Discurso de Lula da Silva (excerto)

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Mostrar mensagens com a etiqueta Mike Nichols. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Mike Nichols. Mostrar todas as mensagens

terça-feira, 1 de junho de 2010

The Graduate (A Primeira Noite)


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smwScott — 18 de Setembro de 2006 — The original trailer for the Graduate.
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The Graduate (1967) - "Mrs. Robinson, you're trying to seduce me. Aren't you?"
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flock00 — 5 de Maio de 2009 — The famous scene from The Graduate.
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spykrat — 17 de Dezembro de 2006 — One of my favourite scene
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chunkybutt420 — 13 de Dezembro de 2007 — My favorite scene from the movie... top 5 scense ever
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The Graduate

From Wikipedia, the free encyclopedia

 
The Graduate

Promotional film poster
Directed by Mike Nichols
Produced by Joseph E. Levine
Lawrence Turman
Written by Screenplay:
Calder Willingham
Buck Henry
Novel:
Charles Webb
Starring Anne Bancroft
Dustin Hoffman
Katharine Ross
William Daniels
Murray Hamilton
Music by Score:
Dave Grusin
Songs:
Paul Simon
Cinematography Robert Surtees
Editing by Sam O'Steen
Distributed by Embassy Pictures (US)
United Artists (non-US)
Release date(s) December 21, 1967 (1967-12-21)
Running time 105 minutes
Country United States
Language English
Budget $3 million (est.)
Gross revenue $104,397,102
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The Graduate is a 1967 American comedy-drama film directed by Mike Nichols, based on the 1963 novel The Graduate by Charles Webb, who wrote it shortly after graduating from Williams College. The screenplay was by Calder Willingham and Buck Henry, who makes a cameo appearance as the hotel clerk. The film tells the story of Benjamin Braddock (played by Dustin Hoffman), a recent university graduate with no well-defined aim in life, who is seduced by an older woman, Mrs. Robinson (Anne Bancroft), and then proceeds to fall in love with her daughter Elaine (Katharine Ross).
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In 1996, The Graduate was selected for preservation in the U.S. National Film Registry as being "culturally, historically, or aesthetically significant". It ranked as the seventh greatest film of all time on AFI's 100 Years... 100 Movies.
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Adjusted for inflation, the film is #19 on the list of highest-grossing films in the United States and Canada.
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Embassy Pictures distributed in North America, while United Artists handled the initial international release.

Contents

 

Plot summary

The soon-to-be 21 Benjamin Braddock flies back to his parents' house in Pasadena, California for his graduation party. At the party, all his parents' friends want to know about what he is going to do next, something Benjamin is clearly uncomfortable and anxious about. His parents ignore this and are only interested in talking up his academic and track successes and their plans for him to go to grad school.
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Mrs. Robinson, the wife of his father's business partner, asks him for a ride home from the party. She invites the nervous Benjamin in and attempts to seduce him, removing her clothing. Mr. Robinson arrives home but does not see or suspect anything. A few days later Benjamin contacts her and clumsily organizes a tryst at a hotel beginning their affair. A now confident and relaxed Benjamin spends the summer drifting around in the pool by day and seeing Mrs. Robinson at the hotel by night. Benjamin discovers that they have nothing to talk about but he does learn that Mrs. Robinson was forced to give up college and marry someone she didn't love when she became pregnant with Elaine.
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Mr. Robinson tells Benjamin he should relax and enjoy himself while he is young. Benjamin's parents however are keen for him to get on with his life. Both they and Mr. Robinson keep trying to set Benjamin up with Elaine, while Mrs. Robinson makes it clear that she wants him to stay away from Elaine. Benjamin eventually gives into the pressure from his parents and takes Elaine out but is intentionally mean to her. After making her cry he relents and explains he was mean only because his parents forced him to ask her out. He awkwardly kisses her to try and cheer her up and they go and get a burger at a drive-in. Benjamin discovers that Elaine is someone he is comfortable with and that he can talk to her about his worries.
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Mrs. Robinson threatens to reveal their affair to destroy any chance Benjamin has with Elaine so Benjamin rashly decides he has to tell Elaine first. Upset Elaine returns to Berkeley refusing to speak with Benjamin. Benjamin decides he is going to marry Elaine and goes to Berkeley and stalks her. He contrives a meeting on a bus while she is on her way to a date with her classmate Carl. An angry Elaine later demands to know what he is doing in Berkeley after he raped her mother by taking advantage of her while she was drunk. Benjamin tells her it was her mother who seduced him, something Elaine doesn't want to hear, so Benjamin says he will go somewhere else. Elaine tells Benjamin not to leave until he has a definite plan. The next day Elaine comes into Ben's apartment in the middle of the night and asks him to kiss her. The two hang out in Berkeley while Benjamin keeps pressing her to get blood tests so that they can get married. Elaine is unsure about this and says she had told Carl she might marry him.
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Mr. Robinson, who has found out everything about Benjamin and his wife's affair, goes to Ben's apartment in Berkeley where he threatens Benjamin and forces Elaine to drop out of school and takes her away to marry Carl. Benjamin is left with just a note from Elaine saying that she loves him but that her father is really angry and it can never work out. Benjamin races back to Pasadena looking for Elaine but finds Mrs. Robinson instead. She tells him he won't be able stop the wedding and calls the police. Benjamin heads back to Berkeley and finds out from Carl's Delta Chi Fraternity brothers that the wedding is in Santa Barbara. He then speeds off towards Santa Barbara, stopping only at a gas station for directions to the church. Benjamin is in such a hurry that he rushes off without refueling.
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Consequently Ben runs out of gas and must sprint the last few blocks. He arrives at the church just as the bride and groom are about to kiss. Thinking he is too late he bangs on the glass at the back of the church and screams out "Elaine!" repeatedly. Elaine turns around, hesitates, but then screams out "Ben!" and starts towards him. A brawl breaks out as everyone tries to stop her and Benjamin leaving. Elaine breaks free from her mother yelling, "It's not too late for me!" Benjamin holds everybody off by swinging a cross ripped from the wall, then using it to jam the outside door while the pair escape. They run down the road and flag down a bus. The elated and smiling couple take the back seat. But Benjamin's smile gradually fades to an enigmatic, neutral expression as he gazes forward down the bus, not looking at Elaine. Elaine seems unsure, looks lovingly across at Ben but notices his expression and turns away with a similar expression as the bus drives away.

