ha ha ha... j'adoooore ce tweet...!
transaltion...
Ah, and I'm taking back all the craps I could have said about Robert Pattinson. He is amazing in Cosmopolis. #Cannes2012.cf. Celluloidz
Bien qu’on commence à connaître le bonhomme, David Cronenberg reste un cinéaste surprenant. Son dernier métrage, Cosmopolis, n’échappe pas à la règle. Le choix de Robert Pattinson pour le rôle principal, avait déjà fait grand bruit à son annonce il y a un an déjà. Prendre l’acteur à bluettes pour midinettes en pleine crise d’hormones intriguait déjà fortement. Un sacré risque pour les deux, l’un jouant peut être sa crédibilité d’auteur, l’autre pouvant s’ouvrir ou se fermer définitivement la porte du cinéma intello. Pari réussi pour les deux, Cronenberg confirmant son immense talent en direction d’acteur, parvenant à donner à l’air blafard et désabusé du jeune anglais, une dimension inattendue. Mis à part la prestation étonnante de Pattinson, il faut également rendre hommage à celle de Paul Giamatti, livrant ici sa meilleure performance.
...
Peut être à cause du lieu unique, peut être à cause de la nature même de l’intrigue, Cosmopolis se révèle très lent dans son rythme, succession de scènes de dialogue envers Packer et les différents protagonistes qu’il vient à croiser (ou plutôt qui viennent à lui), au long de sa journée. Pourtant, au travers de ces dialogues se dessine peu à peu à la fois la psychologie de ce personnage et une réflexion sur la société telle que le capitalisme l’a forgée (l’indifférence des riches, le désespoir des pauvres…), mais également, sur la vacuité de la vie de ceux qui ont tout. Vanitas vanitatum, et omnia vanitas. Malgré l’argent, le pouvoir, les femmes en abondance, Eric Packer demeure bien seul et bien désabusé du haut de sa tour, faisant un check up quotidien par peur de mourir, tout en se foutant de sa propre sécurité quand il s’agit de céder à ses caprices. Si entouré et pourtant esseulé, si jeune et pourtant désabusé, le personnage semble errer sans but, sans foi. Pour preuve, son désir d’acheter une chapelle, comme il a acheté un avion qu’il ne peut utiliser, pour posséder, comme si posséder donnait un sens à sa vie (une bien belle définition du matérialisme, conséquence collatérale du capitalisme).
cf. Lefigaro
...
Cronenberg se régale de cet univers en déliquescence. Comment filmer l'urgence de la dernière chance, cette ultime montée d'adrénaline qui pourrait bien vous sauver la mise, alors que l'embouteillage géant paralyse New York? Packer se noie, mais il espère toujours que son coiffeur lui révélera la solution. Dans cet univers taraudé par le virtuel, il cherche à décrypter le code qui démasquera celui qui veut sa mort. David Cronenberg filme au plus près ce mort-vivant qui se débat dans l'océan déchaîné de la finance mondiale. Apocalyptique, visionnaire, physique, cette sombre fable futuriste submerge le spectateur et l'emporte. Cette année, à Cannes, Cronenberg a refait surface
from The Playlist
It’s fitting that Pattinson, today’s It boy, plays Packer, considering who Cronenberg’s Packer is. As a former start-up wunderkind, the 28 year-old Packer is comically death-obsessed. “We die every day,” he risibly exclaims to one of his sizeable retinue of advisors. Packer gets daily check-ups from his doctors partly because he enjoys the routine of it but also because he’s looking for something to confirm his suspicions. He’s convinced he’s found that something when he’s told that his prostate is asymmetrical. It’s pretty funny to see Pattinson, being the young, pretty tabula rasa that he is, play Packer, a wheeler-dealer that used to be hot shit but is now unable to sleep because he fears that he’s no longer relevant.
(...)
At the same time, Cronenberg doesn’t slim down DeLillo’s simultaneously sprawling and precisely dense narrative as much as he carves his own flourishes onto it. A couple of scenes, including Packer’s interest in bidding on a chapel full of art, and his visit to a night club full of drug-fueled ravers, are only necessary to establish a uniform pace to Cronenberg’s narrative. But in that sense, these scenes are just as essential as the ones where Kinski and Torval give Packer advice. Everything matters in Cronenberg’s "Cosmopolis," but not everything is necessarily the same as DeLillo’s book. And that makes the film, as a series of discussions about inter-related money-minded contradictions, insanely rich and maddeningly complex. We can’t wait to rewatch it.
from Empire Online
The stylised nature of the language will limit this film's appeal, and its self-conscious craziness might also be testing to some (why does the professional barber Eric finally visits cut huge steps in his hair?). And after Water For Elephants it remains to be seen whether Pattinson's teen following really is willing to follow him anywhere. But Cosmopolis does prove that he has the chops, and he parlays his cult persona beautifully into the spoiled, demanding Packer, a man so controlling and ruthless that only he has the power to ruin himself. Lean and spiky – with his clean white shirt he resembles a groomed Sid Vicious – Pattinson nails a difficult part almost perfectly, recalling those great words of advice from West Side Story: You wanna live in this crazy world? Play it cool.
from Little White Lies
Like The Social Network, it combines a credible depiction of a person whose age and intellect are dangerously off kilter, while sending its “hero” on an anti-capitalist nightmare odyssey that discharges all the dry cynicism and insouciant doomsaying of Godard’s Week End.
Very neatly abridged by Cronenberg himself from the 2003 novel by American postmodernist writer, Don DeLillo, his screenplay filets out much of the dialogue from the source while expunging the flashbacks, dreams and internal monologues. Robert Pattinson is magnetic as Eric Packer, slick, jaded 26-year-old CEO of Packer Capital who decides to take a fleet of Limousines across across New York City in search of a haircut. This is his best performance to date by some considerable margin. Yes, even better than Remember Me.
from MSN (4/5)
The dialogue is rapid-fire, so much so that it leaves bullet holes. And as Eric goes across town in his ridiculous car -- with the world coming to him in the form of business meetings, sexual liaisons and even doctor's appointments in the back of the limo -- we realize that Eric is the epitome of modern capitalism. The titans who make our world are small, broken people. And, interestingly enough, if you're casting for a dead-eyed shark wreathed in unearned privilege, Pattinson turns out to be a pretty good choice.
source: thanks to RPL for compelling it...
and ROBsessed ...
Aucun commentaire:
Enregistrer un commentaire