With the key exception of a wordless cameo by Teresa Palmer, Webber’s offscreen partner and one of the film’s producers, nearly everyone plays themselves, or a version of themselves, in the well- observed drama. They include his single mom, Cheri Honkala, who has channeled her difficult experiences into advocacy for the homeless and poor, and who ran for vice president on the 2. Green Party ticket. She's currently running in a special election for the office of Pennsylvania state representative. Political outrage courses through the film. Without an ounce of self- congratulatory fanfare, Webber places front and center a range of people who are usually relegated to the margins — the strugglers who mainstream politicians like to invoke but rarely engage with. Those characters, and the filmmaker’s embrace of them, get under the skin in this slice- of- life feature. Rather than a plot- driven narrative, it’s a collection of keenly observed scenes, and the lack of hyped- up drama, intrigue or sentimentality is one of the strengths of the low- key but visually expressive movie. The story kicks off as Webber’s character, Mark, is released from prison after five years; his crime is never discussed, but a quick jab of a flashback reveals a beating he inflicted while under the influence. Hyperintelligent, witty and a self- described nerd, the teen is coming to terms with his recent diagnosis of Asperger’s, after withstanding years of other kids’ bullying, some of it violent. When he explains Plato’s Cave to his older brother, Mark beams with understated delight. When Mark buys the aspiring filmmaker a camera, Guillermo gets busy interviewing his brother and mother, as well as the raspy- voiced father (also named Guillermo) whose charm is as evident as his troubles. He turns it on himself to record thoughts and commentary for his documentary- in- the- making. To call it a running gag would be overstating the matter, but the pleasure he takes in saying “Cut!” is a prime example of the unforced humor in Flesh and Blood. Addressing Guillermo’s camera, Cheri sugarcoats nothing about her difficult history — no surprise, given the litany of social and political challenges with which she greets Mark upon his return from prison. Webber and editor Sven Pape deftly intercut her interview for Guillermo’s doc with Mark’s awkward navigation of a welcome- home party thrown by his friends. She details the domestic abuse of her childhood, her difficult relationship with Mark’s heroin- addicted dad, her homelessness as a single parent. Mark confides in the stripper (Victoria Cheatom) who's “gifted” to him by his friends that he might still be in love with Maddy (Madeline Brewer), who didn’t wait for him. A later scene between the former lovers has an unfussy poignancy, alive with regret and searching silences while Maddy’s baby squirms on her lap and a house cat sidles up to Mark. But it’s another encounter, followed by a crucial ellipsis and epilogue, that gives the story its dramatic shape: Mark’s reunion with his father. Webber’s real- life dad plays himself, in a screen sequence that was, according to press notes, only their second meeting in more than 3. The man who was a baseball- bat- wielding monster in Cheri’s recollections is now a soft- spoken man of 6. As he does throughout the film (and as he did with his 2- year- old son in The End of Love), Webber harnesses the natural dynamics of offscreen bonds, however strong or frayed they may be.
