors évidemment, avec une telle somme à sa disposition, le monsieur a pu s’amuser à hauteur de ses ambitions pop : folie démesurée lors des fêtes se déroulant chez Gatsby, jeux de caméra tourbillonnants pour exploser le rythme, jeux de perspectives lors des balades en voitures et même présence d’une 3D, assez inutile certes, mais plutôt impressionnante (même si tout le monde l’a oubliée depuis sa sortie en salles).

D’ailleurs, contrairement à ce que l’on pourrait penser, le film n’a pas été tourné à New York (lieu du récit), mais bien en Australie, dans les mêmes studios que Moulin Rouge ! et Australia. Sans aucune contrainte vu le budget, Luhrmann a donc pu reconstituer un New York des années 20 numérique assez fabuleux, jouant avec la démesure des gratte-ciels pour écraser un peu plus ses personnages, les isoler, ou à l’inverse, les faire ressortir au milieu de l’exubérance new-yorkaise.

 

Paillettes, costumes, 

 

Et quand un casting de rêve — Carey Mulligan, Tobey Maguire et surtout Leonardo DiCaprio en Gatsby — mène la danse, le long-métrage parvient indiscutablement à faire rêver à plusieurs reprises. D’autant plus grâce à une utilisation de la musique toujours aussi anachronique avec du rap, du R’n’B, des musiques de Jay-Z, Beyoncé, André 3000 et surtout Lana Del Rey et son superbe Young and Beautiful, captant pleinement le vrai sujet du Gatsby version Luhrmann.

Car oui, comme tous les films de Baz Luhrmann, Gatsby le magnifique ne s’intéresse pas vraiment à l’entièreté du roman culte qu’il adapte (notamment toute sa portée socio-économico-historique), mais quasi-exclusivement à l’histoire d’amour impossible entre Daisy Buchanan et Jay Gatsby. Et forcément, c’est ici que le film gagne ses galons et perd aussi son potentiel.

 

Leur amour, le point central du film

 

Sur l’aspect purement romantique, le long-métrage embrasse si bien la passion amoureuse entre les personnages qu’il en naît une vraie belle tragédie. Indiscutablement, on croit à cette histoire d’amour impossible à travers les tourments des deux amoureux, le regard extérieur de Nick et ce coup de téléphone final venant étouffer l’espoir des spectateurs, éteindre celui de Daisy et rallumer dans un dernier souffle celui de Gatsby, mourant amoureux et imaginant que Daisy était au bout du fil qu’il n’atteindra jamais.

En revanche, Gatsby le magnifique est très décevant sur le reste du récit, demeurant très superficiel sur tous les sujets abordés (l’argent, la lutte des classes, la désillusion du rêve américain) malgré des idées visuelles évocatrices qu’il aurait été intéressant d’explorer en profondeur (cette démarcation lunaire entre le monde des riches et le monde industriel des pauvres). Bref, tout ce que racontait, in fine, le bouquin de Francis Scott Fitzgerald, est mis de côté pour un résultat en demi-teinte, aussi haut en couleur que tristement bas du front. 

The Get Down

Sortie : 2016- Durée : 11 épisodes entre 50 et 75min

 

 

En 1977, la jeunesse du South Bronx fait ce qu’elle peut pour garder la tête hors de l’eau. Pour une bande d’adolescents en rupture de banc, la naissance du disco va être une opportunité émancipatrice enivrante.

On disait Baz Luhrmann fini après la réception glaciale de son Gatsby et la catastrophe Australia. Personne ne croyait Netflix capable de proposer un divertissement thématiquement ambitieux, formellement audacieux, à la hauteur des créations les plus accomplies de networks traditionnels. Autant d’affirmations qui se sont révélées fausses à la découverte de The Get Down, joyau furibard, certes inégal, mais parmi les œuvres les plus intéressantes découvertes son année de sortie. 

Tout d’abord, quand de nombreux esprits chagrins caricaturaient le style du réalisateur comme une perpétuelle éruption d’effets tape-à-l’œil, volontiers gratuits, voire contre-productifs, la série lui (re)donne un matériau idéal pour prouver que sa profusion d’énergie cinétique est tout sauf gratuite. Comme dans Romeo + Juliette ou Moulin Rouge, c’est de l’intensité de ses protagonistes qu’il tire toute la sève de son dispositif. Leurs enjeux sont complexes, leurs élans profonds et leurs conflits aussi intimes qu’essentiels. 

 

Le royaume perdu des dinosaures du disco

 

Dès lors, la caméra, durant les morceaux (de bravoure) musicaux, mais dans toutes les scènes du quotidien également, peut s’emparer des émotions bouillonnantes charriées par la narration, et les dépeindre via des effets de montage et de découpage extrêmement spectaculaires et complexes. Certaines séquences chantées ou dansées contiennent les plus belles expérimentations de ces dernières années en la matière, et pour cause, elles permettent également de remettre sur le devant de la scène la dimension politique de l’artiste. 

