PARASITE(2019),a film by Bong Joon ho

Gisaengchung (original title)R | 2h 12min | ComedyCrimeDrama | 8 November 2019 (USA)



Bong Joon Ho


Bong Joon Ho (story), Bong Joon Ho (screenplay) | 1 more credit »


Kang-ho SongSun-kyun LeeYeo-jeong Jo | See full cast & crew »


After an awards season marked by its predictability, the Oscars delivered a spectacular final-reel twist on Sunday evening, naming capitalist satire Parasite best picture.

Bong Joon-ho’s comedy-drama about an impoverished family who infiltrate the household of a wealthier one is the first film not in the English language to take the top prize. It also took best directorbest original screenplay and best international film.

IMDb. rating 8,6


The Parasite movie poster, showing the struggle of lower class and moving up to high-class.

Parasite review – searing satire of a family at war with the rich

Members of an unemployed family target a wealthy household in Bong Joon-ho’s superbly written, horribly fascinating comedy-drama.

Is a movie that taps into a rich cinematic tradition of unreliable servants with an intimate knowledge of their employers, an intimacy that easily, and inevitably, congeals into hostility. Joseph Losey’s The Servant invokes a comparable transgression, nightmarishly amplified here by the subterfuge and by the sheer numbers of people getting up close and personal.

Parasite is also in a Korean tradition of pictures such as Kim Ki-young’s classic thriller The Housemaid from 1960, remade in 2010 by Im Sang-soo, and also Park Chan-wook’s servant-class con-trick drama, The Handmaiden. A second viewing of this film also put me in mind of the claustrophobic horror in Park’s Oldboy.u

In all its delicious cruelty and ingenuity, Bong Joon-ho’s satirical suspense thriller Parasite has arrived in the UK from Korea, having won the Palme d’Or in Cannes last year and dominated the connoisseur conversation from then on – at the expense, rightly or wrongly, of every other non-English-language film.

This really is a horribly fascinating film, brilliantly written, superbly furnished and designed, with a glorious ensemble cast put to work in an elegantly plotted nightmare. Its narrative engine hums with the luxurious smoothness of the Mercedes-Benz that one character is fatefully given the chance to drive. In my original review from Cannes, I wondered if the narrative was a little over-extended, but, on a second viewing, I can see how that amplitude of detail is what gives the film its flavour.

Parasite is a scabrous black comedy-slash-farce that resonates beyond its generic limits – a movie about status envy, aspiration, materialism, the patriarchal family unit and the idea of having (or leasing) servants. More than this, it is about the suppressed horror of the overclass for its underlings and its morbid distaste for the smell of people who have to use public transport. The satirical reflex extends to a vision of South and North Korea living together in paranoid, resentful intimacy, and its climax is precipitated by an almost Biblical climate-emergency catastrophe.

The parasites in question are a dodgy unemployed family living together in a scuzzy, stinky basement flat, with the teenage son and daughter periodically roaming around, holding their smartphones up to the ceiling to pinch the non-password-protected wifi of neighbours and nearby businesses. The dad is Ki-taek (a lovely performance from veteran player Song Kang-ho), a laidback loafer married to former track star Chung-sook (Chang Hyae-jin). The son is Ki-woo (Choi Woo-sik), a shiftless young guy who has flunked the university entrance exams; and the daughter is Ki-jung (Park So-dam), a smart, cool customer with an artistic gift for web-based fraud.

One summer, by posing as a college student, Ki-woo gets the chance to tutor the teenage daughter of a very rich family in a spectacularly grand modernist house, owned by business high-flier Mr Park (Lee Sun-kyun). Ki-woo’s student is the demure Da-hye (Jung Ji-so), whose instant crush on him is something Ki-woo does nothing to discourage. The somewhat distraite mistress of the house, Yeon-kyo (Cho Yeo-jeong), asks if this smart young man might also recommend an art tutor for Da-hye’s negligibly talented kid brother Da-song  (Jung Hyun-jun). He passes off his sister as the cousin of a friend and her brazen grifter-sense of when and how to be confident, and even arrogant, bags her the job.

Soon, these wicked kids have cunningly contrived to get the family chauffeur fired and replaced with their dad. They then dislodge the housekeeper Moon-gwang (Lee Jeong-eun) and install their placidly smiling mum. A whole family of cuckoos in a brand new nest, pretending to be strangers to each other. But then the artless little kid points out that they all smell alike – and they smell of poor people.