flesh And Blood (song)
Without undue emphasis, he lets the yearning, optimism and disappointment of Mark’s post- prison days accumulate. The disconnect between Mark and some of his old friends plays out with dry, matter- of- fact humor, but estrangement in many forms clearly is weighing on him. As Webber’s onscreen persona watches the people around him, seeing the generational patterns and cycles with new clarity, he gradually becomes charged with a hunger or discontent that could morph into purpose — a shift that the film doesn’t reduce to neat lessons. Working with his regular cinematographer, Patrice Lucien Cochet, Webber grounds the film in the urban setting while capturing a sense of political and personal churn. The deserted night streets have an eerie beauty, the daytime demonstrations have a robust but fractured energy, and aerial camerawork (by Dustin Hughes) casts siblings Mark and Guillermo in a spirited, kinetic light. With Webber serving as DIY production designer, the lived- in, character- defining interiors deepen the impact of every interaction, as characters who otherwise rarely get close- ups quite readily hold the screen. Production companies: Poor Rich Kids in association with Wide Awake Cinema. Cast: Mark Webber, Guillermo Santos, Cheri Honkala, Madeline Brewer, Antoine Williams, Galen Tyler, Victoria Cheatom, Asadullah al- Khidr, Sister Mary Mc. Kenna, Temperance Surgest. Director- screenwriter- production designer: Mark Webber. Producers: Teresa Palmer, Dustin Hughes, Tim Dowlin, Jason Tseng, David Rogers, Mark Webber. Executive producers: Glenn Rigberg, Chris Blair, David Rogers. Director of photography: Patrice Lucien Cochet. Editor: Sven Pape. Weeks of plunder and destruction follow, with a deadly plague thrown into the stew. Flesh and Blood has also been released under the title The Rose and the Sword. Find album reviews, stream songs, credits and award information for Flesh + Blood - Roxy Music on AllMusic - 1980 - An even slicker record than Manifesto, Flesh +. Flesh & Blood is the third studio album by American glam metal band Poison, released in 1990 through the Enigma label of Capitol Records. The album peaked at #2 on. That "flesh and blood" does not imply a sense of inherent sinfulness is moreover shown in all passages where Christ is declared a partaker of such nature. Composer: Daniel Ahearn. Venue: South by Southwest (Visions)Sales: Inphenate. Flesh and Blood (stylized as Flesh+Blood) is a 1985 American-Dutch-Spanish dramatic adventure film directed by Paul Verhoeven and starring Rutger Hauer, Jennifer. The Church of Jesus Christ of Latter-day Saints. Select Country English. Mark Webber enlisted his mother and brother to play versions of themselves in his fourth film, 'Flesh and Blood,' a fiction-nonfiction hybrid that draws upon his. Flesh & Blood, a documentary about extreme body modification implant artist, Steve Haworth. Through painful surgery and suspension from hooks, he does more with naked. Find album reviews, stream songs, credits and award information for Flesh & Blood - Poison on AllMusic - 1990 - On their third album, vocalist Bret Michaels puts. Flesh and Blood (1. Flesh and Blood (stylized as Flesh+Blood) is a 1. American- Dutch- Spanishdramatic adventure film directed by Paul Verhoeven and starring Rutger Hauer, Jennifer Jason Leigh, Tom Burlinson and Jack Thompson. The script was written by Verhoeven and Gerard Soeteman. The story is set in the year 1. Italy, during the passing of the Late Middle Ages to the Early modern period, and follows two warring groups of mercenaries and their longstanding quarrel. The script is partly based on unused material for the Dutch TV series. Floris, which was the d. The film, originally titled God's Own Butchers. It was Verhoeven's first English language film. In 1. 50. 1, a city in Italy has been taken by a coup d'. Arnolfini promises some mercenaries 2. But in their revelry, Arnolfini decides that he wants them gone. Hawkwood (Jack Thompson), the commander of the troops, is caring for a young nun he mistakenly attacked during the siege. Arnolfini promises to get medical attention for her and Hawkwood leads Arnolfini's cavalry, betraying his former lieutenant, Martin (Rutger Hauer). The cavalry ejects the mercenaries from the city without their loot. Soon after, Martin's son is stillborn. Burying the infant unearths a wooden statue of Saint Martin of Tours – a saint with a sword. The mercenaries' cardinal views this as a sign from God to follow Martin as their new leader. Arnolfini's son, Steven (Tom Burlinson), is betrothed to Agnes (Jennifer Jason Leigh). They meet for the first time and eat from a mandrake to magically fall in love, then the entourage is attacked and