Plasticien flamboyant, feu d’artifice filmique à lui seul, Baz Luhrmann a toujours veillé à placer ses personnages au cœur de dispositifs plus fins qu’ils n’y paraissent de prime abord. En effet, tous entretiennent un rapport bien singulier, et souvent hostile, au milieu dans lequel ils évoluent, quand ce dernier ne les épargne jamais. Une question qui ici s’incarne via des problématiques sociétales évidentes, mais pas seulement via les actions de ses protagonistes, puisque c’est bien le traitement musical qui devient un enjeu narratif, symbolique et politique. 

 

Se tenir à carreau

 

Hybridant les styles et les époques tant pour commenter leurs évolutions à venir que caractériser ses artistes en herbe, la révolte chez Luhrman est également sonore, et va dans The Get Down beaucoup plus loin qu’auparavant dans sa carrière. Cette immersion dans le South Bronx de la fin des seventies, c’est aussi une exploration d’un pan fondamental de la culture populaire, trop souvent reléguée aux marges de la culture institutionnelle, ou réduit à ses représentations les plus grossières.

Et le metteur en scène de se rappeler à nous comme un auteur capable non seulement d’investir d’autres formes que celles du récit classique de cinéma, mais aussi de les subvertir, de les interroger, pour mettre en lumière les origines des sons et des images qui saturent aujourd’hui encore notre univers commun. 

Elvis

Sortie : 2022 – Durée : 2h39
 

Ici, tout commence

 

La vie d’Elvis Presley, son oeuvre, son influence, ses multiples succès et déroutes, au coeur de l’Amérique des années 50-70.

Dès 2014, Baz Luhrmann est décidé à clôturer sa trilogie épique d’une manière ou d’une autre (son biopic sur Alexandre Le Grand ayant été abandonné et son film sur la Russie aussi). Il s’embarque donc immédiatement dans le biopic d’une autre icône de l’Histoire, beaucoup plus récente cette fois, avec Elvis Presley. Sauf qu’évidemment, avec la réception malheureuse de Gastby le magnifique, le cinéaste va prendre une petite pause et surtout, prendre son temps pour revenir à son meilleur.

Après un brillant passage par le petit écran avec The Get Down — malheureusement trop peu remarquée et trop peu appréciée par la critique et le public pour être renouvelé par Netflix, d’autant plus avec son budget exorbitant de 120 millions pour 12 épisodes —, l’Australien se relance donc corps et âme dans Elvis dès 2019. Et après une production sacrément compliquée (à cause du Covid en particulier) de près de trois ans, Baz Luhrmann a pleinement réussi son retour en force au cinéma.

 

La folie des concerts

 

Présenté en grande pompe au Festival de Cannes 2022 en présence de la famille du King (son ex-femme Priscilla, sa fille Lisa Marie et sa petite-fille Riley Keough), le long-métrage a reçu un accueil dithyrambique de la part de la critique et du public sur place. Il faut dire qu’indiscutablement, Elvis est une grande et belle réussite, se logeant directement dans le haut du panier de la filmographie de Luhrmann. Et en même temps, il était difficile pour le cinéaste de trouver un sujet qui pouvait mieux englober toutes ses thématiques fétiches entre la musique, la démesure, l’amour et une époque fascinante.

Dès les premières secondes, Baz Luhrmann enflamme donc tout, dans un déluge de délires visuels, où la caméra tourbillonne, où les splits screens se succèdent, où la musique retentit de plus en plus fort dans un montage de plus en plus dynamique. L’Australien retrouve son style baroque dans une première heure surexcitée, euphorique, épuisante, spectaculaire, où il met à l’honneur sa nouvelle coqueluche, l’incroyable Austin Butler, dans la peau du roi du rock’n roll tout en saisissant la décadence de son milieu.

 

La naissance d’une nouvelle forme de capitalisme

 

Mais au-delà du simple biopic d’une icône, Elvis raconte l’histoire d’une époque, celle de l’Amérique des années 50-70. Comme Baz Luhrmann l’avait déjà fait avec intelligence dans The Get Down, la percée musicale d’Elvis puis l’évolution de son style, de ses chansons… devient un enjeu politique, historique et social. C’est ici que le cinéaste mature son récit en transformant le biopic classique en une réflexion plus mélancolique sur le parcours d’un homme et son influence sur tout un pays, toute une culture.

Le long-métrage décrit alors les bouleversements sociétaux et économiques (la naissance du show-business) de ce pan des États-Unis avec brio, parvenant même à faire résonner certaines des problématiques de l’époque avec la nôtre (cette vague “d’africanisation” qui effraie les conservateurs rappelant étrangement leur peur irrationnelle actuelle des “envahisseurs wokistes”). Et alors, dans un geste fabuleux, Luhrmann calme ses ardeurs esthétiques, préférant ralentir le rythme de son métrage, effacer la décadence de son style, pour mieux capter la solitude de son héros.

 

Une star finalement très isolée

 

Il en résulte une grande fresque musicale à la fois électrisante et désenchantée. Et même si le métrage est sûrement beaucoup trop long pour son propre bien (avec 2h39 au compteur, c’est le plus long film de Luhrmann à ce jour) et que la narration en voix-off du Colonel Parker (joué par un Tom Hanks pas franchement convaincant) est assez agaçante, ce Elvis reste plein de ressources pour offrir un spectacle plus inattendu qu’espéré.

