#Louis Starace

[genevieveetguy]

In His Image (À son image), Thierry de Peretti (2024)

[leblogdemarinaetjm]

SAMEDI 14 SEPTEMBRE 2024 (Billet 1 / 3)

Quand nous rentrons de vacances, une des premières choses que nous faisons (bien sûr après avoir défait les valises, mis le linge au sale et fait les courses pour réapprovisionner le réfrigérateur, c’est de noter tous les films qui sont sortis en notre absence et repérer les Expos intéressantes (une que nous ne raterons pas, c’est celle du Musée Jacquemart André : « Chefs-d’œuvre de la Galerie Borghèse », nous vous en parlerons sûrement très prochainement).

Ci-dessous la liste des films que nous avons sélectionnés (grâce au Site « AlloCiné ») :

« EMILIA PEREZ »

Un film de Jacques Audiard, avec Zoe Saldana, Karla Sofía Gascón, Selena Gomez…

Synopsis :

Surqualifiée et surexploitée, Rita use de ses talents d’avocate au service d’un gros cabinet plus enclin à blanchir des criminels qu’à servir la justice. Mais une porte de sortie inespérée s’ouvre à elle, aider le chef de cartel Manitas à se retirer des affaires et réaliser le plan qu’il peaufine en secret depuis des années : devenir enfin la femme qu’il a toujours rêvé d’être.

Critiques Presse : 4,1 et critiques spectateurs : 4,2 sur 5

« A SON IMAGE »

Un film de Thierry de Peretti, avec Clara-Maria Laredo, Marc'Antonu Mozziconacci, Louis Starace…

Synopsis :

Fragments de la vie d’Antonia, jeune photographe de Corse-Matin à Ajaccio. Son engagement, ses amis, ses amours se mélangent aux grands événements de l’histoire politique de l'île, des années 1980 à l'aube du XXIe siècle. C’est la fresque d’une génération.

Critiques Presse : 4,1 et critiques spectateurs : 3,3 sur 5

« TATAMI »

Un film de Zar Amir Ebrahimi et Guy Nattiv, avec Arienne Mandi, Zar Amir Ebrahimi, Ash Goldeh…

Synopsis :

La judokate iranienne Leila et son entraîneuse Maryam se rendent aux Championnats du monde de judo avec l'intention de ramener sa première médaille d'or à l'Iran. Mais au cours de la compétition, elles reçoivent un ultimatum de la République islamique ordonnant à Leila de simuler une blessure et d’abandonner pour éviter une possible confrontation avec l’athlète israélienne. Sa liberté et celle de sa famille étant en jeu, Leila se retrouve face à un choix impossible : se plier au régime iranien, comme l'implore son entraîneuse, ou se battre pour réaliser son rêve.

Critiques Presse (*) : 3,9 et critiques spectateurs : 4,2 sur 5

(*) A noter que ce film n’a eu que 3 très mauvaises critiques, dont celles de Libération et des Cahiers du Cinéma… donc écrites par des journalistes plutôt « classés » (très) à Gauche… Etonnant !

Mais, pour commencer, le film se donnant à Beaugrenelle (à 2 pas de chez nous), nous sommes allés voir mercredi en milieu d’après-midi « LE FIL»… que nous avons bien aimé et que nous vous recommandons. Comme dab, nous vous donnons à lire l’avis d’un « Critique Pro », celui qui se rapprochait le plus du nôtre. Belles performances d’acteur de Daniel Auteuil et Grégory Gadebois.

Critiques Presse : 3,4 et critiques spectateurs : 3,6 sur 5

Marina lui a donné ❤️❤️❤️,5 et JM, ❤️❤️❤️,8 sur 5.

__________________________

« LE FIL » (1h55)

Un film de Daniel Auteuil, avec Daniel Auteuil, Grégory Gadebois, Sidse Babett Knudsen, Alice Belaïdi…

Coscénariste, réalisateur et acteur, Daniel Auteuil propose un film de prétoire tendu et efficace qui sonde la notion d’intime conviction.