Cast

Uncredited:

Production

Filming locations

Many of the exterior shots of Benjamin on the campus were actually filmed on the brick campus of USC in Los Angeles, as the UC Berkeley campus features buildings with gray granite exteriors. Other scenes were filmed on the Berkeley campus, on Durant Avenue in Berkeley, and on Telegraph Avenue.
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The Taft Hotel scenes were filmed at Ambassador Hotel.
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The church used for the wedding scene is actually the United Methodist Church in LaVerne. In a commentary audio released with the 40th anniversary DVD, Hoffman revealed that he was uneasy about the scene in which he pounds on the church window, as the owner of the church had been watching the filming disapprovingly. The residence used for the Robinsons' house was located on North Palm Drive in Beverly Hills.
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The scenes of Benjamin driving to Berkeley on the San Francisco Bay Bridge were filmed on the top level of the bridge - leading into San Francisco - the opposite direction of Berkeley.

Music


The Graduate Original Soundtrack album cover.
The film boosted the profile of folk-rock duo Simon & Garfunkel, whose soundtrack album The Graduate, on the strength of the hit single "Mrs. Robinson", rose to the top of the charts in 1968 (knocking off The Beatles' White Album). However, the version that appears in the film is markedly different from the hit single version, which would not be issued until Simon and Garfunkel's next album, Bookends. The actual film version of "Mrs. Robinson" does appear on The Graduate soundtrack LP.
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According to a Variety article by Peter Bart in the 15 May 2005 issue, Nichols had become obsessed with Simon & Garfunkel's music while shooting the film. Lawrence Turman, his producer, made a deal for Simon to write three new songs for the movie. By the time they were nearly finished editing the film, Simon had only written one new song. Nichols begged him for more but Simon, who was touring constantly, told him he didn't have the time. He did play him a few notes of a new song he had been working on; "It's not for the movie... it's a song about times past — about Mrs. Roosevelt and Joe DiMaggio and stuff." Nichols advised Simon, "It's now about Mrs. Robinson, not Mrs. Roosevelt."[citation needed]

Reception

A.D. Murphy of Variety and Roger Ebert of the Chicago Sun-Times praised the film upon its release with Murphy describing it as a "delightful satirical comedy-drama"[1] and Ebert claiming it was the "funniest American comedy of the year".[2]
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For the film's thirtieth anniversary reissue, Roger Ebert retracted some of his previous praise for the film.[3] He, along with Gene Siskel, gave the film a mediocre review on the television program Siskel & Ebert.[4]
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Benjamin's 1966 Alfa Romeo Spider, a graduation present from his parents, becomes a plot device as the film progresses, and also gave the vehicle widespread popularity.