Parasite is a movie that taps into a rich cinematic tradition of unreliable servants with an intimate knowledge of their employers, an intimacy that easily, and inevitably, congeals into hostility. Joseph Losey’s The Servant invokes a comparable transgression, nightmarishly amplified here by the subterfuge and by the sheer numbers of people getting up close and personal.

Parasite is also in a Korean tradition of pictures such as Kim Ki-young’s classic thriller The Housemaid from 1960, remade in 2010 by Im Sang-soo, and also Park Chan-wook’s servant-class con-trick drama, The Handmaiden. A second viewing of this film also put me in mind of the claustrophobic horror in Park’s Oldboy.

And there is something else, too. The Park family love to play Handel on the music system in their lovely home – the Spietati, io vi giurai aria from his opera Rodelinde. It is so expansive, so airy, caressingly sumptuous and wealthy, and not a million miles from the Care selve arioso from Handel’s Atalanta – listened to by the smug wealthy couple in Michael Haneke’s home-invasion horror Funny Games, before their own appointment with dark destiny.

The home invaders here gaze on their super-rich employers and see themselves in a distorting mirror that pitilessly reveals to them how wretched they are and shows them what could and should be theirs. It is almost a supernatural or sci-fi story: the invasion of the lifestyle snatchers. Parasite gets its toxic tendrils into your skin.



Joey Molland of Badfinger.English composer and rock guitarist

No Matter What

Molland and his band mates also performed on “All Things Must Pass,” George Harrison’s epic 1970 triple-album, as well as at the Harrison- and Ravi Shankar-led “Concert for Bangladesh” benefit shows at New York’s Madison Square Garden in 1971.

Badfinger, “No Matter What”
Harrison, in turn, played a slide guitar part on “Day After Day,” as well as co-producing Badfinger’s second album, “Straight Up.” Meanwhile, Molland and fellow Badfinger member Tom Evans were featured playing guitars on “I Don’t Want to Be a Soldier,” a song on John Lennon’s 1971 album, “Imagine.”
“I never really looked at The Beatles in the sense that they’d moved on, from Liverpool to London, and progressed,” said Molland, who — like all four Beatles — is a Liverpool native.
“I simply looked at The Beatles as having become the absolute greatest four-piece rock ‘n’ roll band in the world. To this day, I’ve never heard anybody better than them, doing any kind of song. And I haven’t heard singers like those guys. I haven’t heard anyone sing harmony like that. I just never heard anybody better. And that’s what’s enthralling to me about The Beatles — their music, and the life and fire in it. They kept it all alive and burning.”
Fond memories of George & John
Recalling Badfinger’s separate recording sessions with Harrison and Lennon, Molland said: “George was mellow, until he went wild, and then he wasn’t mellow! John would raise the room temperature, just by walking in. He had ferocious energy, like a man on fire. John was really sweet to us, and Yoko (Ono) was lovely as well.
“George would go around to each musician and make a point of showing each what he was doing. He’d sing the arrangement to them and talk about the part they were going to play. John didn’t do that. He just sang the song and we’d learn the chords. He knew we could grab the music quickly. We were familiar with every style of music that The Beatles were. We grew up on the next street from those guys. We listened to the same music, went to the same record stores, played the same clubs. We had the same experiences in Liverpool as them.”
That the stories of The Beatles and Badfinger are intertwined is a matter of record. So is the fact that two of its members, Evans and Ham, each committed suicide(for more information see art.blog:”Rock’nRoll Suicide: Pete Ham & Tom Evans of Barringer can’t take it anymore”,www.lonesomebeenhive.wordpress.com) by hanging themselves in, respectively 1983 and 1975. The band’s drummer, Mike Gibbins, died


a brain aneurism in 2005. Ham, who was was only 27 when he killed himself, wrote the song “Without You,” which became a worldwide hit for Harry Nilsson in 1972 and Mariah Carey in 1994,
Badfinger’s real-life tale of doom inspired a 1997 book, “Without You: The Tragic Story of Badfinger,” by Dan Matovina. Ham left behind a sucide note in 1975, specifically blaming the band’s manager, Stan Polley. “I will not be allowed to love and trust everybody. This is better,” Ham wrote, adding: “Stan Polley is a soulless bastard. I will take him with me.”