Parfois, la vérité ne tient qu’à un fil. Il faut alors savoir s’en saisir et ne pas le lâcher. C’est tout le travail d’un avocat campé par Daniel Auteuil dans « Le Fil », thriller psychologique sombre et solaire à la fois. Tiré d’une histoire vraie, racontée par l’avocat Jean-Yves Moyart dans un livre de Mémoires, ce sixième film réalisé par Auteuil (après sa trilogie pagnolesque), s’attaque à un genre cinématographique en soi, le film de procès.

De « Douze hommes en colère », de Sidney Lumet, à « Anatomie d’une chute », de Justine Triet, en passant par « Le Faux Coupable », d’Hitchcock, voire « Le Procès Goldman », de Cédric Kahn, le cinéma de prétoire a l’avantage de posséder ses propres codes ainsi qu’une dramaturgie très balisée.

Auteuil se plie à l’exercice sans effets de manches superfétatoires. Avec sobriété et finesse. L’intrigue du « Fil » se met en place lorsqu’une escouade de gendarmes vient arrêter un certain Nicolas Milik (Grégory Gadebois, impressionnant de maîtrise) tandis qu’il prépare le dîner de ses cinq enfants. Le cadavre de sa femme a été retrouvé, la gorge tranchée. On appelle un avocat commis d’office.

C’est Auteuil qui vient l’assister pendant sa garde à vue, à la place de sa femme fatiguée (Sidse Babett Knudsen). Alors qu’il s’est promis de ne plus plaider de dossiers criminels - après avoir fait innocenter un assassin récidiviste, la flamme chez lui s’était éteinte, Monier se décide tout de même à défendre cette affaire aux assises. Avocat désabusé face à ce père de famille nombreuse qu’il trouve « nerveux, paumé, et qui ne comprend pas ce qui lui arrive » Monier retrouve soudain l’envie de se battre. Il a surtout l’intime conviction que cet homme est accusé à tort de féminicide.

Ce Nicolas Milik qu’il juge « ni coupable évident, ni innocent crédible » la rallume. D’autant que l’accusé risque trente ans de prison. Pour une fois, ce suspense judiciaire se concentre non sur l’accusé mais sur l’avocat. Situé en Camargue, région lumineuse s’il en est, le film alterne les audiences de tribunal, les flash-back et le temps de l’enquête. Les joutes verbales font mouche. La tension est là. Et lorsque la caméra s’échappe, c’est pour mieux saisir, vu du ciel, les paysages sauvages d’une nature en liberté… Et quelques taureaux faisant face à des toréadors. On comprend sans mot dire que dans l’arène des assises, l’avocat tourne autour de la vérité comme s’il se jouait d’une bête furieuse.

Sans révolutionner le genre, ce long-métrage dépouillé met en place une captivante intrigue dont la chute à double détente est à couper le souffle. On ressort de la salle obscure aussi troublé que conquis.

(Source : « lefigaro .fr »)

[freetheshit-outofyou]

USS Albacore (SS-218), a 311-foot, Gato-class submarine lost 7 November 1944 of the coast of Hokkaido Japan, she was presumed lost on 21 December 1944 and struck from the Naval Vessel Register on 30 March 1945, found 16 February 2023.

The USS Albacore earned 9 battle stars, received 4 Presidential Unit Citations and was responsible for sinking at least 10 ships.

Below is a listing of the ships compliment, their names are written in memorial at the National Memorial Cemetary of the Pacific in Honolulu, Hawaii:

