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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
I See Good Movies
22-07-06 suggested by: kikiriki  

 


By Ross Douthat
In defense of M. Night Shyamalan.


M. Night Shyamalan It's shaping up to be the worst summer of M. Night Shyamalan's charmed career. Nearly a decade has passed since The Sixth Sense catapulted him onto the Hollywood A-list, and the critics have been souring on his twist endings, earnest mysticism, and crowd-pleasing thrills.

His last film, 2004's The Village, received generally derisive reviews, and the about-to-be-released Lady in the Water has been dogged by lousy buzz ever since the script-shopping stage, when Shyamalan bolted to Warner Brothers after executives at Disney, his longtime home, didn't show sufficient respect for his brilliance. Worse, he's using the movie as a laboratory for his ambitions as a thespian: After laboring through cameo roles in his previous films, M. Night has handed himself a major part in this one, as (what else?) a struggling writer out to change the world.

All of this would be reason enough to tag Lady in the Water as a career-deflating bust. But Shyamalan has another cross to bear—the tell-all book that he foolishly allowed Sports Illustrated's Michael Bamberger to write, about Night's heroic struggles to get Lady made. The book is the mother of all embarrassments: If Night and his movies were suddenly ripped out of this plane of existence by a rogue wormhole and only The Man Who Heard Voices: Or, How M. Night Shyamalan Risked His Career on a Fairy Tale survived, it would be treasured by future generations as proof that those whom the gods destroy they first make petty, vain, and ridiculously insecure.

Not that Bamberger meant for it to turn out that way. At times, his book reads like The Devil Wears Prada, rewritten to be more sympathetic to the boss's point of view. Shyamalan is a "savant," an "athlete" of cinema beset by fools and blunderers: the philistines at Disney, led by then-president Nina Jacobson, his longtime producer (Night "had witnessed the decay of her creative vision right before his own wide-open eyes"); the critics and filmgoers who dislike his movies because they envy his success; his new assistant, who Bamberger frets might not know "exactly how her lactose-intolerant boss liked his hot chocolate." Elsewhere, the book resembles American Son, Richard Blow's memorialization of his man-crush on John F. Kennedy Jr. "I go down the New Age route skeptically," Bamberger writes of his first meeting with Night, "but I felt a powerful force coming off the guy. … If he had these powers, where did they come from?" Later, while marveling over Night's ability to know exactly when to let him read the script for Lady, Bamberger blurts out, "His timing was improbable. …I had never been so well managed—and I don't mean that crassly—in all my life."