D’ailleurs, avec un peu de chance, l’Australien dévoilera un jour la Director’s Cut de 4h de son Elvis qui, selon lui, contient des scènes coupées notamment avec la troupe du cirque, la première petite-amie d’Elvis, Dixie, ou la rencontre entre le chanteur et Richard Nixon. Autant dire qu’on n’en a pas encore fini avec la musique du King chez Luhrmann, et c’est peut-être pour le mieux.

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Moulin Rouge, Gatsby, Elvis… Baz Luhrmann, le plus beau cauchemar des épileptiques

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Roméo + Juliette, Moulin Rouge !, Australia, Gatsby le magnifique et maintenant Elvis… Baz Luhrmann est un cinéaste dont la filmographie doit être (re)découverte. 

L’Australien Baz Luhrmann n’est pas du genre à mettre tout le monde d’accord et c’est justement ce qui en fait un cinéaste passionnant, son oeuvre regorgeant d’excès, de spectacle, de paillettes, d’amour passionné et surtout d’inattendu. Ses films mélangent les genres, les styles et les époques, du contemporain au baroque en passant par le burlesque et le drame romantique pour un résultat souvent flamboyant et qui a le mérite de ne jamais laisser de marbre.

C’est un artiste touche-à-tout qui a jonglé entre le cinéma, la télévision, l’opéra, le théâtre et la musique, mais aussi un habitué du Festival de Cannes avec quatre longs-métrages sur six présentés lors de l’événement, dont un en compétition. Véritable découverte des années 90, il a notamment tourné avec Nicole Kidman, Ewan McGregor et Hugh Jackman, mais surtout porté Leonardo DiCaprio à l’aube de sa carrière, pour le retrouver ensuite au sommet avec Gatsby le magnifique, souvent considéré comme le joyau de sa couronne. Après presque 10 ans d’absence, Baz Luhrmann a fait son retour au cinéma avec Elvis, son biopic sur le King qui est l’occasion rêvée pour décortiquer ses films.

 

Tous en scène

 

Ballroom Dancing

Sortie : 1992 – Durée : 1h34

 

À la sueur du front

 

L’histoire de Scott Hastings, jeune champion de danse qui se rebelle contre la toute-puissante Fédération en introduisant ses propres figures contre celles imposées par les concours.

Durant ses études à la National Institute of Dramatic Arts de Sydney (école prestigieuse qui a notamment accueilli Cate Blanchett, Mel Gibson ou encore Hugo Weaving), Baz Luhrmann crée avec d’autres élèves la pièce de théâtre Strictly Ballroom, qui rencontre un certain succès dès 1984. Deux ans plus tard, le futur cinéaste fait une tournée avec sa création en Tchécoslovaquie, et remporte quantité de prix. De retour en Australie, le producteur exécutif Ted Albert tombe amoureux de la pièce, et propose à Luhrmann de l’adapter sur grand écran. L’artiste accepte, mais à condition de lui-même assurer la réalisation.

Mine de rien, le style très ampoulé et fantasque du réalisateur peut s’expliquer par ce début de carrière rêvé. D’après Luhrmann lui-même, toute la problématique de Ballroom Dancing (titre français décevant, soyons honnête) a résidé dans le fait de transformer en récit “naturaliste” (avec de gros guillemets) une pièce de théâtre exubérante. S’il s’agit de loin du projet le plus sobre et réaliste du cinéaste (dans le sens ancré dans une certaine réalité sociale), Ballroom Dancing crée malgré tout par sa mise en scène un univers qui n’appartient qu’à lui, à mi-chemin entre le cinéma bollywoodien, la comédie musicale américaine des années 30 et 40 et la farce ironique.

 

Before the Tektonik

 

Un peu à la manière d’un Dirty Dancing déviant, Ballroom Dancing permet à Luhrmann de déployer un récit d’émancipation en appuyant déjà un bling-bling fascinant dans son jeu de textures. Les méchants de la fédération de danse à l’esprit étroit sont des hommes obèses à deux doigts d’exploser. La moindre paillette ou le moindre sequin provoque des cascades de lens flares et les personnages se baladent en sueur dans un monde de publicité, symbolisé par ce logo Coca-Cola sur le toit d’un immeuble.

Sous ces airs de comédie romantique assez clichée, Ballroom Dancing cache en réalité une narration plus maline qu’il n’y paraît, prenant à bras le corps la danse comme transcription d’un désir qui ne demande qu’à se libérer. Baz Luhrmann s’adapte au point de vue de ses personnages, hypnotisés par le corps de l’autre. A priori, ses effets de style peuvent sortir le spectateur de l’immersion de sa diégèse, mais le coup d’essai du cinéaste s’intéresse déjà à une fabrication du septième art visible et revendiquée, à ses tours de passe-passe qui ne font que refléter les fantasmes de ses protagonistes, qui veulent échapper à une oppression de la culture. Tout est déjà là : il faut accepter de recevoir des étoiles dans les yeux.

Roméo + Juliette

Sortie : 1996 – Durée : 2h
 

Quand Roméo rencontre Juliette

 

Dans le quartier de Verona Beach à Los Angeles, les familles Montaigus et Capulet se vouent une haine profonde, jusqu’au jour où Roméo, le fils des Montaigus, et Juliette, la fille des Capulet, tombent follement amoureux après s’être rencontrés à une fête costumée. Tout le monde connaît la suite.  