Lives & fortunes lost
In his book, Mantovina discloses how Polley put Badfinger’s money into a holding account that he — not the band’s members — controlled. To further compound members, the legally complicated dissolution of Apple Records prevented Badfinger’s members from receiving any royalties from Apple until 1985.
“It all came to a head in 1974, after four years of Number One records around the world,” Molland said by phone from his home in Minneapolis, where he has lived since 1983.
“We did five or six tours — a total of about 600 shows — over those four years, and and we never had any money. We signed a $3 million record deal (in late 1971) with Warner Bros. and they gave us $600,000 (as an advance), and we still didn’t have any cash. It went all to our manager. I couldn’t even buy a tape recorder.”
He sighed in frustration.
“Peter Ham should have been a millionaire by (1975),” Molland said. “He’d written four or five great songs that were international hits. The royalties were in the $200,000 range, every couple of months. The checks would go to the manager, and that’s the last we’d see of them. Warner Bros. sued us, Our (1974) album, ‘Wish You Were Here,’ fell off the charts. The most we ever got was $1,250 a month in salary. They gave us no support or direction.”
Badfinger imploded, briefly regrouped after adding a new member, then imploded again. By the early 1980s, Molland and Gibbins were leading rival editions of Badfinger. A 1985 U.S. court settlement finally resolved the many legal issues that had sealed Badfinger’s fate. Royalties now go to Molland and the estates of the band’s three deceased members.
‘No time for rock stars’
“It’s a shame Pete did what he did,” Molland said of Ham’s suicide. “I really believed he would have had a great (solo) career, if he had held on a little longer. It’s a sad story, this band.”
The settlement has enabled Molland to be a fulltime musician since 1985. Apart from making one album with the short-lived band Natural Gas in 1976, he spent the next decade doing an array of day jobs to support his wife and two sons.
“I laid carpet at a department store in Los Angeles,” recalled Molland, whose latest solo album, “Return to Memphis” came out last year. “Then I installed carpets in people’s houses. Shortly after that, I got a job with an old friend who taught me to be a carpenter, of sorts,, hanging doors, putting up trim and dong crown moldings. That was fine with me. My boys were born in 1979 and ‘80. I just kept going to work. And I kept writing songs, and I still do.
“Doing all those days jobs was OK with me. I wasn’t depressed. I’ve never been a rock star or in a ‘rock star’ band. I’ve got no time for rock stars; I just am not interested in it. I love bands and music, and I love to see them perform. But when they bring that (contentious) stuff off the stage with them, that’s not the real world. It’s just weird for me. If I needed money, I got a (day) job. I did that before Badfinger, when I worked on the docks in Liverpool, and after Badfinger.”
What’s welcome, not weird, for Molland is to appear at Beatles-related events — as he will here next Saturday — to sing and to discuss the band that irrevocably changed his life.
“That’s what people what to hear about, and that’s what I do,” he said. “I tell my story and I play the (Badfinger) songs. The memories come flooding back to me.”
2015 San Diego Beatles Fair
With: Joey Molland of Badfinger, Baja Bugs, Bart Mendoza, Dave Humphries Band
When: Noon to 11 p.m., Saturday, March 28
Where: Queen Bee’s Art & Cultural Center, 3925 Ohio St., North Park
Phone: (619) 255-5147

Online: sandiegobeatlesfair.com

Power pop (also typeset as powerpop) is a form of pop rock based on the early music of bands such as the Who, the Beatles, the Beach Boys, and the Byrds. It originated in the mid 1960s as young music fans began to rebel against the emerging pretensions of rock music, and developed mainly among American musicians who came of age during the British Invasion. The genre typically incorporates melodic hooks, vocal harmonies, an energetic performance, and “happy”-sounding music underpinned by a sense of yearning, longing, or despair.
Quick facts: Stylistic origins, Cultural origins …

În materie de rock-folk-etc., memoria colectivă e nedreaptă. Toți știm interpreții pieselor favorite, ceva mai puțini cine le-a compus și foarte puțini cine a scris textele.
De exemplu, mă oftic că Mariah Carey este atât de admirată – pe bună dreptate, de altfel – pentru „Without You” de către multe persoane care habar n-au cine e Harry Nilsson…
Sigur, e simplu când cele 3 persoane sunt una singură, dar asta e mai rar. După cum, dacă sunt multe „la-la-la” sau „of-of”, că nu știi textierul nu e mare pierdere.
Dar eu visez la o antologie CELE MAI FRUMOASE VERSURI DE CÂNTECE. Precedentul individual există, s-a luat și un Premiu Nobel pentru Literatură!
E vreo editură interesată de așa ceva?

(Via Facebook Tudor Calin Zarojan postarea din 30 aprile 2020.)

Remember “Badfinger” (pornind se la postarea Facebook via Tudor Calin Zarojanu din 30.04.2020).


