Отправлено: 27.05.09 08:28. Заголовок: Получила фильм из Оз..
Получила фильм из Озона. Русская и английская звуковая дорожка, субтитры русские и английские. А также фильм о фильме, удаленные сцены и неудачные дубли, ролик и фотогалерея. Всё как на аглийском диске.
Отправлено: 28.05.09 19:05. Заголовок: Дамы, я тоже получи..
Дамы, я тоже получила лицензионный диск фильма, и он куда более радует, чем ГиП, но не без минусов. Небольших. Титры прописными буквами, и переключаются только через меню, ну, мелочи это.
Действительно, все те же допы, что и в английском диске, но увы, перевода к ним не появилось.
Русские титры, именно те, что в лицензионном ДВД, уже надо сказать,неск. недель народ вытащил откуда-то, вот они - http://ifolder.ru/12347556
Так что благодаря rainga мы имеем исправленные русские титры. надо сказать, что и это нелегко было сделать - опять же из-за шрифта - прописные плотные буквы тоже с трудом распознаются... Чччерт-те-что.
Jessica Biel gets the 1920s glamour treatment in "Easy Virtue," a comedy of manners based on the Noel Coward play. But it's a funny thing about style. Put this actress - acclaimed as one of the beautiful women of Hollywood - into marcelled hair and 1920s clothes, and something peculiar happens. She suddenly looks like Eleanor Roosevelt, with her wide mouth, prominent teeth and diffident air.
The diffidence is new for Biel and probably has a lot to do with the company she keeps in "Easy Virtue." Acting with heavy-hitters such as Colin Firth and Kristin Scott Thomas, Biel seems cowed.
At other times, she overcompensates by flailing, as though finally letting loose to play a 1920s woman as just another strident gal from 2009. Biel never finds the balance between herself and the character, between complete naturalness and period style.
Neither does director Stephan Elliott, which probably explains why he couldn't help her. Sometimes he approaches "Easy Virtue" as a straight adaptation and at other times he seems to be sending it up, observing the characters from a sardonic distance. And yet - and this is what makes this movie different from at least 90 percent of others that get off to a shaky start - Elliott recovers. Despite its director's little lapses in tone and judgment, "Easy Virtue" gets better as it goes along.
So does Biel, though it might not be anything she herself does. She plays an American widow, Larita, a racecar driver and 1920s adventuress, who marries into a wealthy English family.
Her young husband (Ben Barnes), barely out of adolescence, brings her home to the family estate, where the mother (Thomas) instantly reviles her, and the passive father (Firth) immediately recognizes her as the real thing, as a woman of courage and integrity.
Biel owes a huge debt to Firth. With his sorrowful, truthful gaze, Firth eventually persuades us to see Larita as he sees her. It's Firth, far more than Biel, who serves up and explains Larita.
He looks into her and sees deep life pain and strength and character, until we start . . . in fact, we never really see this in Biel, but we stop noticing that we don't see it. We believe he sees it. We believe it's there.
Until "Easy Virtue" deepens in that way, it's likable enough, with Kristin Scott Thomas playing up the comedy of the controlling mother, while keeping her within the bounds of realism and even audience sympathy.
Katherine Parkinson and Kimberley Nixon also strike the right comic balance as Larita's cloistered, neurotic sisters-in-law. Only Biel lends the sour note. She blasts out of discomfort by giving into a familiar young actress' reflex, to convey strength through anger and outrage, and the director never tells her to cut it out.
Elliott incorporates some of the zaniness of his breakthrough feature, "The Adventures of Priscilla, Queen of the Desert" (1994), into "Easy Virtue," but it's an awkward match with Coward. Too often, he lets Marius De Vries' soundtrack comment sarcastically on the action, and in a dinner scene he indulges a too-cute trick of leaving the camera on a single shot for a long stretch, adjusting the focus as each character speaks in turn. Still, when it's time to get serious, Elliott gets there.
He understands the one essential thing: Firth is the movie. That character, a bon vivant who came back from World War I a sad, changed man, is the story's locus of meaning. His desperation is underneath the Jazz Age's surface gaiety. His horror is what's fueling the 1920s' decadelong spree. Horror is why people are doing crazy stunts, like dancing on biplanes. And horror is why Larita is driving fast.
Elliott had a choice in "Easy Virtue," to turn away from the horror or face it. He takes his time, but he eventually does face it - and delivers up a good movie.
Romi
постоянный участник
Зарегистрирован: 03.07.06
Откуда: Минск
Отправлено: 30.05.09 01:51. Заголовок: гор пишет: Так что ..
гор пишет:
цитата:
Так что благодаря rainga мы имеем исправленные русские титры.
гор rainga Спасибо, солнцы!
Romi
постоянный участник
Зарегистрирован: 03.07.06
Откуда: Минск
Отправлено: 03.06.09 02:20. Заголовок: The choreographer te..
The choreographer teaches Colin Firth and Jessica Biel to tango
Litza Bixler puts 'Easy Virtue' in step The choreographer teaches Colin Firth and Jessica Biel to tango. By Cristy Lytal June 3, 2009 When it came to the dance sequence in the film "Easy Virtue," it took more than two to tango. Colin Firth and Jessica Biel are the pair on screen, but the woman responsible for their fancy footwork is choreographer and tango instructor Litza Bixler.
As a child in Colorado, Bixler was already expressing herself through visual art, music, dancing and gymnastics. By the time she arrived at the University of Colorado at Boulder, she had caught the film bug but didn't think it was a viable career path.
"I remember when I was first looking into courses back when I was really young, 18 years old," says Bixler. "This would have been in the late '80s, and the film industry still felt very male-dominated to me. I remember feeling quite scared off by it. It's weird that I ended up going into the dance world, which is completely female-dominated."