What emerges through the haze of hagiography is a study in egomania and insecurity—the artist as pathetic prima donna, whose "Oscar nominations and his money and his farm and his beautiful wife and his adorable girls" aren't enough to keep him from pitching a fit when a Disney executive puts off reading his script to take her son to a birthday party. If you hate Shyamalan's movies, The Man Who Heard Voices will leave you feeling vindicated; if you like them, you'll find yourself wishing that you didn't.
Better, then, if nobody reads it at all, because while Shyamalan may be a narcissist with delusions of grandeur, he's also a filmmaker of rare talent and creativity (these are hardly mutually exclusive categories, after all), and however lousy Lady in the Water proves to be, he deserves to survive this summer of embarrassment and live to film again. He's not a Dylan or a Disney, to pick just two names from the roster of ridiculous comparisons that Bamberger fastens on, and his potential has often gone frustratingly unfulfilled in the nine years since Haley Joel Osment told Bruce Willis about all the dead people he kept spotting. But Shyamalan's missteps have been interesting, his mistakes worth a second look, and his obsession with the integrity of his own artistic visions, however irritating, has distinguished him from nearly all his young-Hollywood competitors.
It's worth comparing Shyamalan's career choices, for instance, with those of Bryan Singer, another wunderkind director whose big break was a dark-horse hit with a twist ending. Since establishing himself with The Usual Suspects in 1995, Singer has essentially reinvented himself as a director of comic-book blockbusters, a man to be trusted with massive budgets and well-known franchises. He's been making movies for the studios, in other words, instead of doing what Shyamalan has tried to do—which is to persuade the studios to make movies for him.
Of course there's nothing wrong, per se, with directing the two X-Men movies and Superman Returns, and Singer deserves all the kudos he's received for crafting high-standard summer entertainment. He's hardly alone, too, in taking the tent-pole-movie career path: Doug Liman started off with Swingers and now handles blockbusters like The Bourne Identity and Mr. & Mrs. Smith; Christopher Nolan went from helming Memento to revitalizing the Batman franchise; Sam Raimi leaped from the dark intimacy of A Simple Plan to the director's chair for the Spider-Man saga. This summer's highest-grossing movie to date, Pirates of the Caribbean: Dead Man's Chest, is the work of another of Shyamalan's contemporaries, the versatile and talented Gore Verbinski.
But this path comes with a price. You find yourself making sequels and franchise pictures rather than finding (or writing) new and unusual stories of your own. You labor to elevate essentially flimsy material rather than starting off with something deeper and more complicated. And even when you raise the bar, you aren't raising it terribly high: For all the poise and polish and "subtext" of Singer's superhero movies, nothing he's done lately rises much above the level of a well-oiled July afternoon thrill ride, let alone his early work in Suspects.
Shyamalan, by contrast, doesn't make sequels or franchises (he turned down a chance to script Indiana Jones IV). He doesn't adapt Dan Brown best sellers, or Robert Ludlum potboilers, or Disney theme-park rides. He doesn't rely on CGI, or even use it much—and while he seems to love comic books as much as any of his Marvel and DC-adapting peers, his own superhero movie, Unbreakable, did something different and more interesting. Unbreakable feels incomplete at times, like a shard of a larger, better motion picture, and it doesn't use Bruce Willis' essential flatness and opacity nearly as well as The Sixth Sense did. But for all its flaws, it succeeds in bringing the superhero genre down to earth in ways that no Superman or Batman film could even think about attempting (consider the remarkable moment when Willis discovers his superhuman strength while lifting weights in the basement with his son). By example, the movie also hints that Singer's more conventional comic-book movies—and Raimi's and Nolan's, for that matter—are a good way to make a living, but a creative dead end.
Similarly, Steven Spielberg was widely praised for stripping last summer's War of the Worlds of countless genre tropes—panicked generals, heroic presidents, mad scientists, and so on. But it was Shyamalan's Signs, three years earlier, that was actually the more daring space-invader movie, in its attempt to meld science-fiction and horror by bringing the aliens home, to a single farmhouse and family, and using them as the sum of all our metaphysical fears. Sure, it lost momentum in the last act, with a literal deus ex machina and a less-than-frightening computer-generated alien, but then again, the third-act problem is one that no alien-invasion movie has managed to solve, Spielberg's least of all.
Even The Village, Shyamalan's least-liked movie to date, has a great deal to recommend it. A weird, slight, and beautiful fable about utopia and modernity, it was dressed up as another twist-ending zapper and marketed as a Sixth Sense-style thriller, which left critics and audiences alike feeling understandably cheated. But if you strip away the studio hype and the director's showman tics, it makes an intriguing counterpoint to his earlier movies—as a partial rebuke to their credulous supernaturalism, perhaps, and as an attempt (by a director as sex-shy as Spielberg) to grope, with his blind heroine, through the comforts and terrors of fairy tales toward the darker wisdom of adulthood.
In The Village, as in all his films, Shyamalan seems to be aiming for something, amid our summers of high-grossing superhero movies and our winters of little-seen Oscar-bait projects, that's increasingly rare these days: a marriage of entertainment and art, of mass-market tastes and elite sensibilities. This is a hard combination to pull off, as his stumbles have demonstrated, but it's precisely the goal that the film industry, home to our last mass art form, ought to be aspiring to. So, Shyamalan deserves credit, despite his vanity and his missteps—not because he's succeeding, necessarily, but because he's willing to keep trying and unwilling to take his place with those timid, highly compensated directors who know neither victory nor defeat.









Publicado originalmente en www.slate.com

   
 

Rating: 4 - 1 voto(s).