Après Ballroom Dancing, Baz Luhrmann a poussé l’excentricité de son cinéma plus loin avec Roméo + Juliette, un deuxième long-métrage kamikaze qui dynamite la pièce de William Shakespeare tout en conservant ses dialogues d’origine au mot près. Pour moderniser le cadre, le cinéaste a déplacé l’action dans un quartier défavorisé imaginaire et brisé consciencieusement nos repères en versant un peu plus dans l’outrance et la surenchère, nourrissant ainsi son sens maîtrisé du grotesque et de la démesure.

Le cinéaste privilégie une esthétique kitsch et débridée : les costumes pour commencer, mais aussi l’imagerie catholique dégoulinante ou la photographie ensoleillée et surannée. En plus du montage hyperactif et de la musique pop-rock qui laisse parfois place à la grandiloquence de l’opéra, la mise en scène tapageuse multiplie les zooms avant, les gros plans, les accélérations, les bruitages cartoonesques et les rapides mouvements de caméra. Le long-métrage reprend ainsi la grammaire télévisuelle dite “de la génération MTV” pour s’éloigner de l’aspect scénique et sacral de l’oeuvre originale

 

Live fast, die young

 

Le réalisateur entretient également un goût évident pour la parodie, et ce dès son ouverture montée comme une bande-annonce hyperbolique. Il reprend les figures imposées de genres bien spécifiques qu’il brasse dans un joyeux bordel : le western spaghetti, le film de guerre, le cinéma d’action hongkongais ou bien le drame romantique -, tout en prêtant une charge prophétique assez risible aux images, dont il s’amuse des clichés et de leur portée significative. Lors de la fête costumée des Capulet, Roméo est ainsi déguisé en chevalier, Juliette en ange, son père son empereur romain, sa mère en Cléopâtre et son cousin en diable.

Cette accumulation d’effets chaotiques et déstabilisants, notamment le décalage entre les dialogues d’époque, la violence du scénario et son contexte contemporain (on parle de gangs armés qui se traitent de “racailles“), donne au film des airs de comédie burlesque. La confrontation à la station-service est d’ailleurs le meilleur exemple de cette proposition punk volontaire excessive qui peut rebuter. En adaptant du Shakespeare, Baz Luhrmann dévoile cependant un autre motif théâtral – soit le fil conducteur de sa trilogie du rideau rouge – en installant plusieurs scènes pivot devant une scène de théâtre éventrée donnant sur l’océan, mais aussi en conservant le pathos de l’oeuvre qui rebascule vers une tragédie plus digeste dans son dernier acte.

 

Le duo porte toute la sensibilité du film et maintient son équilibre de ton

 

Si le film réussit à déborder et à s’épancher sans tourner à la mauvaise farce, c’est surtout grâce au jeu subtil d’amoureux transi de Leonardo DiCaprio, qui exhibait sa belle gueule d’ange un an avant sa révélation internationale dans Titanic. La jeune Claire Danes – déjà connue pour la série Angela, 15 ans – est quant à elle le choix idéal pour incarner la douceur, l’euphorie et la fausse innocence de Juliette. Les scènes qu’ils partagent forment des parenthèses bienvenues dans le récit, qui sait aussi mettre la poésie et la sincérité au premier plan

Le reste du casting compte quant à lui une belle brochette d’acteurs secondaires comme John Leguizamo (58 minutes pour vivreSuper Mario Bros.), Harold Perrineau (The King of News York), Pete Postlethwaite (Alien 3Usual Suspects), Vondie Curtis-Hall (58 minutes pour vivre, Danger Immédiat) et Diane Venora (HeatIronweed). Mais aussi immodéré et atypique qu’il soit, Roméo + Juliette n’était encore qu’un premier coup de projecteur avant un projet encore plus grand, plus fou, plus spectaculaire et haut en couleur. 

Moulin Rouge

Sortie : 2001 – Durée : 2h06
 

Nicole KidMAN

 

Paris, 1899. Christina, poète sans le sou, tombe fou amoureux de Satine, courtisane superstar du Moulin Rouge. Mais vu que Satine est promise au riche duc de Monroth, et condamnée par la maladie, donc ça va très mal finir.

Moulin Rouge ! est probablement le grand film ultime de Baz Luhrmann, qui illustre toute sa démesure, sa candeur, sa violence et son approche punk du cinéma. Qui d’autre que lui pouvait rêver d’un mix entre Shakespeare, Emile Zola, La Bohème (qu’il avait mis en scène en 1993 à l’opéra de Sydney), Bollywood, la musique du XIXe siècle (Madonna, Nirvana, David Bowie, Queen, Fatboy Slim, The Police, Elton John), et le Paris de 1900 ? Qui d’autre que lui pouvait faire tenir un tel pari, avec un budget de 50 millions, et finalement un immense succès au box-office et jusqu’aux Oscars (deux Oscars, et une pluie de nominations, dont meilleur film et meilleure actrice) ?