Povestea tragica a membrilor formatiei “ BADFINGER”

Beadfinger group portrait,London,February 1971

Scurt istoric : a fost o trupa rock galeza/britanica ,formata in Swansea (UK,1969) si care a activated in anii 60-80.(muzica rock, Power pop).Anterior formatia a activated in perioada 1961-1969 sub diferite nume,cek mai cuniscut fiind The Ives.

Cea mai cunoscuta componenta/formatie a acestora: Peter Ham ( Peter William Ham a fost un cântăreț, compozitor și chitarist galez, cel mai cunoscut ca vocalist principal și compozitor al trupei de rock Badfinger din anii 70, ale cărei piese de succes includ „No Matter What”, „Day After Day” și „Baby Blue”.)


,Mike Gibbins(-Michael George Gibbins a fost un muzician galez, cel mai remarcabil pentru faptul că a fost bateristul lui Badfinger),


Tom Evans ( Thomas Evans Jr a fost un muzician și compozitor britanic, cel mai remarcabil pentru munca sa cu trupa Badfinger. El a co-scris melodia Without you)


Joey Mollard (Joseph Charles Molland este un compozitor și chitarist rock englez a cărui carieră de înregistrare se întinde pe cinci decenii. Este cel mai cunoscut ca membru al Badfinger, cel mai de succes dintre actele cu care a efectuat. Molland este ultimul membru supraviețuitor din clasica trupă)


Trupa a fost recunoscuta pentru influenta asupra genului pop power din anii’70.

Case de discuri : Apple Records,Warner Brooss Record,Elektra Records,Snappen Music,Fuel 2000.

Cele mai cunoscute cantece : Baby Blue (albumul din 1971 Straight Up),Day After Day (Straight Up,1971)

si Without you (Albumul No Dice,1970).

No Dice Album noiembrie 1970

Peter Ham (bateristul formatiei )si Tom Evans s-au sinucis prin spizurare in 1975 respectiv 1983. Mike Gibbins a murit in anul 2005, in urma unui anevrism cerebral.

Singurul supravietuitor al formatiei este Joey Millard (n.21.06.1947,Edge Hill,Liverpool, UK, 73 ani)

Joseph Charles Molland este un compozitor si chitarist rock englez a carui cariera de inregistrari se intinde pe cinci decenii. Este cunoscut mai ales can membru al formatiei Badfinger (1969_1974) Alte formatii in cadrul carora a cintat “The Merseybeats” si World Rochgers”


Queen Bee’s Art & Culture Center

San Diego,CA 92104,United States


Târgul Beatles din San Diego – 2015
Queen Bee / North Park prezintă
Târgul de Beatles din San Diego
28 martie 2015,
și muzică din Marea Britanie Finest, The Dave Humphries Band, The Baja Bugs și multe altele!
La care se adauga! O recreare LIVE ONSTAGE a Beatles 28 august 1965 Conferința de presă și concertul din San Diego!
SAN DIEGO, Calif. – Târgul Beatles revine pentru 2015 cu o sărbătoare a tuturor lucrurilor legate de Fab Four. Sâmbătă, 28 martie, va avea loc o zi întreagă de muzică, discuții și distracție pentru toate vârstele la Queen Bee din North Park.
Strada Ohio din fața locului va fi închisă cu o selecție de produse alimentare și vânzători, inclusiv recorduri! Vor fi afișări de amintiri și multe altele, dar muzica va fi în centrul atenției zilei. Reperele vor include:
Un spectacol al fostului artist Apple Recording, Joey Molland, care a realizat o selecție de hituri Badfinger, inclusiv „No Matter What”, „Baby Blue” și „Day After Day”.
O recreație live, la fața locului, a vizitei Beatles din 1965 la San Diego, incluzând conferința de presă, cheile prezentării orașului și, desigur, concertul!
O apariție din partea trupei de tribut Beatles de top, Marea Britanie Finest, care acoperă întreaga carieră a lui Fabs – completată cu schimbări de costum!
Un set de Lennon / McCartney timpuriu din combo-ul All Star Beatles, Baja Bugs – cu membrii The Zeros, Manual Scan și The Crawdaddys!
O interpretare de hituri pop / copie de melodii de pisici influențată de Beatles din trupă, True Stories
Un set de cover-uri clasice și Beatles / Tony Sheridan a inspirat muzică din The Dave Humphries Band
Un mini set de deschidere de la compozitorul cântăreț câștigător Josh Damigo, precum și muzică de la Rhythm and the Method și mai multe surprize TBA
Un foc acustic cântă-o-lung. stage
Beatles Fair este un eveniment de rădăcini de iarbă, organizat de fani. Dacă vă place muzica Beatles, nu veți dori să ratați această zi completă de Fab Fun!