   
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_HistÓrico_Cine

07-04-16_Una nueva IMAGINACIÓN
24-04-16_ The films of Nick Zedd
15-01-12_ Un arte de intervalos. El cine según Jacques Ranciére
15-01-12_ Lies and bonds
24-04-11_ Para una conjetura estética de la maldad
11-12-10_ JEAN-LUC GODARD * FILM SOCIALISME
16-11-10_ Botanica mutante y otras hierbas
21-11-10_ pre-position n. 3: ON
21-11-10_ Restrospectiva en corto
17-10-10_ 9 Postales desde el cine de Ciencia Ficción
03-10-10_ NOTHING LASTS FOREVER
19-04-10_ Alice Through The Lens
10-01-10_ SÉ LO QUE ES CUANDO LO VEO* breve intro a la imagen pornográfica
31-10-09_ Snuff: A Documentary About Killing on Camera
17-09-09_ FILMINUTE
18-09-09_ Captain Celluloid vs the Film Pirates
13-09-09_ Lo no pornográfico
14-06-09_ The Manson Family
14-06-09_ Las paradojas del ARTE
17-09-09_ John Wisniewski interviews Jack Sargeant
24-05-09_Matar al padre
10-05-09_ Autista, bisexual, flaca, pequeña y peligrosa
19-04-09_ CONTROL
09-02-09_ The Archers Manifesto
15-12-08_ El destino del cine como arte * Jacques Rancière
02-01-09_ EL PERFUME, LA MÚSICA Y EL PORNO
26-10-08_ Películas extrañas
01-11-08_ La ética que Hollywood nos dejó
11-10-08_ VERTOV * El hombre y la cámara
18-09-09_ A Walk Into the Sea * Danny Williams and the Warhol Factory
20-09-08_ Derek Jarman * JUBILEE
18-09-09_ Los organos sin cuerpo de Hitchcock
20-07-08_ Stanley Kubrick's Boxes
22-07-08_ Jack Chambers * The hart of London
18-09-09_ 50 AÑOS CON "VÉRTIGO" 1958-2008 (I) * Intro 
15-06-08_ El estúpido ritmo de los demás
22-07-08_ LIQUID SKY ;-)
25-06-08_ TAKESHI KITANO * Master Class + El imprevisible (txt)
15-06-08_ El cine según Slavoj Zizek
15-06-08_ BLAST of SILENCE
06-06-08_ UNSEEN CINEMA
25-05-08_ Koji Wakamatsu
11-05-08_ Tulse Puper !¡ 1...2...3...
23-04-08_ Agitar, protestar, educar
27-04-08_ Leer en la oscuridad
27-04-08_ DIVINE TRASH
13-04-08_ Humildad sublime
24-03-08_ Stan Brakhage * Interview with Pip Chodorov
08-06-08_ The tao of Cristina Ricci
27-02-08_ Las películas de Philip K. Dick
17-03-08_ Crispin Glover * What it is? + The Big Problem (dou pack)
22-02-08_ Christina Ricci * Penelope
24-03-08_ Nobuo Takahashi: Godzilla, al revés
24-03-08_ CREENCIA Y PENSAMIENTO * ética y práctica del cine en la filosofía de Gilles Deleuze
02-03-08_ I'm fucking Matt Damon
24-03-08_ De la verosimilitud a la autenticidad * Atonement, un caso práctico
12-01-08_ BE KIND REWIND
19-12-07_ BitTorrent, A Boom To Independent Filmmakers
26-12-07_ Groupe MEDVEDKINE
02-12-07_ Ernie Gehr y el cine sin argumento
02-12-07_ Documental y Ficción, Masculino/Femenino
11-12-07_ El cinematógrafo como forma artística
30-11-07_ Chris Marker * Ensayo Fílmico ;-)
09-12-07_ Promesas del Este...
24-11-07_Still Life
16-11-07_ The five obstructions
01-01-08_ Montaje del desastre
26-09-07_ Por qué nos gusta tanto "El hombre de los ojos de Rayos X"
10-10-07_ Entrevista * Gyorgy Lukacs (va de cine)
16-09-07_ Entrevista* Orson Wells
25-09-07_Caotica Ana y la cosmogonia
25-09-07_Last minute
11-09-07_ Naomi Klein y Alfonso Cuaron
25-08-07_ Removiendo turbias raices con agua de primavera
10-05-08_ Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood
04-08-07_ "Euphoria", una historia sobre el amor brutal
03-08-07_ 28 osstias te daba yo
25-08-07_ The Pirate Bay Launches Bergmanbits, A Tribute to Ingmar Bergman
05-08-07_ Avant-Garde: Experimental Cinema of the 1920s and '30s
31-07-07_ Después de todo
23-07-07_ Raymond Salvatore Harmon: Secrets & Light
31-07-07_ Lo has visto ya todo, no hay nada más que ver ...
06-07-07_ Beat Takeshi, generación beat, no me digas nada -Takeshi's, Last Days, Carlos Pazos
26-06-07_ X men
26-06-07_ Wanderlust
29-05-07_ The evolution of snuff
23-04-08_ Fay Grim * Hal Hartley
30-05-07_ Shorts and Hal Hartley Interview
26-06-07_ Maya Deren * The complete films
26-08-07_ INLAND EMPIRE * El desierto de lo imaginario
01-01-08_ Two short films by David Lynch
30-03-07_ Grandes diálogos: Marathon Man
30-03-07_ La vida de los otros
30-03-07_ Soviet/Russian Parallel Cinema
09-04-07_ Sátántángo * Bela Tarr
18-03-07_ The fountain * Darren Aronofsky (2006)
14-03-07_ David Cronenberg and the cinema of the extreme (1997)
22-02-07_ The End * Christopher Mclaine
01-08-07_ Clint Talks
08-07-07_¿Qué es el acto de creación? * Gilles Deleuze 
16-02-07_ Akira Kurosawa * Rashomon
09-07-07_ Entrevista * Takeshi Kitano (BEAT TAkeshi)
11-02-07_ Frente a un diluvio de películas. Redescubrir a Kracauer
06-02-07_ Factory Blah
31-05-07_ Jean-Luc Godard por JLG
07-02-07_  Por un cine de exposición * Jean-Christophe Royoux
27-04-08_ Primer * The movie... [actualizado 25_03_08]