 Awards and honors

Dustin Hoffman earned an Oscar nomination for his performance as did Bancroft and Ross.
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Along with the acting nominations, the film received nominations for Best Cinematography, Best Adapted Screenplay, and Best Picture. Mike Nichols won the Academy Award for Best Director.
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In 1996, The Graduate was selected for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant", and placed #19 on the list of highest-grossing films in the United States and Canada, adjusted for inflation.
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The movie is listed in the 1001 Movies You Must See Before You Die book[5].
The movie is ranked #159 in IMDB top 250[6]

Stage adaptation

John Reid produced a play in 2000, adapted from the movie, which was a hit both in London's West End and on Broadway and has toured the United States. There is a Brazilian version adapted by Miguel Falabella. Several actresses have starred as Mrs. Robinson, including Kathleen Turner, Lorraine Bracco, Jerry Hall, Amanda Donohoe, Morgan Fairchild, Anne Archer, Vera Fischer and Linda Gray. The Broadway production in 2002 starred Kathleen Turner, Jason Biggs, and Alicia Silverstone.
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The stage production restores the section of the novel where Benjamin hitchhikes across America, not included in the original film. It also uses songs by Simon & Garfunkel not used in the film, such as "Baby Driver" as well as music from other popular musicians from the era such as The Byrds and The Beach Boys.

Possibility of sequel

Charles Webb has written a sequel to his original novel titled Home School, but initially refused to publish it in its entirety because of a contract he signed in the 1960s. When he sold film rights to The Graduate, he surrendered the rights to any sequels. If he were to publish Home School, Canal+, the French media company that owns the rights to The Graduate, would be able to adapt it for the screen without his permission.[7] Extracts of Home School were printed in The Times on May 2, 2006.[8] Webb also told the newspaper that there was a possibility he would find a publisher for the full text, provided he could retrieve the film rights using French copyright law.[9] On 30 May 2006 The Times reported that Webb had signed a publishing deal for Home School with Random House which he hoped would enable him to instruct the French lawyers to attempt to retrieve his rights. The novel was published in Britain in 2007.[10]

Notes

  1. ^ [1] - A.D. Murphy, Variety review, December 18, 1967.
  2. ^ [2] - Roger Ebert, Chicago Sun-Times, December 26, 1967.
  3. ^ [3] - Roger Ebert, Chicago Sun-Times, March 28, 1997.
  4. ^ [4] - Siskel & Ebert review, 1997.
  5. ^ http://1001beforeyoudie.com/
  6. ^ http://www.imdb.com/chart/top
  7. ^ http://books.guardian.co.uk/news/articles/0,,1446288,00.html Retrieved on 2007-10-12.
  8. ^ http://www.timesonline.co.uk/article/0,,7-2160200,00.html Retrieved on 2007-10-12.
  9. ^ http://timesnews.typepad.com/news/2006/05/stuck_in_a_lega.html Retrieved on 2007-10-12.
  10. ^ Jack Malvern [http://www.timesonline.co.uk/article/0,,2-2202109,00.html "At last, Mrs. Robinson is getting her groove back", The Times, 30 May 2006Retrieved on 2007-10-12.

External links


Awards and achievements
Preceded by
A Man for All Seasons
BAFTA Award for Best Film
1968
Succeeded by
Midnight Cowboy
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This page was last modified on 31 May 2010 at 21:29.
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quinta-feira, 23 de julho de 2009

A besta que pateia na praia


Richard Burtom e Elizabrth Taylot
«Quem tem medo de Virginia Woolf?»
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Quinta-feira, 7/7/2005

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Adriana Baggio

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Fluxo de consciência. Isso é uma coisa que pessoas consideradas normais não desenvolvem em público. Ou melhor, até desenvolvem, mas não de forma que os outros possam perceber. No consultório médico, por exemplo, de repente você percebe que deixou de ler há muitos minutos. As letras parecem servir apenas de apoio para que os pensamentos continuem seu caminho tortuoso e pedregoso, cada vez mais rápido, como um rio calmo que se transforma em perigosa corredeira, até despencar no abismo dos sentimentos proibidos e angustiantes que povoam nossa alma. O susto da água que desaba descontroladamente faz você focar novamente as letras e tentar encontrar o ponto onde parou de ler e começou a divagar. Você pensou coisas terríveis, humilhantes, medíocres, mas ninguém ficou sabendo. É assim mesmo. Em pessoas consideradas normais, o fluxo de consciência não deve ser percebido pelos outros. A não ser que estejam na boca de um personagem de ficção.

