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    Home Page > Movies & DVD > The Paperboy

    THE PAPERBOY: DOPO 'PRECIOUS' IL REGISTA LEE DANIELS CHIAMA IN CAUSA NICOLE KIDMAN; JOHN CUSACK, ZAC EFRON E MATTHEW MCCONAUGHEY PER IL SUO NUOVO AFFRESCO APPUNTATO SULL'ESPLORAZIONE DELLA NATURA UMANA

    PREVIEW in ENGLISH by JUSTIN CHANG (ww.variety.com) - Dal 65. Festival del Cinema di CANNES (16-27 Maggio 2012 - 2014 (?)

    (The Paperboy; USA 2012; Thriller; 101'; Produz.: Benaroya Pictures/Lee Daniels Entertainment/Millennium Films/Nu Image Films; Distribuz.: 01 Distribution)

    Locandina italiana The Paperboy

    Rating by
    Celluloid Portraits:



    See SHORT SYNOPSIS
    Trailer

    Titolo in italiano: The Paperboy

    Titolo in lingua originale: The Paperboy

    Anno di produzione: 2012

    Anno di uscita: 2014

    Regia: Lee Daniels

    Sceneggiatura: Peter Dexter

    Cast: Zac Efron (Jack James)
    Nicole Kidman (Charlotte Bless)
    John Cusack (Hillary Van Wetter)
    Matthew McConaughey (Ward James)
    Scott Glenn (W.W. James)
    Nikolette Noel (Nancy)
    David Oyelowo (Yardley Acheman)
    Beau Brasseaux (Thug)
    Ned Bellamy (Tyree van Wetter)
    Katarzyna Wolejnio (Jennifer)
    Macy Gray (Anita Chester)

    Musica: Mario Grigorov

    Costumi: Caroline Eselin

    Scenografia: Daniel T. Dorrance

    Fotografia: Roberto Schaefer

    Montaggio: Joe Klotz

    Effetti Speciali: David NAmi (coordinatore)

    Makeup: Karri Farris e Krystal Kershaw

    Casting: Leah Daniels e Billy Hopkins

    Scheda film aggiornata al: 18 Novembre 2013

    Sinossi:

    IN BREVE:

    Hillary Van Wetter (John Cusack) aspetta di essere giustiziato nel carcere della Moat County, in Florida. L'uomo è accusato dell'omicidio di Thurmond Call, uno sceriffo che ha ucciso per odio razziale ben sedici neri. Ma Charlotte Bless (Nicole Kidman), appassionata di casi estremi, ha scritto una lettera al "Miami Times" sostenendo che si sta per condannare a morte un innocente e il giornale, fiutando la pista, manda i suoi due migliori reporter nella Moat County. Sono Ward James (Matthew McConaughey), malinconico quanto ossessivo nella sua ricerca della verità, e il brillante e spregiudicato Yardley Acheman (David Oyelowo). Con l'aiuto di Charlotte i due conducono un'inchiesta che porta alla liberazione del detenuto e gli vale il premio Pulitzer, ma un giornale rivale sente puzza di imbroglio. Il tutto accade sotto gli occhi di Jack James (Zac Efron), il ragazzo che i quotidiani, più che scriverli, li consegna tutte le mattine all'alba, che fa da autista alle due star del giornalismo e ne vive e racconta le imprese, con lo sguardo stupito e distaccato di un uomo-bambino.

    SHORT SYNOPSIS:

    A reporter returns to his Florida hometown to investigate a case involving a death row inmate.

    Commento critico (a cura di JUSTIN CHANG, www.variety.com)

    Racial prejudice, journalistic ethics and a half-naked Zac Efron are among the pressing matters on the mind of "The Paperboy." A very special delivery indeed, director Lee Daniels' follow-up to "Precious" is a risibly overheated, not unenjoyable slab of late-'60s Southern pulp trash, marked by a sticky, sweaty atmosphere of delirium and sexual frustration that only partly excuses the woozy ineptitude of the filmmaking. With Nicole Kidman, Matthew McConaughey and John Cusack wading through a murky swamp of a story, this patchy potboiler should generate some theatrical curiosity but will look more at home on checkout stands.

