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    63. Festival del Cinema di CANNES (12-23 Maggio 2010) - SELEZIONE UFFICIALE 2010 - INSIDE LA DIRETTA CON CANNES

    SPECIALE 'ROBIN HOOD' (RUSSELL CROWE) di RIDLEY SCOTT. RECENSIONE in 'ANTEPRIMA' da 'VARIETY'


    10/05/2010 -
    LA DIRETTA con CANNES:





    SELEZIONE UFFICIALE - OFFICIAL SELECTION 2010

    FILM DI APERTURA - OPENING FILM

    RIDLEY SCOTT, ROBIN HOOD(Fuori Concorso/Out of Competition) Robin des bois 2h11 (*)

    CONCORSO - COMPETITION

    Mathieu AMALRIC, TOURNÉE
    (On Tour) 1h51

    Xavier BEAUVOIS, DES HOMMES ET DES DIEUX
    (Of God And Men) 2h00

    Rachid BOUCHAREB, HORS LA LOI
    (Outside Of The Law) 2h11

    ALEJANDRO GONZÁLES IÑÁRRITU, BIUTIFUL 2h18

    Mahamat-Saleh HAROUN, UN HOMME QUI CRIE
    (A Screaming Man) 1h40

    IM Sangsoo, THE HOUSEMAID 1h46

    Abbas KIAROSTAMI, COPIE CONFORME
    (Certified Copy) 1h46

    TAKESHI KITANO, OUTRAGE 1h49

    LEE Chang-dong, POETRY 2h15

    MIKE LEIGH, ANOTHER YEAR 2h09

    DOUG LIMAN, FAIR GAME 1h44

    Sergei LOZNITSA, SCHASTYE MOE - 1st film -
    (My Joy) 2h07

    Daniele LUCHETTI, LA NOSTRA VITA
    (Our Life) 1h33

    Nikita MIKHALKOV, UTOMLYONNYE SOLNTSEM 2: PREDSTOYANIE
    (Burnt By The Sun 2: Exodus) 2h21

    Kornél MUNDRUCZÓ, SZELÍD TEREMTÉS – A Frankenstein Terv
    (TENDER SON - The Frankenstein Project) 1h58

    Bertrand TAVERNIER, LA PRINCESSE DE MONTPENSIER
    (The Princess Of Montpensier) 2h15

    WANG Xiaoshuai, RIZHAO CHONGQING
    (Chongqing Blues) 1h45

    Apichatpong WEERASETHAKUL, LUNG BOONMEE RALUEK CHAT
    (Uncle Boonmee who can recall his past lives) 1h54

    KEN LOACH, ROUTE IRISH.

    UN CERTAIN REGARD

    Derek CIANFRANCE, BLUE VALENTINE - 1st film - 1h34

    Xavier DOLAN, LES AMOURS IMAGINAIRES
    (Heartbeats) 1h35

    MANOEL DE OLIVEIRA, O ESTRANHO CASO DE ANGÉLICA
    (The Stange Case of Angelica) 1h34

    Ivan FUND, Santiago LOZA, LOS LABIOS
    (The Lips) 1h40

    Fabrice GOBERT, SIMON WERNER A DISPARU… - 1st film -
    (Lights Out) 1h27

    Jean-Luc GODARD, FILM SOCIALISME 1h41

    Christoph HOCHHÄUSLER, UNTER DIR DIE STADT
    (The City Below) 1h45

    HONG Sangsoo, HA HA HA 1h56

    JIA Zhang-Ke, HAI SHANG CHUAN QI
    (I Wish I Knew) 2h05

    Lodge KERRIGAN, REBECCA H. (RETURN TO THE DOGS) 1h11

    Ágnes KOCSIS, PÁL ADRIENN
    (Adrienn Pál) 2h16

    Vikramaditya MOTWANE, UDAAN - 1st film - 2h18

    Radu MUNTEAN, MARTI, DUPA CRACIUN
    (Tuesday, After Christmas) 1h39

    Hideo NAKATA, CHATROOM 1h37

    Cristi PUIU, AURORA 2h59

    Oliver SCHMITZ, LIFE ABOVE ALL 1h40

    Pablo TRAPERO, CARANCHO 1h47

    Daniel VEGA, Diego VEGA, OCTUBRE - 1st film -
    (October) 1h23

    David VERBEEK, R U THERE 1h27

    FUORI CONCORSO - OUT OF COMPETITION

    Grand Théâtre Lumière

    WOODY ALLEN, YOU WILL MEET A TALL DARK STRANGER 1h38

    Olivier ASSAYAS, CARLOS 5h30

    STEPHEN FREARS, TAMARA DREWE 1h49

    OLIVER STONE, WALL STREET - MONEY NEVER SLEEPS (Wall Street - l'argent ne dort jamais) 2h16

    (Salle du 60ème)

    Andrei UJICA, AUTOBIOGRAFIA LUI NICOLAE CEAUŞESCU
    (L'autobiographie de Nicolae Ceausescu) 3h00

    (Midnight Screenings)

    GREGG ARAKI, KABOOM 1h28

    Gilles MARCHAND, L'AUTRE MONDE
    (Black Heaven) 1h40

    (Special Screenings)