IN THESE GARDENS ARE RECORDED

THE NAMES OF AMERICANS

WHO GAVE THEIR LIVES

IN THE SERVICE OF THEIR COUNTRY

AND WHOSE EARTHLY RESTING PLACE

IS KNOWN ONLY TO GOD

Walter Henry Barber, Jr., Kenneth Ripley Baumer, Henry Forbes Bigelow, Jr., Edward Brown Blackmon, William Walter Bower, Allan Rose Brannam, Herbert Hodge Burch, Nicholas John Cado, John Joseph Carano, Charles Lee Carpenter, James Louis Carpenter, Pasquale Charles Carracino, Stanley Chapman, Douglas Childress, Jr., Frederick Herbert Childs, Jr., Perry Aubrey Collom, Audrey Cecil Crayton, Eugene Cugnin, John Wilber Culbertson, Philip Hugh Davis, Ray Ellis Davis, Fred Wallace Day, Julius Delfonso, James Leroy DeWitt, James Thomas Dunlap, Carl Hillis Eskew, John Francis Fortier, Jr., Gordon Harvey Fullilove, Jr., John Wilfred Gant, John Paul Gennett, William Henry Gibson, John Frederick Gilkeson, Charles Chester Hall, James Kenneth Harrell, Robert Daniel Hill, Allen Don Hudgins, Donald Patrick Hughes, Eugene Edsel Hutchinson, Burton Paul Johnson, Sheridan Patrick Jones, George Kaplafka, Nelson Kelley, Jr., Morris Keith Kincaid, Victor Edward Kinon, Joseph Mike Krizanek, Arthur Star Kruger,Walter Emery Lang, Jr., Jack Allen Little, Kenneth Walter Manful, Patrick Kennyless McKenna, Willie Alexander McNeill, Joseph Norfleet Mercer, Leonard David Moss, Richard Joseph Naudack, Encarnacion Nevarez, Joseph Hayes Northam, Frank Robert Nystrom, Robert James O'Brien, Elmer Harold Peterson, Charles Francis Pieringer, Jr., James Teel Porter, Jerrold Winfred Reed, Jr., Francis Albert Riley, Hugh Raynor Rimmer, A. B. Roberts, James Ernest Rowe, Philip Shoenthal, George Maurice Sisk, Joe Lewis Spratt, Harold William St. Clair, Arthur Lemmie Stanton, Robert Joseph Starace, John Henry Stephenson, Maurice Crooks Strattan, Earl Richard Tanner, William George Tesser, Paul Raymond Tomich, Charles Edward Traynor, Theodore Taylor Walker, Elmer Weisenfluh, James Donald Welch, Richard Albert West, Wesley Joseph Willans, Leslie Allan Wilmott, David Robert Wood

[gramilano]

Sylvia with Martina Arduino, Claudio Coviello and Nicola Del Freo, photo by Brescia e Amisano, Teatro alla Scala 2019

Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018. There have been no changes to Luisa Spinatelli’s sets and costumes or Manuel Legris’ choreography, which suggests that everyone was pleased with how it turned out in Vienna. However, while the overall evening is extremely pleasing, it is La Scala’s dancers who really make it shine, as certain elements of the staging are odd.

Legris gives the dancers lots (and lots) of steps, but it’s maybe impossible to tell this story clearly to a modern audience, most without a classical education: who’s that woman with the bow, why is the man with silver hair sleeping? Legris cleverly tries to help by using the overture as a prologue portraying the huntress Diana (hence the bow) and her passion for Endymion (he of the silver hair). This is how many words the programme ‘synopsis’ needs to sum up the action of the short five-minute prologue:

Diana, the Goddess of the Hunt, sees a double image of herself in Sylvia, who is bound to the goddess through her love of hunting and by a vow of chastity. However, the goddess is in turmoil. Suddenly it is no longer Sylvia that she sees before her, but Endymion, her obsessive lover, whom she has caused to sleep forever so that she can gaze on his youth and beauty without ever breaking her vow. Diana tries to regain control of herself, but Endymion stands before her, full of passion… The goddess surrenders! But soon the sound of horns mercilessly drags her back into reality. Thanks be to the gods, it is Sylvia that now stands before her! Diana seizes her bow. Let the hunt begin.

Got it? I don’t believe that this prologue helps to explain the subsequent action, and possibly confuses things even more with Endymion only appearing again in the final seconds of the ballet, still sleeping, and Diana disappearing for a couple of hours until mid-third act when Sylvia angers her by entering the Temple of Diana. It’s all the fault of Torquato Tasso who wrote his play Aminta in 1573 about the nymph Sylvia, who prefers a good hunt to a smooch with Aminta, until… oh well, never mind. Things were complicated further when librettists Jules Barbier (who wrote the libretto for Offenbach’s The Tales of Hoffmann) and Baron de Reinach (who principally was a banker!) added in Orion, the hunter; Eros, the god of love; and the multi-tasking Diana who in this ballet is linked with not only hunting but the moon and chastity. So it’s a hotch-potch of Roman and Greek mythology, though presumably the intention was to mirror Diana’s love for Endymion and Sylvia’s for Aminta. It’s a help to read the (long) synopsis before curtain up.