Créé comme un pot-pourri pop fabuleux (une précédente version du scénario se déroulait au Studio 54, mythique QG du New York des années 70), ce shot de cinéma provoque quelques overdoses, et ce n’est pas accidentel : c’est quasiment la note d’intention de ce bordel de paillettes, de larmes, de cris, de plumes et de rage. À peu près chaque scène est une démonstration de force où Baz Luhrmann va trop loin, et pousse les curseurs au maximum, quitte à éreinter et saturer les yeux et les oreilles pour créer une expérience de tous les extrêmes.

 

Come What May et tu chiales

 

Le film se réinvente toutes les 10 minutes, passant par toutes les couleurs du cinéma, souvent de la comédie la plus bête à la tragédie la plus noire. Dans une scène, Nicole Kidman se trémousse sur le sol comme dans une parodie de John Waters, avant de basculer vers une douceur extrême quand Ewan McGregor décolle sur du Elton John. Dans la foulée, le grotesque théâtre de boulevard de Spectacular Spectacular, avec des effets sonores de cartoon, laisse place au sentimental absolu lorsque Satine chante sa douleur (“One day I’ll fly away…”) avant de décoller sur l’inoubliable Elephant Love Medley  avec Christian.

À l’harmonie, Baz Luhrmann préfère une forme de chaos coloré, comme un buffet à volonté où tout le monde pourra vomir, ou se remplir la panse comme jamais. Moulin Rouge !, c’est une comédie musicale, c’est un théâtre de boulevard, c’est une tragédie, c’est une romance, c’est un show, c’est un cirque. C’est un monde entier qui brille, vit et vibre à l’écran, à coups de ralentis, accélérations, travellings, très gros plans, effets de montage et autres instruments que Baz Luhrmann agite dans tous les sens.

Le réalisateur n’a probablement jamais été inspiré que dans cette bulle hors du temps, où il emballe quelques-unes des plus belles scènes de sa filmographie. Il n’y a qu’à revoir son tango de Roxane pour mesurer l’ampleur de sa mise en scène, sa maîtrise formidable du montage pour créer violence et émotions, et l’énergie étourdissante de son cinéma.

 

Appelez la Police

 

Moulin Rouge ! changera tout ou presque pour ses étoiles. Les portes s’ouvriront en grand pour Baz Luhrmann, qui ne s’est finalement jamais vraiment remis d’un tel miracle. Sortie d’Eyes Wide Shut, Nicole Kidman était alors possédée par un beau démon, puisqu’elle allait enchaîner sur Les Autres, The Hours et Dogville, dans un élan de cinéma magique. Et bien sûr, Hollywood s’est engouffré dans la brèche musicale, avec une ration quasi annuelle par la suite (Chicago, Le Fantôme de l’Opéra, Les Producteurs, Rent, Dreamgirls, Across the Universe, Hairspray, Sweeney Todd, Mamma Mia !,…).

Rien n’arrivera à la cheville de Moulin Rouge ! en termes de dimension, d’audace et de risque. Baz Luhrmann n’a certainement rien inventé, mais comme un Tarantino, il a bouffé, digéré et remixé quantité d’influences pour créer une petite folie éternelle, et unique en son genre. Et c’est tellement beau que même le simple générique de fin, sur un Bolero réarrangé, est un bijou.

Australia

Sortie : 2008 – Durée : 2h35

 

Autant en emporte le ranch

 

Australie, 1939. Alors que la Seconde Guerre mondiale approche, l’aristocrate Lady Sarah Ashley débarque en Australie avec ses grands airs et ses belles robes. Découvrant que son mari a été tué, elle se met en tête de reprendre en main son ranch, perdu au milieu de nulle part, avec des employés aborigènes et du bétail convoité par la concurrence. Le seul moyen de s’en sortir : traverser l’outback pour amener le bétail à la ville, dans un périple que personne n’aurait osé entreprendre.

Australia est resté dans les mémoires comme le grand crash de Baz Luhrmann, et c’est largement vrai. Ce Autant en emporte le vent australien a été un échec en salles (budget de 130 millions, environ 211 millions au box-office), avec également une critique très mitigée et zéro gloire aux Oscars (hormis une nomination pour les costumes). Mais passer après le succès phénoménal de Moulin Rouge ! était kamikaze pour le réalisateur et Nicole Kidman, surtout avec une fresque old school aussi chère (130 millions, contre 50 pour la comédie musicale).

 

Kid et Kidman

 

C’est d’autant plus triste que le film est né dans la douleur. Luhrmann planchait sur sa version d’Alexandre le Grand, avec Leonardo DiCaprio et Nicole Kidman, qui a finalement été abandonnée face au film d’Oliver Stone. Il a donc changé son fusil d’épaule pour assouvir son véritable désir : une grande fresque dans son Australie natale, dont il a étudié l’histoire avant de se décider à raconter la relation à l’Angleterre et le destin des aborigènes, et plus particulièrement des Générations volées (les enfants des aborigènes, souvent métis, enlevés de force par le gouvernement australien pour être placés dans des orphelinats ou des familles blanches, de 1869 à 1969).

La production a en plus été une épreuve du début à la fin, que ce soit avec le casting (Luhrmann a longtemps attendu Russell Crowe, avant de choisir Hugh Jackman, et Nicole Kidman a appris qu’elle était enceinte avant de commencer l’aventure très sportive), le tournage lui-même (premières pluies dans le désert australien depuis un siècle, chevaux mis en quarantaine pour grippe équine), ou des rumeurs de gros problèmes (dépassement de budget et désaccord avec les producteurs sur le montage, notamment la fin du film).