Milioane de fani și muzicieni povestesc adesea cum le-a schimbat viata formatia “The Beatles” .

Dar foarte puțini pot discuta despre impactul Fab Four cu mai multă autoritate și experiență de primă mână decât Joey Molland, care a condus Târgul de Beatles din San Diego pe data se 28 martie 2015 la Queen & Bee’s Art & Cultural Center sâmbătă.
Molland, în vârstă de 67 de ani, este singurul membru supraviețuitor al Badfinger. În calitate de The Iveys (care și-a schimbat rapid numele în Badfinger), cvartetul englez a fost prima trupă care a semnat cu Apple Records,brandul fondat de The Beatles în 1968.
Badfinger a continuat să vândă 14 milioane de albume în întreaga lume și a obținut trei top 10 topuri americane între 1970 și 1972, inclusiv „Come and Get It” (scris de Paul McCartney), „No Matter What” și „Day After Day”. Molland și tovarășii săi au cântat și la „All Things Must Pass”, în albumul epic al lui George Harrison, cu triplă din 1970, precum și la spectacolele „Concert for Bangladesh”, conduse de Harrison și Ravi Shankar, conduse în Madison Square Garden din New York, în 1971 .
Badfinger, „Nu contează ce”
La rândul său, Harrison a cântat la de chitară în celebra deacum dmelodie „Day After Day”,(albumul Straight Up lansat in 1971,in calitate de coproducator,aceasta fiind cel de-al doilea album al trupei Barringer) . Între timp, Molland și colegul său membru al lui Badfinger, Tom Evans, aveau rolul de a cânta la chitare pe „Nu vreau să fiu soldat”, o melodie din albumul lui John Lennon din 1971, „Imaginează-ți”.
„Nu m-am uitat niciodată cu adevărat la The Beatles în sensul în care s-au mutat, de la Liverpool la Londra și am progresat”, a spus Molland, care – ca toți cei patru Beatles – este un originar din
„Pur și simplu am privit The Beatles ca devenind cea mai mare trupă de rock„ n ”din patru piese absolut din lume. Până în ziua de azi, n-am mai auzit pe nimeni mai bine decât ei, cântând vreun fel de cântec. Și nu am auzit cântăreți ca acei tipi. Nu am auzit pe nimeni să cânte armonia așa. Nu am auzit niciodată pe nimeni mai bine. Și asta mă încântă pentru The Beatles – muzica lor, viața și focul din ea. Au ținut totul viu și arzând. ”
Fond amintiri despre George și John
Reamintind sesiunile de înregistrare separate de Badfinger cu Harrison și Lennon, Molland a spus: „George a fost moale, până când a devenit sălbatic, și atunci nu a fost moale! John avea să ridice temperatura camerei, doar intrând. Avea energie feroce, ca un om pe foc. John a fost cu adevărat dulce pentru noi, iar Yoko (Ono) a fost minunat.
„George ar merge în jurul fiecărui muzician și i-ar arata ceeace trebuie facut ; a-i arăta cum si ce făcea. El le-a cântat aranjamentul și a vorbit despre rolul pe care urmau să îl joace. John nu a făcut asta. Tocmai am cântat melodia și am învățat acordurile. Știa că putem canta aceea muzica rapid. Eram familiarizați cu fiecare stil de muzică care era The Beatles. Am crescut pe strada următoare din apropiera lor (Liverpool) Am ascultat aceeași muzică, am mers în aceleași magazine de discuri, am cantat in aceleași cluburi. Am avut aceleași experiențe în Liverpool ca și ei. ”
Că poveștile lui The Beatles și Badfinger sunt întrețesute este o chestiune de intreprtare.

La fel și doi dintre membrii săi, Evans și Ham, fiecare s-a sinucis prin spânzurare, respectiv 1983 și 1975. Bateristul trupei, Mike Gibbins, a murit din cauza unui aneurism cerebral în 2005. Ham, care avea doar 27 de ani când el sa sinucis, a scris piesa „Fără tine”, care a devenit un hit mondial pentru Harry Nilsson în 1972 și Mariah Carey în 1994,

Povestea reală a lui Badfinger si destinul membrilor formatiei a inspirat o carte din 1997, „Fără tine: povestea tragică a lui Badfinger”, de Dan Matovina. (-Dan Matovina este cunoscut pentru munca sa ca inginer de înregistrare, producător de înregistrări și autor al unei cărți despre Badfinger. Matovina s-a născut în Cleveland, Ohio.
Născut: 10 octombrie 1957 (vârsta 62 de ani), Cleveland, Ohio, Statele Unite
Cărți: Without You: The Tragic Story of Badfinger)

Ham a lăsat în urmă o notă de sucide în 1975, învinovățind în special pe managerul trupei, Stan Polley. (-Stanley Herbert Polley a fost un manager de divertisment activ în anii ’60 -’70. Printre clienții săi s-au numărat trupa de rock Badfinger, muzicianul Al Kooper și cântărețul Lou Christie. De-a lungul carierei sale, Polley a fraudat o serie de clienți și asociați.)