Bixler earned her masters in choreography from the University of Surrey in England before forming the Litza Bixler Performance Company, which creates everything from live gallery art to dance films. Since 1997, Bixler has been choreographing for the big screen -- in addition to "Easy Virtue," her work can be seen in "Shaun of the Dead," "Alfie" and the upcoming "The Boat That Rocked."
Not strictly ballroom: In "Easy Virtue," the tango between the characters -- a flamboyant, dйclassй American and her new British father-in-law -- has to express everything that words can't. "We always knew it was an important scene, because it was having to tell a lot about the state of that relationship just in that two-minute tango," says Bixler. "That's why I opted for using Argentinian tango rather than ballroom tango. In Argentinian tango, the pelvises are actually separate, and the heads are touching. It's just more gentle. It's more intimate without being really sexual, and that felt right for where the characters were at. You could see a father and a daughter doing Argentinian tango for instance, and there's something really beautiful about that."
From the bordellos of Buenos Aires: In the 1920s, when the film is set, Argentinian tango had only recently been invented. "Originally, Argentinian tango was done between two men, [usually] prostitutes," explains Bixler. "It wasn't necessarily about mating as much as it was about fighting. You can see that with a lot of the sharp foot movements. So in the context of the film, it was a very risque thing to do, to do the Argentinian tango. It's in this very uptight British context. So I did do research into the history of the style itself, because it is fascinating when you look into that."
Follow her lead: Before teaching the sequence to Firth and Biel, Bixler designed and tested out the choreography on herself and her friend Juan Pablo Di Pace. "It was important that we made the sequence on a man and a woman," she explains. "[Sometimes] I'll have a male and female assistant, and I'll make everything on them, and I won't necessarily dance at all. In this instance, the reason why I didn't do that is my female assistants that I knew hadn't done Argentinian tango and I had. So I said, 'Well, I'll go ahead and just do it myself.' Juan is actually an actor, but he's Argentinian, so he knew some tango. He was the love interest for Colin's character in 'Mamma Mia!' So I thought that might make Colin a bit more comfortable, because I knew that Colin was really nervous about learning the tango."
So you think you can dance?: Biel has extensive ballet and gymnastics training. Firth, on the other hand, does not. "Colin isn't really wild about dancing in the first place, which he'll happily admit," says Bixler. "And I remember he was very nervous on the day that we were shooting, but he did really well. I know he said afterwards it was something he was really, really proud of, that he was able to do it in the end, because it's not easy. It's especially hard for him, because he's doing all the leading. [His character] is a man who at some point in his life learned how to do Argentinian tango but isn't necessarily a professional dancer, and that's very much how it comes across in the film. So he looks great, and we didn't use a body double or anything like that. It's all Colin and Jessica."
Литца Бикслер ставит «Легкое поведение» на танцпол
Хореограф преподает танго Колину Ферту и Джессике Бил.
Кристал Лайтел. Июнь 2009
Когда дело дошло до танцевального эпизода, пришлось поработать не только Колину Ферту и Джессике Бил, но и балетмейстеру и преподавателю танго Литце Бикслер, ответственную за причудливые движения их ног.
Еще в детстве в Колорадо Бикслер увлекалась искусством, музыкой, танцами и гимнастикой. Она училась хореографии в Университете Суррея в Англии и основала свою компанию «Litza Bixler Performance Company», которая занимается постановкой танцев для кино.
«Танго, которое танцуют герои в «Легком поведении», — яркая американка и ее новый свекор — должно выражать все, что не могут сказать слова. Мы знали, что это очень важная сцена, поскольку двухминутный танец должен многое рассказать об их отношениях, — говорит Бикслер. — Поэтому я предпочла классическому танго аргентинское, в котором тела разделены, но смыкаются головы. Оно намного мягче. Оно намного интимней, не будучи излишне сексуальным, и это соответствовало ситуации. Просто отец и дочь, танцующие аргентинское танго, — очень красиво».
«Аргентинское танго появилось незадолго до 1920-х, в которых происходят события фильма, — объясняет Бикслер. — В нем больше борьбы, чем соприкосновений, много резких движений ногами. Использовать аргентинское танго в контексте этого фильма было очень рискованно — в этом чопорном британском окружении. И я тщательно изучила стиль самого танца, поскольку всегда увлекательно понять танец изнутри».
Прежде чем обучать Колина и Джессику, Бикслер срежиссировала и отрепетировала танец со своим другом Хуаном Пабло Ди Пасе. «Важно, что мы поставили весь эпизод на женщину и мужчину. Обычно у меня есть помощники — мужчины и женщины, и я репетирую танец на них, а у меня вообще нет необходимости танцевать. В этом же случае я танцевала сама, потому что мои помощники не знали па аргентинского танго, а я знала. Поэтому я сказала: — «Ну, вперед — сделаем это сами». Хуан — актер, но он аргентинец и умеет танцевать танго. Он играл пассию героя Колина в «Мамма Миа!», и я подумала, что это немного успокоит Колина, потому что знала, как он переживал по поводу танца».
«Бил много занимается балетом и гимнастикой, чего нельзя сказать о Ферте. Колин не слишком увлечен танцами, которыми тем не менее очень восхищается. Я помню, что он очень волновался в день съемки, но справился отлично. После съемок он сказал, что очень, очень гордится тем, что сумел это сделать, потому что было непросто. Особенная трудность для него состояла в том, что он был ведущим в паре. Его персонаж — человек, который когда-то учился танцевать аргентинское танго, но необходимости заменять его профессионалом не было — очень важно, как сцена преподносится в фильме. Он был хорош, и мы не стали брать дублера. Все сделали Колин и Джессика».
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