Mais peu importe. Ce désordre est presque parfait puisque le film est une anomalie un peu magique.

 

On achève bien les chevaux

 

Conçu aux antipodes de la trilogie du rideau rouge, Australia est probablement le plus sobre des films de Baz Luhrmann – et c’est dire à quel point le cinéaste est un fervent ennemi des épileptiques. Rêvant d’une grande fresque à la Autant en emporte le vent et Lawrence d’Arabie, il voulait une histoire simple et épique, qui rassemble la comédie et le drame, l’aventure et la romance, pour réunir tous les publics. C’est donc l’abécédaire des clichés du genre, de la romance entre l’aristo et le cow-boy au happy end absurde, en passant par les miracles en cours de route et le grand vilain parfaitement vilain.

C’est à la fois la force et la grande limite du film : cette foi inébranlable et suicidaire dans son ambition, son histoire, ses personnages, pour former un grand tableau. Baz Luhrmann a peut-être un peu calmé sa mise en scène et son montage, mais Australia demeure une grande démonstration de son appétit de cinéma. Il rêve grand, très grand, peut-être trop grand, mais toujours avec une candeur fantastique, et unique en son genre.

Dès l’intro, d’une beauté à couper le souffle en quelques plans (Nullah sous l’eau, qui assiste à la mort de Maitland), un vent romanesque souffle sur le film. Le pic de la tempête arrivera une heure après, avec une grande scène aux airs de Roi Lion redux, où le petit héros arrête un troupeau au bord d’une falaise. Le choix est là : rire devant cette démonstration de force extrême, ou s’émouvoir devant une pure énergie de cinéma que le réalisateur utilise comme un feu d’artifice. Car Baz Luhrmann maîtrise indéniablement sa caméra, et parvient toujours à mettre en scène et en harmonie personnages, mouvements et décor pour créer un monde qui regorge de vie et détails.

 

Magic in the sunlight

 

Australia ne se remettra pas de cette première heure fabuleuse, qui laisse rêver d’un film entièrement dédié à ce périple sauvage. Une fois la ville retrouvée, le film retombe dans les chemins tristounets du grand drame sentimentalo-guerre, avec une suite de scènes convenues qui mettent en lumière l’écriture très pauvre des personnages – et Nicole Kidman, qui a rarement été aussi mal dirigée. Sans l’énergie des grandes étendues de l’Australie, sans le mouvement désespéré pour rejoindre l’océan, l’histoire commence à trembler.

Depuis, Baz Luhrmann a annoncé un remontage entier du film, pour le transformer en une mini-série de 6 épisodes, intitulée Faraway Downs (le nom du ranch de l’héroïne). “Pour plusieurs raisons qui ne méritent pas que j’en reparle, je n’ai jamais pu finir ce film comme je l’avais envisagé. (…) J’ai enfin réussi à achever ce que j’avais commencé, de la façon dont je le souhaitais. Le public a estimé que le film était trop long, mais la véritable raison derrière cette longueur ressentie, c’est que plusieurs points clefs de l’histoire n’étaient pas là.” Le point final d’une aventure un peu maudite et empêchée ? Réponse bientôt sur Hulu, aux États-Unis, courant 2022.

Gatsby le magnifique

Sortie : 2013 – Durée : 2h22

 

Well done Baz

 

Printemps 1922, en plein dans les années folles, l’aspirant écrivain Nick Carraway s’installe à New York où il vogue entre les fêtes mondaines délirantes des milliardaires, les innombrables mensonges de la haute bourgeoisie et les désillusions du rêve américain. Au milieu de tout ça, il se retrouve mêlé à l’amour impossible de son mystérieux voisin, Jay Gatsby, et de sa cousine, Daisy Buchanan, et devient le témoin privilégié d’une tragédie dont il va tenter de rétablir la vérité.

Après l’échec de Australia, comment Baz Lurhmann pouvait revenir sur le devant de la scène et retrouver le style si particulier ayant fait sa renommée ? Honnêtement, il y avait sans doute de nombreuses manières, mais son Gatsby le magnifique était sûrement un objet en or pour le réussir. Car les années folles correspondent évidemment à la décadence de l’Australien entre leurs costumes luxueux, leurs manoirs somptueux, leurs voitures classieuses et évidemment leurs débauches de richesse, d’alcool, de trucs qui brillent… Il n’y avait absolument personne de mieux placer pour capturer l’opulence de cette période, et assurément, le pari visuel est à la hauteur.

 

Les années 20 comme si on y était

 

Il faut dire qu’encore une fois, l’Australien a convaincu le studio (ici Warner, après des années de collaboration avec 20th Century Fox) de lui confier un budget mirobolant : 125 millions de dollars. Alors évidemment, avec une telle somme à sa disposition, le monsieur a pu s’amuser à hauteur de ses ambitions pop : folie démesurée lors des fêtes se déroulant chez Gatsby, jeux de caméra tourbillonnants pour exploser le rythme, jeux de perspectives lors des balades en voitures et même présence d’une 3D, assez inutile certes, mais plutôt impressionnante (même si tout le monde l’a oubliée depuis sa sortie en salles).