„Nu am voie să iubesc și să am încredere în toată lumea. Este mai bine “, a scris Ham, adăugând:„ Stan Polley este un nenorocit fără suflet. Îl voi lua cu mine. ”
Vieți și averi pierdute
În cartea sa, Mantovina dezvăluie modul în care Polley a pus banii lui Badfinger într-un cont bancar pe care el – și nu membrii trupei – îl controla.Pe se alta parte dizolvarea complicată din punct de vedere legal a Apple Records i-a împiedicat pe membrii lui Badfinger să primească redevențe de la Apple până în 1985.
“Totul a venit în cap în 1974, după patru ani de înregistrări numărul unu în întreaga lume”, a spus Molland telefonic de la domiciliul său din Minneapolis, unde locuiește din 1983.
„Am făcut cinci sau șase turnee – în total aproximativ 600 de spectacole – în acei patru ani și nu am avut niciodată bani. Am semnat un contract record de 3 milioane de dolari (la sfârșitul anului 1971) cu Warner Bros și ne-au dat 600.000 de dolari (ca avans) și încă nu aveam bani. A mers totul la managerul nostru. Nici nu aș putea să cumpăr un magnetofon. ”
A oftat frustrat.
“Peter Ham ar fi trebuit să fie milionar până în 1975”, a spus Molland. „A scris patru sau cinci melodii grozave, care au fost hituri internaționale. Drepturile au fost de 200.000 USD, la fiecare două luni. Verificările se vor adresa managerului, iar acesta este ultimul pe care l-am văzut. Warner Bros. ne-a dat în judecată, albumul Our (1974), „Wish You Were Here”, a căzut de pe topuri. Cel mai mult am primit vreodată 1.250 de dolari pe lună. Nu ne-au oferit niciun sprijin sau direcție. ”
Badfinger a implodat, s-a regrupat scurt după adăugarea unui nou membru, apoi a fost implodat din nou. Până la începutul anilor ’80, Molland și Gibbins au condus ediții rivale ale lui Badfinger. O soluție judecătorească din 1985 din SUA a rezolvat în cele din urmă numeroasele probleme legale care au pecetluit soarta lui Badfinger. Drepturile sunt acum la Molland și la moșii celor trei membri ai trupei.
„Nu există timp pentru stelele rock”
“Este pacat ca Pete a facut ce a facut”, a spus Molland despre sinuciderea lui Ham. „Am crezut cu adevărat că ar fi avut o carieră (solo) grozavă, dacă ar fi susținut ceva mai mult. Este o poveste tristă, această trupă. ”
Acordul i-a permis lui Molland să fie un muzician cu normă întreagă din 1985. În afară de a face un album cu trupa de scurtă durată Natural Gas în 1976, a petrecut următoarea decadă făcând o serie de joburi de zi pentru a-și sprijini soția și cei doi fii.
„Am pus covor într-un magazin din Los Angeles”, și-a amintit Molland, al cărui ultim album solo, „Return to Memphis” a apărut anul trecut. „Apoi am instalat covoare în casele oamenilor. La scurt timp după aceea, am primit o slujbă cu un vechi prieten care m-a învățat să fiu tâmplar, fel de fel de uși, atârnând uși, așezând mulaje cu coroane și dong. A fost bine cu mine. Băieții mei s-au născut în 1979 și în ’80. Am continuat să muncesc. Și am continuat să scriu melodii, și încă o fac.
„A face toate zilele de muncă a fost bine cu mine. Nu am fost deprimat. Nu am fost niciodată o stea rock sau o trupă „rock star”. Nu am timp pentru stelele rock; Doar că nu mă interesează. Ador benzile și muzica și îmi place să le văd interpretând. Dar când aduc cu ele aceste lucruri (controversate), nu este lumea reală. Este ciudat pentru mine. Dacă aveam nevoie de bani, aveam un job (de o zi). Am făcut asta înainte de Badfinger, când am lucrat la docurile din Liverpool și după Badfinger. ”
Ce este binevenit, nu ciudat, pentru Molland este să apară la evenimentele legate de Beatles – așa cum va veni el sâmbăta viitoare – să cânte și să discute trupa care i-a schimbat irevocabil viața.
„Este ceea ce fac oamenii să audă și asta fac eu”, a spus el. „Îmi spun povestea mea și cânt cântecele (Badfinger). Amintirile revin la mine. ”
2015 San Diego Beatles Fair
Cu: Joey Molland din Badfinger, Baja Bugs, Bart Mendoza, Dave Humphries Band
Queen Bee’s Art & Cultural Center, 3925 Ohio St., North Pa
Online: sandiegobeatlesfair.com


