[Bel Ami] Revue de presse

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The nasty side of RPattz

Having made his name as Harry Potter, Daniel Radcliffe must now spend the years ahead stamping on his childhood image. He could take a lesson from Robert Pattinson, who appears in the astonishing new film Bel Ami, as the most charismatically repellent leading man I can recall. He makes Valmont in Les Liaisons Dangereuses look like a puppy. In another piece of counter-casting, Kristin Scott Thomas plays a lovesick matron, humiliatingly scorned. It is an unsettling premise that a handsome young man can pick off the wives of powerful men. Newspaper proprietors and politicians will keep a much closer eye on their domestic arrangements after seeing this film.

source : thisislondon.co.uk via RPLife

Traduction

Le côté sombre de RPattz

Après s'être fait un nom avec Harry Potter, Daniel Radcliffe va maintenant devoir passer les prochaines années à faire s'estomper cette image enfantine. Il pourrait prendre des leçons de Robert Pattinson, qui apparaît dans l'étonnant nouveau film Bel Ami, le rôle principal masculin le plus charismatique et le plus abject dont je me souvienne. Il fait passer Valmont dans Les Liaisons dangereuses pour un petit toutou. Dans un autre registre à contre emploid Kristin Scott Thomas joue une femme d'âge mur en mal d'amour, méprisée de façon humiliante. C'est un principe déroutant qu'un beau jeune homme puisse séduire les épouses des hommes puissants. Les patrons de presse et les politiciens ouvriront l'œil sur leur situation conjugale après avoir vu ce film.

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Christina Ricci talks about Rob with The Sunday Times "He's doing just fine"



The Sunday Times has a new interview with Christina Ricci where she mentions Rob and Bel Ami.

She stopped short of offering her co-star, the much hyped R-Patz, any tips about the tricky transition to adult movies. "Oh, he doesn't need any help from me," she raises her eyebrows. "He's doing just fine."

source @BarnesGirl11 via RPlife

Traduction

Cristina Ricci parle de Robert Pattinson avec The Sunday Times

Elle n'a en aucun cas offert des conseils à son collège, le tant aimé RPattz, sur la transition délicate vers les films plus adultes. "Oh, il n'a besoin d'aucune aide quelconque venant de moi" elle hausse les sourcils. "Il s'en sort très bien".

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Reviews de "Total film" et "Sigh and sound"

Total film



Sigh and sound

Guy de Maupassant’s second novel, about an unprincipled cad who rises in Belle Epoque Parisian society using women as stepping stones, has often been adapted for the screen, most famously by Albert Lewin as The Private Affairs of Bel Ami in 1947, with George Sanders in the title role. Lewin, a cultured Francophile, did a handsome if over-wordy job, but at 41 Sanders was too old for the role, and the Hollywood censors, much to Lewin’s annoyance, imposed a moralistic ending in which the cad meets his deserts in a fatal duel. Hard to think of anything more out of keeping with Maupassant’s novel, which exudes the urbane cynicism for which the writer was famous.

The new version has no truck with such sanctimony. Rachel Bennette’s script offers a faithful rendition of the original, up to and including the ending with Georges Duroy (the amorously ambitious ‘Bel Ami’ of the title) relishing his triumph over the shallow, corrupt society that he at once despises and personifies. Although it is well-grounded in its period – Budapest locations convincingly impersonate 1890s Paris, and rampant French colonialism in North Africa provides a murky political backdrop – the film’s themes feel remarkably topical. An Arab country is invaded for ostensibly high-minded motives, political parties denounce each other’s policies while surreptiously adopting them, the press attacks the corruption from which it profits, and a young man of no discernable talent attains celebrity thanks to a pretty face and a plausible manner.

Joint directors Declan Donnellan and Nick Ormerod, here making their feature debut, are best known for their work with Cheek by Jowl, the avant garde theatre company they founded in 1981. If Bel Ami occasionally feels airless and overly art-directed that may partly reflect the period it’s set in, but also the directors’ over indulgence in facial close-ups. It’s almost as though they didn’t trust their actors to express emotions in mid-shot – the last thing you’d expect from theatre directors. This does Robert Pattinson as Bel Ami no favours, since in close up his face tends to lapse into the bovine, but at further remove he gives an alert amusedly insinuating performance. A scene where he plays tap with his soon-to-be lover Clothilde (Christina Ricci, appealingly kittenish) and her little daughter brings out the boyish charm that stands him in good stead with the Parisian ladies. Even so he is outpaced in the acting stakes by his trio of lovers, Ricci, Uma Thurman as his mentor and subsequently his wife, and Kristin Scott Thomas, touchingly vulnerable as his boss’s wife. As Thurman’s Madeleine notes, unwittingly setting Georges on his unscrupulous path to the top, in this seemingly male dominated society the really important people are the wives – and the same goes for the film.

source : twitter.com/BexDazzled & bfi.org.uk via livejournal pattinsonlife