D’ailleurs, contrairement à ce que l’on pourrait penser, le film n’a pas été tourné à New York (lieu du récit), mais bien en Australie, dans les mêmes studios que Moulin Rouge ! et Australia. Sans aucune contrainte vu le budget, Luhrmann a donc pu reconstituer un New York des années 20 numérique assez fabuleux, jouant avec la démesure des gratte-ciels pour écraser un peu plus ses personnages, les isoler, ou à l’inverse, les faire ressortir au milieu de l’exubérance new-yorkaise.

 

Paillettes, costumes, 

 

Et quand un casting de rêve — Carey Mulligan, Tobey Maguire et surtout Leonardo DiCaprio en Gatsby — mène la danse, le long-métrage parvient indiscutablement à faire rêver à plusieurs reprises. D’autant plus grâce à une utilisation de la musique toujours aussi anachronique avec du rap, du R’n’B, des musiques de Jay-Z, Beyoncé, André 3000 et surtout Lana Del Rey et son superbe Young and Beautiful, captant pleinement le vrai sujet du Gatsby version Luhrmann.

Car oui, comme tous les films de Baz Luhrmann, Gatsby le magnifique ne s’intéresse pas vraiment à l’entièreté du roman culte qu’il adapte (notamment toute sa portée socio-économico-historique), mais quasi-exclusivement à l’histoire d’amour impossible entre Daisy Buchanan et Jay Gatsby. Et forcément, c’est ici que le film gagne ses galons et perd aussi son potentiel.

 

Leur amour, le point central du film

 

Sur l’aspect purement romantique, le long-métrage embrasse si bien la passion amoureuse entre les personnages qu’il en naît une vraie belle tragédie. Indiscutablement, on croit à cette histoire d’amour impossible à travers les tourments des deux amoureux, le regard extérieur de Nick et ce coup de téléphone final venant étouffer l’espoir des spectateurs, éteindre celui de Daisy et rallumer dans un dernier souffle celui de Gatsby, mourant amoureux et imaginant que Daisy était au bout du fil qu’il n’atteindra jamais.

En revanche, Gatsby le magnifique est très décevant sur le reste du récit, demeurant très superficiel sur tous les sujets abordés (l’argent, la lutte des classes, la désillusion du rêve américain) malgré des idées visuelles évocatrices qu’il aurait été intéressant d’explorer en profondeur (cette démarcation lunaire entre le monde des riches et le monde industriel des pauvres). Bref, tout ce que racontait, in fine, le bouquin de Francis Scott Fitzgerald, est mis de côté pour un résultat en demi-teinte, aussi haut en couleur que tristement bas du front. 

The Get Down

Sortie : 2016- Durée : 11 épisodes entre 50 et 75min

 

 

En 1977, la jeunesse du South Bronx fait ce qu’elle peut pour garder la tête hors de l’eau. Pour une bande d’adolescents en rupture de banc, la naissance du disco va être une opportunité émancipatrice enivrante.

On disait Baz Luhrmann fini après la réception glaciale de son Gatsby et la catastrophe Australia. Personne ne croyait Netflix capable de proposer un divertissement thématiquement ambitieux, formellement audacieux, à la hauteur des créations les plus accomplies de networks traditionnels. Autant d’affirmations qui se sont révélées fausses à la découverte de The Get Down, joyau furibard, certes inégal, mais parmi les œuvres les plus intéressantes découvertes son année de sortie. 

Tout d’abord, quand de nombreux esprits chagrins caricaturaient le style du réalisateur comme une perpétuelle éruption d’effets tape-à-l’œil, volontiers gratuits, voire contre-productifs, la série lui (re)donne un matériau idéal pour prouver que sa profusion d’énergie cinétique est tout sauf gratuite. Comme dans Romeo + Juliette ou Moulin Rouge, c’est de l’intensité de ses protagonistes qu’il tire toute la sève de son dispositif. Leurs enjeux sont complexes, leurs élans profonds et leurs conflits aussi intimes qu’essentiels. 

 

Le royaume perdu des dinosaures du disco

 

Dès lors, la caméra, durant les morceaux (de bravoure) musicaux, mais dans toutes les scènes du quotidien également, peut s’emparer des émotions bouillonnantes charriées par la narration, et les dépeindre via des effets de montage et de découpage extrêmement spectaculaires et complexes. Certaines séquences chantées ou dansées contiennent les plus belles expérimentations de ces dernières années en la matière, et pour cause, elles permettent également de remettre sur le devant de la scène la dimension politique de l’artiste. 

Plasticien flamboyant, feu d’artifice filmique à lui seul, Baz Luhrmann a toujours veillé à placer ses personnages au cœur de dispositifs plus fins qu’ils n’y paraissent de prime abord. En effet, tous entretiennent un rapport bien singulier, et souvent hostile, au milieu dans lequel ils évoluent, quand ce dernier ne les épargne jamais. Une question qui ici s’incarne via des problématiques sociétales évidentes, mais pas seulement via les actions de ses protagonistes, puisque c’est bien le traitement musical qui devient un enjeu narratif, symbolique et politique. 