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George e Martha, o casal interpretado por Richard Burton e Elizabeth Taylor no filme Quem tem medo de Virginia Woolf?, de 1966, são personagens que se entregam ao seu fluxo de consciência. O diálogo deles é esse rio caudaloso de enchente, cada vez mais feroz e destruidor, que só se acalma quando se esgota. Se George e Martha fossem pessoas reais, não seriam "normais". Afinal, quem pode permanecer são frente às poderosas ondas de ódio, rancor e mágoa que formam o fluxo de consciência desses personagens? Na história, o casal consegue se salvar da tormenta e desaba exausto, como dois náufragos que a enchente poupou. O nível da água baixou, as ondas se foram. Eles parecem ter sobrevivido com lucidez. Será? Quando George cantarola a Martha a paródia da canção infantil ("quem tem medo do lobo mau?") que ela própria usou para provocá-lo, "quem tem medo de Virginia Woolf?", ela responde: "eu tenho".
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Uma das hipóteses para o significado do título deste filme de Mike Nichols, e que pontua o agressivo diálogo entre George, Martha e seus convidados, é a relação com a saúde mental da escritora inglesa Virginia Woolf. As angústias e a fragilidade de Virginia podem ser vistas no filme As horas (2002), de Stephen Daldry. O trauma do abuso sexual sofrido na infância, o desequilíbrio mental e os tratamentos impostos a ela por conta disso acabaram por levá-la ao suicídio, em 1941. Junto com James Joyce (e há quem torça o nariz para isso), Virginia Woolf é considerada um dos expoentes do modernismo literário do século XX. E a característica mais marcante da sua obra é, justamente, o fluxo de consciência.
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A fragilidade da mente de Virginia não impediu que ela escrevesse muito, tanto em ficção como na crítica literária e da sociedade em que viveu. Seu ponto de vista e suas argumentações são muito lúcidas, pertinentes e realistas. Talvez por refletir e se posicionar com naturalidade sobre diversos assuntos, Virginia também tenha se sentido à vontade para fazer seus personagens pensarem. Daí a presença marcante desse fluxo de consciência, perceptível somente ao leitor, como se você pudesse ler a mente daquela pessoa imersa em pensamentos na sala de espera do médico.
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Em As ondas, na 2ª edição pela Nova Fronteira (2004) e com tradução de Lya Luft, o fluxo de consciência chega ao ponto máximo na obra de Woolf. O livro retrata a vida de seis pessoas através de seus pensamentos. Como não poderia deixar de ser nessas condições, é extremamente denso e subjetivo. Para apresentar as reflexões de cada um deles, Virginia usa metáforas e descrições em abundância, a ponto de o livro ser considerado quase que uma prosa poética, ou uma poesia em prosa. Um recurso que enriquece a narrativa, mas que torna a leitura difícil. Não é um livro que se pegue despreocupadamente para preencher horas de lazer. É preciso concentração e disposição para conseguir acompanhar o tênue fio de narrativa que perpassa os pensamentos da maternal Susan, da fútil e sensual Jinny, da insegura e complicada Rhoda, do deslocado australiano Louis, do homossexual atormentado Neville e do frustrado escritor Bernard, sempre em busca da frase e da história perfeita (Virginia?).
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Apesar de sutil, a narrativa existe. O leitor pode perceber a passagem do tempo e seus efeitos na vida dos personagens a cada início de capítulo. As fases da vida são apresentadas metaforicamente através da posição do sol em relação ao mar, às ondas e à natureza, nos únicos momentos em que a narrativa é em terceira pessoa. Da escuridão que começa a se desvanecer com os primeiros indícios do sol até as sombras que cobrem a terra no final do dia, acompanhamos o desenrolar da vida de cada um deles.
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Os primeiros diálogos, correspondentes à infância, são mais curtos e falam de coisas simples – uma folha, um inseto, as roupas no varal. À medida em que o sol percorre sua trajetória diária, a linguagem mais profunda e complexa e a duração das reflexões representam o crescimento, a vida adulta, a maturidade e a velhice. Com esse desenvolvimento crescem também as angústias no coração de cada um. Não sei se é bem por isso que, em meio às belas descrições de sol, céu, mar e ondas de cada início de capítulo, Woolf acrescenta um elemento estranho, meio assustador: "a besta acorrentada pateia na praia". Essa besta presa seria o que cada um prende dentro de si de mais terrível, soltando apenas no seu fluxo de consciência?
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Quando estava refletindo sobre Virginia e As ondas, não consegui deixar de pensar no filme de Mike Nichols. A hipótese de que o título refira-se ao medo que os personagens têm de se tornarem insanos como a escritora é possível. No entanto, me parece que a relação está mais na insanidade de se falar exatamente o que se pensa. É o que acontece com Martha e George. É só no final, depois de ter dito tudo, que Martha percebe o perigo do rio caudaloso desse fluxo de consciência exposto. No caso dela, a besta que pateia na praia soltou-se. Quando ela assume, no final do filme, que tem medo de Virginia Woolf, talvez queira dizer que tem medo dos estragos causados pela fúria da sua besta interior. Afinal, quem alguma vez já disse exatamente tudo o que pensa sabe o preço que se paga por abrir as comportas do seu fluxo de consciência.
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Para ir além





Adriana Baggio
Curitiba, 7/7/2005

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in Digestivo Cultural

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