#hughgrant

A Warner Bros liberou novos pôsteres de Wonka, filme que vai contar a origem de Willy Wonka. Originalmente, o personagem foi criado pelo autor Roald Dahl, e foi vivido por Gene Wilder em A Fantástica Fábrica de Chocolate, de 1971, e por Johnny Depp no remake de 2005.

A produção será ambientada no século XX, com Wonka trabalhando bastante para se estabelecer no mercado e aumentar sua fábrica. Também veremos o chocolateiro abrindo a sua loja com o conhecimento que coletou em suas viagens, mas terá que enfrentar o “cartel do Chocolate”, um grupo de empresários de doces, que quer tentar esmagar a concorrência a qualquer custo.

O diretor também comentou sobre Hugh Grant interpretar um Oompa Loompa.

"Eu realmente só pensei sobre o personagem: quem poderia ser um mrda de verdade e, então… "ah, o Hugh! Porque ele é o mrda mais engraçado e sarcástico que já conheci", disse o diretor em entrevista ao The Hollywood Reporter.

Além de Timothée Chalamet como Willy Wonka, o elenco ainda conta com Hugh Grant, Sally Hawkins, Rowan Atkinson, Olivia Colman, Jim Carter, Mathew Baynton, Simon Farnaby, Kobna Holdbrook-Smith, Keegan-Michael Key, Matt Lucas, Natasha Rothwell e Rakhee Thakrar.

O filme tem direção de Paul King e roteiro de Simon Rich.

James Ivory es un especialista en el cine de época, al cual con frecuencia añade al retrato rimbombante de las clases altas británicas. Guionista, además, de esa joya moderna que es "Llámame por tu nombre" (2017), por la cual ganó un Oscar al Mejor Guion Adaptado, en 1987 dirigió otra película basada en una obra literaria: se trata de "Maurice", escrita por el también británico E. M. Forster (1879-1970) entre 1913 y 1914, aunque recién fue publicada en 1971.

La primera escena muestra al pequeño Maurice Hall (Orlando Wells) siendo instruido por su maestro, el Sr. Ducie (Simon Callow) sobre "las cosas de la vida" (léase, enamorarse, casarse con una mujer y procrear). Pero Maurice, aunque interesado por el sexo, no lo está con respecto al género de sus afectos y mantiene una relación más que amorosa con su compañero Clive Durnham (Hugh Grant; la versión adolescente de Maurice la interpreta James Wilby). Claro que esta pasión que los une exige mantenerse en el más severo anonimato: la homosexualidad es un crimen que se pena con la cárcel y la deshonra pública, castigos más que severos para personajes de alta alcurnia como ellos. Es más: Maurice acude a un profesional (Ben Kingsley) para que le ayude a curarse de esas malas mañas.

Y, mientras pasa el tiempo (la acción principal transcurre entre 1909 y 1914) y Clive decide establecerse y casarse con una mujer, Maurice encuentra un nuevo posible amor en Alec Scudder (Rupert Graves), guardabosques de Durnham, aunque la inminencia de su viaje permanente a Buenos Aires pone en alerta al joven por la posibilidad de enfrentar una vida caótica.

Ivory, un habitué de los premios de la Academia de Hollywood, aquí logra tan sólo una nominación por el vestuario, que refleja el estilo eduardiano que la época imponía.

Aquí, la película entera y subtitulada español:

Unfamiliar with Jane Austen’s work? Too busy to read the books, but not enough to be content with the Wikipedia synopsis? Perhaps you're thinking of testing the waters with a film adaptation first? If so, 1995's Sense and Sensibility is a great choice. Even if you’re unfamiliar with the work it’s based on, you'll be under its charms in no time.

Sisters Elinor (Emma Thompson) and Marianne (Kate Winslet) Dashwood lose their home and the comforts of wealth when their father passes away. Forced to move out of their house along with their mother (Gemma Jones) and younger sister Margaret (Emilie François), the two women must now look for financial security through marriage. Courtship is challenging for level-headed Elinor and heart-driven Marianne as they struggle to find a man who will support their family and marry them for love.

This is what you want out of a romantic drama. It succeeds in making these people's dating lives a big deal. Life was very different in the 1800s, particularly for women. You couldn’t get a job or run a household by yourself without getting weird looks even if you were wealthy, so what chance do these women have? Through no fault of their own and because of deliberate scheming against them they suddenly need a man who will take care of them. That sucks, particularly if you're smart like they are. Even if Elinor and Marianne find a man that's available, likable, and rich, there are probably a dozen equally desperate women after him too. This isn’t some high school drama nonsense; it’s survival. You don’t want to see anyone get hurt, even the romantic rivals. You couldn’t pull off a story about relationships with this much urgency in modern times.

With that foundation, you're drawn into Sense and Sensibility completely. Not only because of the high stakes; because the romance is nice and juicy. You don’t know who these women will end up with. It’s not just about who is the most handsome, or the kindest. It’s not even necessarily about the money. These people aren’t machines, they want to be happy and that’s difficult in this world they live in. This could've easily made it alienating but you're never lost. Even 200 or so years back, human emotions weren't so different from the way they are now, and the material is made to be very digestible.

All this is made even more accessible by strong performances and great direction by Ang Lee. My favorite scene is one set in a ballroom, a place that naturally lends itself to drama. There are so many opportunities in there to suddenly bump into someone you wanted to avoid and there’s no way you’ll be able to escape their gaze forever. Inevitably, the music will force you to switch partners. Suddenly, you’re inches away from them. Now what?

My exposure to Jane Austen before Sense and Sensibility was limited. Through osmosis, I’d gotten the gist of it: the peril that accompanies sudden impoverishment, the challenges women faced at the time, the evergreen drama of wanting to be with someone but not knowing if you’ll get your happy ending. I’m embarrassed to say the only adaptation of the writer’s work before this was Pride and Prejudice and Zombies, not exactly a great example. But I’m an open-minded person. The movies I enjoy don’t need superheroes, giant monsters, big special effects, or bone-breaking punches to the face. It helps, but when you've got characters like these, performers on this level, writing of this quality, it doesn't matter who you are. You'll love it. (On DVD, March 27, 2016)