More views of - or after - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)
26 January
Now it's:
Demi Moore rushed to hospital*
According to AOL® (but presumably not the same hospital - although, for things of a more psychological nature in the UK, the types of Holden and Moore were once thought to favour recuperating in The Nunnery (or whatever that place was called))
That said (whatever it was), I am fairly sure that there might have been some 'story' about Moore being pregnant, too - someone, at any rate, in that sort of league:
No, I do tell a lie, it was some postulation to that effect about darling Jennifer Aniston (who, unless she cultivated it (and even then), must want to vomit about being called Jen all the time).
As to Moore's fecundity, fertility or carrying - now or at any time - of foetuses, I am quite ignorant! (As who is not?, some would say.)
* I have since found her described as 'the raven-haired beauty' (in the NY Daily News), but, in the same article on the Internet (and very pleasingly, I am sure), also as 'the child of two alcoholics [...] whisked to a nearby hospital'.
It appears, at least, that she does have have a 23-year-old daughter, who 'rushed' there, and was 'photographed looking visibly distraught' - presumably, if she had been looking invisibly distraught, the poor photographers would have had a problem (and would have had to leave it to the named Frank Digiacomo and Nancy Dillon to spin the line of 'putting a brave face on it, but she must have been worried').
I imagine that it is also to be supposed that she was not playing some role of appearing what, in fact, she was not, viz.distraught.
If you want to Tweet, Tweet away here
Showing posts with label Demi Moore®. Show all posts
Showing posts with label Demi Moore®. Show all posts
Wednesday, 25 January 2012
Wednesday, 7 September 2011
Days of Heaven
6 September
This 'new digital restoration' from the British Film Institute of a title from 1978 is what the Arts Picturehouse, the BFI and the festival are all about : the opportunity to see something that is only just being premiered or has otherwise not been easily obtainable.
The feature itself was, for me, a bit like a fairy tale - it appears, although not accurately in terms of any correlation between what the images show us and what the voiceover seems (or seeks) to tells us about the underlying situation, to be the narration of a 12-year-old girl, but, for my mind, not nearly as cleverly as in the case of the narrator of Haneke's The White Ribbon.
The person with whom I watched it - and the lobby card, issued with a still (not, as I recall, a scene from the film as screened), bears this view out - commented that there were people in rags posed against the stunning landscape in neat array, and even the rags were beautifully done. Maybe that is part of the fairly tale, the mystification and magification of the (to my mind) somewhat unlikely series of events that unfolds:
If it hadn't come first, one could have sworn that Days of Heaven was playing with the theme of Indecent Proposal - as it is, given that Demi Moore in the latter film bears what I would say is more than a passing resemblance to Brooke Adams (playing Abby), I wonder whether there was a tribute being paid, and, if so, how many spotted it at the time. Certainly, as to the result of these interactions (on the world and the characters), one thinks inevitably of Exodus (if that isn't the young girl's wishful thinking of vengeance, stirred up by some religious teaching to which she makes reference), or even Genesis and the garden of Eden, but, with what one source states is a quotation from Leviticus.
Maybe, maybe not, and with the Bonnie and Clyde tone of part of the close of the film, one isn't exactly encouraged to dwell on it, or, with that strand, how Abby seemingly ends up unscathed and able just to disappear from sight (unless, again, as a fairy-tale fictionalizing, where actions don't necessarily have consequences).
What did, though, for me give the greatest reward, other than the photography of wide skies, are the minute depictions of nature (locusts, otters (?), pheasants, and so on), which are interspersed with (what one would assume is) the main action, and which, with the adept editing, give it richness and texture, and, even, a hint of heaven.
Tweet away @TheAgentApsley
This 'new digital restoration' from the British Film Institute of a title from 1978 is what the Arts Picturehouse, the BFI and the festival are all about : the opportunity to see something that is only just being premiered or has otherwise not been easily obtainable.
The feature itself was, for me, a bit like a fairy tale - it appears, although not accurately in terms of any correlation between what the images show us and what the voiceover seems (or seeks) to tells us about the underlying situation, to be the narration of a 12-year-old girl, but, for my mind, not nearly as cleverly as in the case of the narrator of Haneke's The White Ribbon.
Richard Gere & Brooke Adams
Days of Heaven (1978) pic.twitter.com/IynS09DaUD
— Mademoiselle Cinéma. (@BelleDeJour15) December 2, 2014
The person with whom I watched it - and the lobby card, issued with a still (not, as I recall, a scene from the film as screened), bears this view out - commented that there were people in rags posed against the stunning landscape in neat array, and even the rags were beautifully done. Maybe that is part of the fairly tale, the mystification and magification of the (to my mind) somewhat unlikely series of events that unfolds:
If it hadn't come first, one could have sworn that Days of Heaven was playing with the theme of Indecent Proposal - as it is, given that Demi Moore in the latter film bears what I would say is more than a passing resemblance to Brooke Adams (playing Abby), I wonder whether there was a tribute being paid, and, if so, how many spotted it at the time. Certainly, as to the result of these interactions (on the world and the characters), one thinks inevitably of Exodus (if that isn't the young girl's wishful thinking of vengeance, stirred up by some religious teaching to which she makes reference), or even Genesis and the garden of Eden, but, with what one source states is a quotation from Leviticus.
Maybe, maybe not, and with the Bonnie and Clyde tone of part of the close of the film, one isn't exactly encouraged to dwell on it, or, with that strand, how Abby seemingly ends up unscathed and able just to disappear from sight (unless, again, as a fairy-tale fictionalizing, where actions don't necessarily have consequences).
What did, though, for me give the greatest reward, other than the photography of wide skies, are the minute depictions of nature (locusts, otters (?), pheasants, and so on), which are interspersed with (what one would assume is) the main action, and which, with the adept editing, give it richness and texture, and, even, a hint of heaven.
Tweet away @TheAgentApsley
Subscribe to:
Posts (Atom)