There is also something that smacks of low budget (or badly-made) scenery, with Spinatelli’s meticulously designed backdrops and wings looking slapdash and shabby, though many of the costumes are gorgeous. Jacques Giovanangeli’s lighting was often unflattering to the sets, highlighting the creases in the cloths, and a lazy follow-spot operator occasionally left the dancers in darkness. It’s unfortunate because Spinatelli’s designs of gauzy, mysterious transparency is ideal for a work of myth and illusion.

There are many highlights, which more than compensate for the baffling plot and the flimsiness of the scenery. Léo Delibes’ wide-ranging music is glorious, from the epic and slightly pompous opening, to the cheery bucolic tunes, to the famous pizzicato variation for Sylvia. The orchestra was brilliantly led by American conductor Kevin Rhodes who was more theatrical and effervescent during the applause than even the lead dancers.

Sylvia with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano, Teatro alla Scala 2019

Although Legris has used much of Louis Mérante’s 1876 choreography from the ballet’s Paris premiere, he fills in the gaps with a multitude of steps, and it would be interesting to know the jeté count – there are certainly a lot, and for the whole company too, so it’s a tiring evening for the dancers. But how they dance! The corps de ballet is excellent whether as the fearless huntress companions of Sylvia, the frolicking naiads and fauns, or the peasants enjoying their bacchic feast.

La Scala fields two main casts and they are both strong throughout. Martina Arduino was the opening night Sylvia, followed by Nicoletta Manni. Both are magnificently sure and resilient to the role’s arduous demands – after they enter onstage, the pace never lets up. Manni has an impressive jump, which she can show off continuously in this choreography. She has almost insolent aplomb in many of the trickiest passages, and her long, lithe limbs reveal some exquisite lines. Arduino is softer, especially with her port de bras, and shows more heart, though she too pulls out the big guns for the technical challenges and manages complicated menage sequences with nonchalance. Two very different, but winning, portrayals.

With the fear of running out of adjectives, let’s run down the cast lists. Claudio Coviello as Aminta is a technical marvel and communicative; Marco Agostino in the same role strangely registered less as a character, even though he has a strong jawline and an attractive face, but there were some magical moments, such as when he slows down his pirouettes to a standstill, and an athletic sequence with Manni where they were the mirror image of each other. There were two magnificent Orions: Christian Fagetti then Gabriele Corrado, powerful and assertive both in their dancing and acting and with an abundance of stage presence. There is obviously something odd going on offstage because, gobsmackingly, Corrado, who is one of the company’s most valuable members, doesn’t even have a full-time contract, let alone the role of soloist, yet he consistently performs with excellence in leading roles. I imagine this incongruousness will be corrected soon.

Sylvia Christian Fagetti photo by Brescia e Amisano, Teatro alla Scala 2019 09

Sylvia Maria Celeste Losa photo by Brescia e Amisano, Teatro alla Scala 2019 01

Sylvia Martina Arduino photo by Brescia e Amisano, Teatro alla Scala 2019 14

Sylvia Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 07

Then we come to Eros. Nicola Del Freo and Mattia Semperboni (who was also superb as the peasant in the opening cast) were formidable. They are very different dancers – Del Freo with legs as strong as steel and secure in every movement; Semperboni, more elastic and with stunning virtuosity – but both brought the house down… thrilling. Endymion, as an added role, has little time to dance as he has only the music of Delibes’s overture and this he divides with Diana, but Corrado and Gioacchino Starace made the most of their limited time. And playing Diana was Maria Celeste Losa has become one of the theatre’s go-to performers when you want a job well done, as indeed is the unfailingly fine Alessandra Vassallo in the alternative cast.

As the gymnastic Faun, there was Federico Fresi who always gives his all and is exciting to watch, and Valerio Lanadei (also a personable Shepherd on the first night) who was spot-on in his approach to the character and his dance. Other names which should be mentioned are Vittoria Valerio, Gaia Andreanò, Antonella Albano, Alessia Auriemma, Eugenio Lepera, Camilla Cerulli, Benedetta Montefiore and Domenico Di Cristo, all perfectly cast in smaller, though challenging, roles.