Noemie Merlant Portrait of a Lady on Fire (foto).

Noemie Merland

Noémie Merlant Discusses The Feminist Utopia In ‘Portrait Of A Lady On Fire’ .
Before “Portrait of a Lady on Fire,” a breathless, wind-swept lesbian romance about a painter and her subject, French director Céline Sciamma was best known for her tales of adolescent fluidity: “Water Lillies,” “Tomboy,” and “Girlhood.” In these films, female protagonists are as likely to be reviled by society as they are to be embraced by it. “Portrait of a Lady on Fire,” though set centuries before its predecessors, strips away that ambiguous fear to offer a world far more present, matriarchal, and utopian. On an isolated island estate, protagonists Marianne and Héloïse are finally given a frame within which they can freely create.

So too went the creation of the film, a period-specific production ruled by timelessness and instinct, with leads Noémie Merlant and Adèle Haenel as much at the helm as Sciamma herself. As the painter Marianne, Merlant is particularly skilled at portraying her character’s careful observation, her performance of a gasp, or a glance as loaded as any of the script’s countless florid exchanges.

Nominated for two César Awards in 2016 for her turn as Sonia in Marie-Castille Mention-Schaar’s “Heaven Will Wait,” Merlant is now a favorite to take home the Best Actress statue for playing Marianne. On a harried press day before she flew, once again, from Los Angeles to Paris, I talked with her about the ‘Portrait’ filming process, patriarchy, and the high demand for great lesbian films.

What did you know about Céline Sciamma’s work going in? Was she someone you’d wanted to work with?
I’ve seen all of her movies before, so even though I didn’t know what the movie was about, when I got the script I was like, my God, I’ve got to work with her. This is a director – and a woman director – whose work I really appreciate. And as soon as I met her at the audition, where was giving me the lines of Héloïse, she really created this horizontal gaze – an environment of kindness and respect and equality. The vision of the movie was her vision in life, and I felt that straight away.

How would you describe her style on set?
She’s a mix of fun and intensity, the importance of the work and of cinema. And for her, it’s really important that, even if she has a strong vision, a strong script, everybody on set can express himself or herself. There is no conflict, there is no domination, nobody has to exist in her way and in her vision.

Can you describe how that collaborative nature actually looked in filming?
Her script has all the details in it. Not only all of the dialogue but also all the silence: the steps, the looks, the breathing. So when we start shooting, we don’t rehearse. She knows that we have enough of a frame from the script, and we also have the restriction of the costumes and the focus because the light is candles so the focus is really hard to get. So we have our frame, and we can fill it with our ideas. There are a thousand ways to look at someone, there are a thousand ways to say a line of dialogue. We could embody this material that she gave us with our own vision of our character and a vision of art.

How much research went into what it meant to be a marriage portraitist at this time.
This the difficulty with Celine, she doesn’t want us to be too cerebral. We were all agreed on the fact that the principal thing we have to know is that there were about a hundred female painters at that period. And they were erased from history. And she wanted me, Marianne, to represent all of these women — not one, but all of them. We had to be really present. We had to forget that we were doing a period movie. So we created with our bodies. Adele and I didn’t know each other, so we had to create with instinct, also. We had to create with the air, with the wind, all that was around us.

Marianne is lucky to be a painter in that period and to have the chance to not be married, but still, she was stuck in the ideas and the concepts of that period. In the beginning of the movie, she does that first conventional portrait because she feels grateful that she is a painter. She follows the rules of this patriarchal society for culture and art. She doesn’t look for her vision of art. And it’s the collaboration with Heloise that makes her realize that and change that.

Since this is a lesbian love story and there are so few well-made lesbian films, I know people have been eager to see it since its limited release last year. Have you felt that demand?
Cinema is so essential to represent other experiences than what we are used to seeing. And what we are used to seeing is always the same things, the same patriarchal vision and male gaze. The female gaze is the intimacy of a woman’s perspective. It’s new images and new experiences, and other realities that have been hidden and erased. To represent a lesbian love story is essential to create a new culture that represents more of the real world. This is why I want to do this job, to represent reality.