    Pete Dexter's engrossing 1995 novel about two brothers, one a reporter investigating a possible miscarriage of justice in the volatile days following the peak of the civil-rights movement, sketched an incisive portrait of hard-nosed, old-school journalism at work. That detail is absent from Dexter and Daniels' adaptation, which gets off to a questionable

    start by handing large swaths of voiceover narration to the brothers' maid, Anita (Macy Gray), blearily recalling events as though from the depths of a bad hangover.

    In the summer of '69, dogged Miami Times reporter Ward Jansen (McConaughey) returns to his small-town Florida roots to write a piece on Hillary Van Wetter (Cusack), a particularly nasty sort sitting on death row for the murder of a notoriously racist sheriff. Ward persuades his younger brother, Jack (Efron), to work for him as a driver, though the kid quickly runs afoul of Ward's arrogant colleague, Yardley (David Oyelowo).

    Prepared to believe Hillary may be innocent, Ward and Yardley have unwisely placed their trust in Charlotte Bless (Kidman), an aging sexpot with a prison fetish who's fallen for Hillary and is determined to get him exonerated. A vision in hot-pink lipstick and bleached-blond wig, with a deliciously tacky wardrobe of short skirts,

    leopard-print blouses and gold-lame pants (designed by Caroline Eselin-Schaefer), Charlotte is a woman of strange, even telekinetic talents, as seen during her first prison visit with the horny Hillary.

    In the course of his investigation, Ward must interview an inbred-looking family living in the middle of an alligator-infested swamp, perhaps supplying a metaphor for the violently repressed secrets that keep bubbling to the surface. Daniels, not known for his directorial subtlety, would seem to have the right touch and temperament for this kind of crazy Southern gothic, and up to a point the wobbly widescreen framing and haphazard editing seem of a piece with the thick, fetid mood. For better or worse, viewers are apt to emerge feeling as if they've just been bathed in blood, sweat, urine, mud and crocodile guts.

    Yet the filmmakers have largely misjudged their story priorities here, showing minimal interest in the central mystery and

    dwelling to the point of distraction on the novel's more lubricious episodes. As Jack becomes infatuated with Charlotte, the oppressive humidity gives him no shortage of reasons to show off his swimmer's physique, at which point the camera can at least be counted on to snap to attention. Set to a soundtrack of soul hits and full of bizarre scene transitions, the film seems possessed by the spirits of blaxploitation and "Baywatch."

    As a result, "The Paperboy" feels closer in spirit to Daniels' much-reviled 2005 debut, "Shadowboxer," than to 2009's "Precious," in which he demonstrated a talent for directing actors that's little in evidence here. Kidman's tarted-up turn as what one character describes as "an oversexed Barbie doll" is heavier on eyeshadow than emotion; Cusack is scarcely the picture of white-trash villainy; and McConaughey, though given the most sympathetic character arc, elicits pity for mostly the wrong reasons.

    Most compelling

    onscreen dynamic is between Jack and Anita, warmly enacted by Efron and "Shadowboxer" alum Gray. While the decision to foreground Gray's role is meant to play up the complex racial dynamics of the period, the film unfortunately seems to have taken its technical cues from Anita's meandering, concussion-like voiceover, particularly apparent in two scenes of gory but clumsily staged action. At one point, a sex scene is pointlessly intercut with shots of swamp animals, looking either dead or reproachful, followed by a lazy fadeout as Anita mutters, "I think y'all seen enough."

    Bibliografia:

    Nota: Si ringrazia lo Studio Lucherini Pignatelli.

    Pressbook:

    PRESSBOOK in ITALIANO di THE PAPERBOY
    PRESSBOOK in FRANCESE di THE PAPERBOY

    Links:

    • Lee Daniels (Regista)

    • Nicole Kidman

    • John Cusack

    • David Oyelowo

    • Scott Glenn

    • Zac Efron

    • Matthew McConaughey

    • Macy Gray

    • 65. Festival del Cinema di CANNES (16-27 Maggio 2012) - DAILY 24 MAGGIO - LA SCELTA DI 'CELLULOIDPORTRAITS': 'THE PAPERBOY' (IN CONCORSO) DI LEE DANIELS (Speciali)

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    Galleria Video:

    The Paperboy - trailer (versione originale)

    The Paperboy - trailer 2 (versione originale)

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