robbed by Martin's band. Arnolfini is seriously injured, and Agnes is hauled away, concealed among her valuable dowry. Martin discovers Agnes later evening as they strip the caravan of valuables. The men desire to gang rape her but Martin decides to take her himself. He rapes Agnes while she at first taunts him and then begins to flirt with him, hoping to gain Martin's protection. The mercenaries come upon a castle where, unknown to the mercenaries, the inhabitants are infected with the Plague. They capture the castle easily with the help of Agnes. She induces Martin to fall in love with her and works on the other mercenaries to accept her. She appears to have given up on her former life. Meanwhile, Steven is determined to rescue her and turns to Hawkwood. Hawkwood only wants to live a quiet life, married to the former nun he had injured. Steven, becoming as ruthless as his father, seizes the nun to force Hawkwood to help his pursuit of Martin. They locate Martin and the mercenaries. They do not have sufficient force to take the castle and lay siege to it. In the castle, Martin asks Agnes where her true loyalty lies; she is noncommittal, hinting that the winner takes all. Outside, the Plague spreads among Steven's forces and infects Hawkwood. Steven builds a siege tower to storm the castle, and Martin destroys it with something Steven had tried earlier: gunpowder. Steven's soldiers are killed as Steven scales the tower's ladders, and he falls into the castle grounds. The mercenaries capture Steven and shackle him in the courtyard. Agnes pretends to join in the abuse of the captive Steven and even makes love to Martin in his presence. Using a new medical technique Steven had learned (cutting the black sores on the infected body), Hawkwood cures his plague. He cannot continue the siege alone but, before leaving for additional troops, he catapults pieces of an infected dog into the castle. One chunk lands near the chained Steven, who flings it into the castle's water well. Agnes sees this and Steven tells her that she can decide whether to tell the mercenaries. The mercenaries wish to leave the castle, fearing the Plague, but Martin persuades them to stay. At the next meal, Agnes watches as they drink infected water. As Martin begins to drink, she slaps the cup from his hand. Many mercenaries soon show signs of the Plague sickness and hurl Martin into the well. As she did after Steven's capture, Agnes pretends to join in the abuse of Martin. Hawkwood and Arnolfini have recovered from their wounds and return with an army. Inside the castle, Steven needs Martin's key to escape from the shackles, and Martin needs Steven to get out of the well. The two cooperate, but upon seeing the besieging army, Martin flees to the belfry. Steven frees himself and, as the battle rages, races to find Agnes. During the fighting, the belfry catches fire. Before long, all the mercenaries but Martin are dead. Martin confronts Agnes. She claims that she loves him, but he prepares to murder her rather than allow her to return to Steven. As Martin is strangling Agnes, Steven attacks. Martin, a cunning and hardened mercenary, overpowers Steven. He almost drowns him when Agnes strikes Martin on the head, and she and Steven flee the blazing castle and reunite with Hawkwood. As Agnes and Steven embrace, Agnes sees Martin over Steven's shoulder, escaping from the castle, a sack of loot on his shoulder. She says nothing. Rutger Hauer as Martin, a mercenary. Jennifer Jason Leigh as Agnes, virgin daughter of an aristocrat. Tom Burlinson as Steven, learned son of Arnolfini. Jack Thompson as Hawkwood (John Hawkwood), a captain of mercenaries. Fernando Hilbeck (es) as Arnolfini, feudal lord. Susan Tyrrell as Celine, a prostitute attached to Martin. Ronald Lacey as Cardinal, a visionary. Brion James as Karsthans, a mercenary. Bruno Kirby as Orbec, a mercenary. Simon Andreu as Miel, a mercenary. John Dennis Johnston as Summer, a mercenary. Marina Saura as Polly, a prostitute. Kitty Courbois as Anna. Jake Wood as Little John, Anna's son. Nancy Cartwright as Kathleen, Agnes' lady. H. Niccolo. Blanca Marsillach .. Sterz. Mario De Barros .. Roly Poly. Jaime Segura .. Lord of the Castle. Bettina Brenner .. Lady of the Castle. Siobhan Hayes .. Child of the Castle. Susan Beresford .. Tongueless Girl. Anne Lockhart. Production. The failure of Flesh+Blood was a lesson for me: never again compromise on the main story line of a script. This upset Jennifer Jason Leigh who was opposed to censorship. But the film is extraordinary. Paul Verhoeven is so gifted. Thus, the film did not gross a large amount in the country, and by most accounts, performed poorly..
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