Sylvia, like Legris’ Le Corsaire at La Scala in 2018, is perfect for a company with numerous talents yet few performances, giving many opportunities for everyone to dance, but the opening scene needs rethinking with some stronger mime to explain what is happening, and Spinatelli’s sets deserve a makeover.

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 18

Sylvia Martina Arduino, Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 22

Sylvia Antonella Albano, Mattia Semperboni, Valerio Lunadei photo by Brescia e Amisano, Teatro alla Scala 2019 17

Sylvia photo by Brescia e Amisano, Teatro alla Scala 2019 10

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 08

Sylvia Maria Celeste Losa, Gabriele Corrado photo by Brescia e Amisano, Teatro alla Scala 2019 02

Sylvia Vittoria Valerio photo by Brescia e Amisano, Teatro alla Scala 2019 04

Sylvia Federico Fresi photo by Brescia e Amisano, Teatro alla Scala 2019 03

Manuela Legris’ Sylvia shows La Scala’s dancers on top form Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018.

[ekglabs]

An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017. Exhibition closes Aug 27, 2018. X Through the lens of the Whitney’s collection, An Incomplete History of Protest looks at how artists from the 1940s to the present have confronted the political and social issues of their day. Whether making art as a form of activism, criticism, instruction, or inspiration, the featured artists see their work as essential to challenging established thought and creating a more equitable culture. Many have sought immediate change, such as ending the war in Vietnam or combating the AIDS crisis. Others have engaged with protest more indirectly, with the long term in mind, hoping to create new ways of imagining society and citizenship. X ARTISTS IN THE EXHIBITION John Ahearn* Emma Amos Rudolf Baranik Andrea Bowers Mark Bradford AA Bronson Paul Burlin Andrew Castrucci* Paul Chan and Badlands Unlimited Mel Chin Larry Clark Sue Coe* William N. Copley Allan d'Arcangelo Bruce Davidson Richard Deagle* Jane Dickson* Louis H. Draper Melvin Edwards Chris "Daze" Ellis* Larry Fink Vincent Gagliostro* Ja'Tovia Gary Theaster Gates General Idea Jeffrey Gibson John Giorno* Leon Golub Felix Gonzalez-Torres Avram Finkelstein Hermine Freed Gran Fury Nancy Grossman Group Material* Guerrilla Girls Keith Haring Hock E Aye VI Edgar Heap of Birds Charles B. Hinman Jenny Holzer* Rashid Johnson Mary Kelly Edward Kienholz Barbara Kruger* Suzanne Lacy Annette Lemieux Glenn Ligon Fred Lonidier Daniel Joseph Martinez John "Crash" Matos* Josephine Meckseper Julie Mehretu* Toyo Miyatake Donald Moffett* Peter Moore Frank Moore* Robert Morris Senga Nengudi Louise Nevelson Gordon Parks Irving Petlin Howardena Pindell Carl Pope Ad Reinhardt Marlon Riggs Faith Ringgold Tim Rollins and K.O.S. Kay Rosen* Martha Rosler Dread Scott Gary Simmons Jaune Quick-to-See Smith Jack Sonenberg Nancy Spero* Tom Starace* May Stevens Carol Summers Mierle Laderman Ukeles* Kara Walker Joseph Wolin* Martin Wong* Adja Yunkers *Installed as part of an earlier version of the exhibition. X Whitney Museum of American Art 99 Gansevoort Street New York, NY 10014 (212) 570-3600 @cutinthefence

[historyofwesterncostumefall2017]

Week 9

Title: Evening dress

Place of origin: England 

Date: ca. 1820-1825 

Artist: n/a

Medium: Satin with embroidered net

Museum number: T.677-1913

Source: The Victoria and Albert Museum of Art

Title: Jacques-Louis Leblanc 

Place of origin: France

Date:1823

Artist: Jean Auguste Dominique Ingres 

Medium: Oil on canvas

Accession Number:19.77.1

Source: The Metropolitan Museum of Art

Nina Starace