 

Se tenir à carreau

 

Hybridant les styles et les époques tant pour commenter leurs évolutions à venir que caractériser ses artistes en herbe, la révolte chez Luhrman est également sonore, et va dans The Get Down beaucoup plus loin qu’auparavant dans sa carrière. Cette immersion dans le South Bronx de la fin des seventies, c’est aussi une exploration d’un pan fondamental de la culture populaire, trop souvent reléguée aux marges de la culture institutionnelle, ou réduit à ses représentations les plus grossières.

Et le metteur en scène de se rappeler à nous comme un auteur capable non seulement d’investir d’autres formes que celles du récit classique de cinéma, mais aussi de les subvertir, de les interroger, pour mettre en lumière les origines des sons et des images qui saturent aujourd’hui encore notre univers commun. 

Elvis

Sortie : 2022 – Durée : 2h39
 

Ici, tout commence

 

La vie d’Elvis Presley, son oeuvre, son influence, ses multiples succès et déroutes, au coeur de l’Amérique des années 50-70.

Dès 2014, Baz Luhrmann est décidé à clôturer sa trilogie épique d’une manière ou d’une autre (son biopic sur Alexandre Le Grand ayant été abandonné et son film sur la Russie aussi). Il s’embarque donc immédiatement dans le biopic d’une autre icône de l’Histoire, beaucoup plus récente cette fois, avec Elvis Presley. Sauf qu’évidemment, avec la réception malheureuse de Gastby le magnifique, le cinéaste va prendre une petite pause et surtout, prendre son temps pour revenir à son meilleur.

Après un brillant passage par le petit écran avec The Get Down — malheureusement trop peu remarquée et trop peu appréciée par la critique et le public pour être renouvelé par Netflix, d’autant plus avec son budget exorbitant de 120 millions pour 12 épisodes —, l’Australien se relance donc corps et âme dans Elvis dès 2019. Et après une production sacrément compliquée (à cause du Covid en particulier) de près de trois ans, Baz Luhrmann a pleinement réussi son retour en force au cinéma.

 

La folie des concerts

 

Présenté en grande pompe au Festival de Cannes 2022 en présence de la famille du King (son ex-femme Priscilla, sa fille Lisa Marie et sa petite-fille Riley Keough), le long-métrage a reçu un accueil dithyrambique de la part de la critique et du public sur place. Il faut dire qu’indiscutablement, Elvis est une grande et belle réussite, se logeant directement dans le haut du panier de la filmographie de Luhrmann. Et en même temps, il était difficile pour le cinéaste de trouver un sujet qui pouvait mieux englober toutes ses thématiques fétiches entre la musique, la démesure, l’amour et une époque fascinante.

Dès les premières secondes, Baz Luhrmann enflamme donc tout, dans un déluge de délires visuels, où la caméra tourbillonne, où les splits screens se succèdent, où la musique retentit de plus en plus fort dans un montage de plus en plus dynamique. L’Australien retrouve son style baroque dans une première heure surexcitée, euphorique, épuisante, spectaculaire, où il met à l’honneur sa nouvelle coqueluche, l’incroyable Austin Butler, dans la peau du roi du rock’n roll tout en saisissant la décadence de son milieu.

 

La naissance d’une nouvelle forme de capitalisme

 

Mais au-delà du simple biopic d’une icône, Elvis raconte l’histoire d’une époque, celle de l’Amérique des années 50-70. Comme Baz Luhrmann l’avait déjà fait avec intelligence dans The Get Down, la percée musicale d’Elvis puis l’évolution de son style, de ses chansons… devient un enjeu politique, historique et social. C’est ici que le cinéaste mature son récit en transformant le biopic classique en une réflexion plus mélancolique sur le parcours d’un homme et son influence sur tout un pays, toute une culture.

Le long-métrage décrit alors les bouleversements sociétaux et économiques (la naissance du show-business) de ce pan des États-Unis avec brio, parvenant même à faire résonner certaines des problématiques de l’époque avec la nôtre (cette vague “d’africanisation” qui effraie les conservateurs rappelant étrangement leur peur irrationnelle actuelle des “envahisseurs wokistes”). Et alors, dans un geste fabuleux, Luhrmann calme ses ardeurs esthétiques, préférant ralentir le rythme de son métrage, effacer la décadence de son style, pour mieux capter la solitude de son héros.

 

Une star finalement très isolée

 

Il en résulte une grande fresque musicale à la fois électrisante et désenchantée. Et même si le métrage est sûrement beaucoup trop long pour son propre bien (avec 2h39 au compteur, c’est le plus long film de Luhrmann à ce jour) et que la narration en voix-off du Colonel Parker (joué par un Tom Hanks pas franchement convaincant) est assez agaçante, ce Elvis reste plein de ressources pour offrir un spectacle plus inattendu qu’espéré.

D’ailleurs, avec un peu de chance, l’Australien dévoilera un jour la Director’s Cut de 4h de son Elvis qui, selon lui, contient des scènes coupées notamment avec la troupe du cirque, la première petite-amie d’Elvis, Dixie, ou la rencontre entre le chanteur et Richard Nixon. Autant dire qu’on n’en a pas encore fini avec la musique du King chez Luhrmann, et c’est peut-être pour le mieux.

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Moulin Rouge, Gatsby, Elvis… Baz Luhrmann, le plus beau cauchemar des épileptiques

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