25-01-07_ This film is not yet rated
23-01-07_ Mishima: Yukoku - Rite of Love & Death
16-01-07_ NYSUFILMS
30-08-07_ Performance * the movie
08-01-07_ A propósito de "Volver"
07-01-07_ A Pack of Apocalypse. When? Now.
03-01-07_Introduction to "Avant-Garde Film"
03-01-07_ The Heart Is Deceitful Above All Things
16-01-08_ Skidoo: Otto Preminger's Unreleased Classic
25-12-06_ Orson Welles: The one-man band
22-12-06_ Plan 9 From Outer Space * Ed Wood
22-12-06_ A Scanner Darkly * PKD
22-12-06_ F is for Fake + Almost true
20-12-06_ Searching for the wrong-eyed Jesus
20-12-06_ Los "vacíos" de Antonioni
10-12-06_ Tarnation * Subjetividades renovadas
24-11-06_ Devenir secular de la simultaneidad en el cine
28-11-06_ Iraq for sale, la nueva película de Robert Greenwald
14-11-06_ Nobody wants your film
01-11-06_A PSA on Piracy
26-10-06_Pequeña Miss Sunshine
22-10-06_Werner Schroeter * The Death of Maria Malibran
22-10-06_Sherlock Holmes y la mujer araña
26-10-06_A Scanner Darkly ****
18-10-06_Temporada de patos
17-10-06_Toshio Matsumoto * Experimental Film Works
08-10-06_Forbidden Zone
08-10-06_Old Joy * Kelly Reichardt
29-09-06_El momento de volver a partir
08-10-06_The Devil and Daniel Johnston
29-09-06_Cine por el morro en Barcelona
28-09-06_The Queen: an elegiac prophecy
19-09-06_Le Grand Bouffe 1973
19-09-06_La Dalia Negra Review: cagada y consenso
17-09-06_Lenny Bruce * Thank You, Mask Man
16-09-06_Paris forever and ever
13-09-06_Film as a Subversive Art: Amos Vogel and Cinema 16
11-09-06_The Cowboy and the Frenchman * David Lynch
08-09-06_If Footmen Tire You, What Will Horses Do?
16-09-06_Man Bites Dog director dies at 38
05-09-06_Spectres & Tribulation
05-09-06_The Fountain * Darren Aronofsky * Venecia
30-08-06_Spike lee * When The Levees Broke
03-09-06_Steal This Film
05-09-06_El coro que llevamos en la cabeza
27-09-09_ Legendary Epics Yarns and Fables: Stan Brakhage
16-04-08_ The Pervert's Guide To Cinema  [actualizado 25_03_08]
13-08-06_dotsub and IMPD
10-08-06_Primer
06-08-06_John Huston, el hombre que no quiso reinar
04-08-06_Going C.R.A.Z.Y.
28-07-06_‘Scoop’: Shades of Nick and Nora, With Woody Allen’s Shtick
22-07-06_I See Good Movies
01-07-06_El señor de la guerra
30-06-06_The Viagra Auteurs
28-06-06_Andy Warhol * A documentary by Kim Evans
28-06-06_The Films of Jack Goldstein
14-10-07_ Cinema of Transgression
08-07-07_¿Audiovisual?