What has the audience reaction been like?
There are so many people who have been touched by this movie and tell us thank you, and that means our culture was missing something before. The first thing I thought when I read this script was, oh, this is a story we’ve missed.

“Portrait of a Lady on Fire” is in select theaters now.Visited site :https://entertainment.ie/cinema/

Adele Haenel Noemie Merland and Celine Sciumma attended the”Portrait of A Lady on Fire” UK Premiere during the 63rd BFI London Film Festival on the Embankment Garden Cinema,8 October 2019


“Wat the Hell Was That All About?”


Trump Mocks ‘Parasite’ Best Picture Win: ‘What the Hell Was That All About?’

Donald Trump Parasite
President Donald Trump took aim at “Parasite’s” historic Oscar wins at a Colorado rally on Thursday.
“How bad were the Academy Awards this year?” he asked, prompting jeers from the crowd. “Did you see it?”

“The winner is… a movie from South Korea! What the hell was that all about?” he went on. “We got enough problems with South Korea with trade. On top of that, they give them best movie of the year? Was it good? I don’t know. Let’s get ‘Gone With the Wind.’ Can we get ‘Gone With the Wind’ back, please?”

“So many great movies…” he bemoaned before again mocking, “the winner is from South Korea!”

“I thought it was best foreign film, right? Best foreign movie,” he said. “Did this ever happen before?”

It hadn’t, actually, happened before. “Parasite” made history when it became the first foreign-language film to win best picture at the Oscars, also taking home original screenplay, director for Bong Joon Ho and best international film.

He also took a shot at Brad Pitt, who used his speech for winning supporting actor to, in part, call out the Trump impeachment trial for blocking the testimony of former national security adviser John Bolton. Trump said he was “never a fan” of Pitt, addressing his Oscars speech.

“He got up and said little wiseguy statements,” Trump said of Pitt. “He’s a little wiseguy.”

During the Oscars, Pitt joked, “They told me I only have 45 seconds up here, which is 45 seconds more than the Senate gave John Bolton this week. I’m thinking maybe Quentin [Tarantino] does a movie about it — in the end, the adults do the right thing.”

Neon, the distributor of “Parasite,” took Trump’s jabs in stride, tweeting that it was “understandable” that Trump couldn’t comprehend the subtitled film. “He can’t read,” it said, including the hashtag #Bong2020.

    Variety  Alex Stedman
    February 20, 2020 4:56PM PST

IRISHMAN(2019),film by Martin Scorsese

The Irishman
Martin Scorsese’s best film since Goodfellas is a monumental immersion into fading mob glamour, featuring shape-shifting turns from Robert De Niro, Al Pacino and Joe Pesci. Read the full review.:

The richness, artistry and grandeur of Martin Scorsese’s film-making was revealed again in his epic mob corruption tale The Irishman, which returns him spectacularly to the wellspring of his greatest inspiration: the lives of working-class Italian Americans, and those from other US immigrant communities in the 20th century. They are mixed up with organised crime, deeply influenced by the protective codes and practices of the family, the church and respectable commerce, but their conformity exists alongside a half-acknowledged life of sin and crime. The family man cheats on his wife, the churchgoer murders and robs, the hardworking small businessman evades tax, uses his business as a laundering front for the wiseguys and pays (or demands) protection – and the loyal Cosa Nostra soldier secretly wears a wire preparing to turn state’s evidence.

The Irishman is based on the true-crime bestseller I Heard You Paint Houses about Philadelphia mob enforcer Frank Sheeran ­– whose nickname “The Irishman” was an important way of announcing his semi-detachment from the Italian gangsters – and Sheeran’s claim to have been the man who murdered Teamsters union boss Jimmy Hoffa at the behest of mafiosi nervous about what Hoffa might reveal about his mob links. Scorsese assembles a superstar repertory of players: Robert De Niro is the stolid, discreet Sheeran, Joe Pesci displays his charismatic menace in the role of soft-spoken mafia boss Russell Bufalino and Al Pacino brings his A-game to the part of Hoffa.

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Poveștile mele sunt vii și mă scot din minți. Mă rod pe dinăuntru. Le cert și le iubesc, le mângâi, apoi le gonesc, le ucid și le readuc la viață. Sunt ale mele. Uneori, mă îmbracă de sus până jos, mi se prind în păr, la gât și pe fiecare deget. Eu însămi sunt o poveste.


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