08-06-06_The Net
07-06-06_Lev Manovich * What is Digital Cinema?
04-06-06_Michael Snow * Wavelength
05-06-06_Robert Rauschenberg * Linoleum
05-06-06_ Robert Morris & Stan VanDerBeek
05-06-06_ Gene Youngblood * Expanded Cinema
05-06-06_William S. Burroughs * The Cut-Ups
13-04-08_ The Weather Underground [updated 25_03_'08]
05-06-06_Francis Ford Coppola * The Junky’s Christmas
06-06-06_Alfred Leslie * The Last Clean Shirt
17-05-06_¿Por qué querrá Sam la cabeza de Al?
15-05-06_Agnes Varda: Black Panthers - Huey!
06-06-06_Alternative 3
04-08-06_Rosellini a los 100 * Decálogo de un insurrecto
04-05-06_El amor en los tiempos venideros * Codigo 46
04-05-06_Art is for pussies
21-04-06_A User's Guide to the TriBeCa Film Festival
02-04-06_Kim Ki-duk * El arco
29-03-06_The worst of the worst: 10 bottom films of 2005
27-03-06_A Filmmaking Robot
29-03-06_Horror Show
24-03-06_Young. Beautiful. Deadly revisited
20-03-06_Matthew Barney | The Cremaster Cycle
17-03-06_Thank you for Smoking
19-03-06_Anarchy in the U.K.
08-03-06_Pequeños consejos para cortometrajistas
07-03-06_Cine de ciencia ficción
06-03-06_Entrevista | Jeanne Moreau Actriz [EXP]
05-03-06_Mondovino * Agitación necesaria
05-03-06_Bush da nueva vida al cine político * Siriana
24-02-06_Transamérica / Amor de p/madre
18-02-06_La Mayor pelicula irlandesa: Film, de Samuel Beckett
07-02-06_El miedo al mono en v.o.
07-02-06_James Mangold
05-02-06_Lee Tamahori detenido por prostitución
03-02-06_Philip Seymour Hoffman
29-01-06_Sundance premia 'La ruta natural'
29-01-06_Lírica visual / UNSEEN CINEMA
23-01-06_Borrascas personales
20-01-06_Whither the DIY Auteurs of DV?
17-01-06_007 REGRESARÁ EN UN ASTON MARTIN
17-01-06_Goons of New York
16-01-06_El club de las olas
13-01-06_El lado oscuro de la épica
11-01-06_Coke Classic
11-01-06_La muerte, probablemente
09-01-06_Jon Stewart, Oscar Host
08-01-06_I Like to Watch
07-01-06_Fateless
06-01-06_Brokeback Mountain
23-12-05_A Revenger's Odyssey in Pursuit of Terrorists
12-12-05_Variety 100 años / 100 iconos del cine
06-12-05_Thinking Outside the Box Office / interview with Steven Soderbergh
03-12-05_ Flores Rotas: «Introducing» Ramón, El gato del milenio
01-12-05_Primer » Shane Carruth
08-06-05_Victor Erice » El sol del membrillo
06-06-05_Ivan Zulueta » Arrebato
06-06-05_Ridley Scott » El reino de los cielos (Vaya cruz)

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