    Charles FERGUSON, INSIDE JOB 2h00

    Sophie FIENNES, OVER YOUR CITIES GRASS WILL GROW 1h40

    Patricio GUZMAN, NOSTALGIA DE LA LUZ
    (Nostalgia for the Light) 1h30

    Sabina GUZZANTI, DRAQUILA - L'ITALIA CHE TREMA
    (Draquila-Italie Trembles) 1h30

    Otar IOSSELIANI, CHANTRAPAS 2h05

    Diego LUNA, ABEL 1h20

    Lucy WALKER, COUNTDOWN TO ZERO 1h30

    Manaira CARNEIRO,
    Wagner NOVAIS,
    Rodrigo FELHA,
    Cacau AMARAL,
    Luciano VIDIGAL,
    Cadu BARCELOS,
    Luciana BEZERRA, 5 X FAVELA POR NOS MESMOS 1h36

    FILM DI CHIUSURA - CLOSING FILM

    Julie BERTUCCELLI, THE TREE 1h45

    Sito ufficiale: "www.festival-cannes.com"

    (*) ROBIN HOOD - RECENSIONE da JUSTIN CHANG (www.variety.com)

    Robin Longstride - Russell Crowe
    Marion Loxley - Cate Blanchett
    William Marshal - William Hurt
    Godfrey - Mark Strong
    Friar Tuck - Mark Addy
    Prince John - Oscar Isaac
    King Richard the Lionheart - Danny Huston
    Little John - Kevin Durand
    Will Scarlet - Scott Grimes
    Sheriff of Nottingham - Matthew Macfadyen
    Eleanor of Aquitaine - Eileen Atkins
    Father Tancred - Simon McBurney
    Sir Walter Loxley - Max von Sydow

    "Can you not sing a happy tune?" growls a not-so-merry man in "Robin Hood," and one might direct the same question at Ridley Scott's grimly revisionist take on England's most famous outlaw. Impressively made and serious-minded to a fault, this physically imposing picture brings abundant political-historical dimensions to its epic canvas, yet often seems devoted to stifling whatever pleasure audiences may have derived from the popular legend. With a brawny Russell Crowe in the title role, pic looks to hit its B.O. target in most markets, though overall muted reactions may hold Universal back from a king's ransom Stateside.
    While the film will earn immediate comparisons with 2004's gritty, unromantic "King Arthur," what Scott and scribe Brian Helgeland have attempted here is not too dissimilar from what Christopher Nolan and his collaborators pulled off with "Batman Begins": They've fashioned a fresh origin story for a well-known hero and excised all the material's potentially campy aspects in favor of a downbeat, detail-oriented realist approach
    .

    To that end, there are tricky political allegiances and family ties to be sorted out; characters are as likely to be assaulted by speeches as by arrows; the French, though clearly perceived here as the enemy, are at least allowed to speak their native tongue; and every castle and forest must be painstakingly identified, to the point that "Robin Hood" comes to resemble a medieval "Bourne" movie as it darts hither and yon from Nottingham to the northern coast of France.

    It's 1199 A.D., and Robin Longstride (Crowe, who produced with Scott and Brian Grazer) is an honorable Briton and skilled archer in the crusading army of King Richard (Danny Huston) -- who, in contrast to most versions of the story, appears at the beginning rather than the end. Fed up with their lot as soldiers, Robin and his men -- who include a slimmer-than-usual Little John (Kevin Durand), contributing a few moments of bawdy humor -- flee a battle with French soldiers shortly after Richard himself is killed in action.

    A few skirmishes later, Robin finds himself in possession of the late monarch's crown, which he bears back to London disguised as a knight of the realm, Sir Robert Loxley. Along the way, the film introduces its principal villains, although Richard's cruel successor, John (Oscar Isaac), turns out to be a mere tool for his suspiciously bilingual adviser, Godfrey (chrome-domed Mark Strong, once again typecast).

    While Godfrey sets the stage for a Gallic invasion, sabotaging John's relations with the local barons and their ruthlessly overtaxed citizens, Robin nobly seeks out the family of the fallen Sir Robert. The journey leads him to Nottingham, where he meets the knight's aging father, Sir Walter (Max von Sydow), and his widow, Lady Marion -- no damsel in distress, but a dagger-wielding spitfire played with relish by Cate Blanchett.

    The pairing of two such estimable actors as Crowe and Blanchett alone signals the film's serious intentions, and as a perhaps inevitable consequence, Robin and Marion's courtship is in no hurry to catch fire. Something similar could be said of the film, whose leisurely buildup rarely translates into a sense of intellectual vigor and pays few emotional dividends. Essentially 139 minutes' worth of backstory, "Robin Hood" feels too long yet incomplete, and the events it leaves offscreen (for what, the sequel?) are precisely those that make the tale worth retelling.

    Clearly a long way from Douglas Fairbanks and Errol Flynn (and, to no one's complaint, Kevin Costner), pic can't help but play like a joyless corrective to Robin Hood's prior screen adventures, with their buoyant mix of wit, romance, green tights and derring-do. (This film offers mainly derring-don't.) A certain nagging political correctness is also apparent, not only in the recasting of Blanchett's Marion as a 12th-century feminist, but in the way Robin rebukes Richard and the folly of the Crusades, a scene that brings Scott's "Kingdom of Heaven" to mind.

    Similarly, Robin's stirring speech on the brotherhood of man (it's a quasi-Ken Loach moment, laying the foundation for the Magna Carta) recalls Scott and Crowe's superior first collaboration, "Gladiator" (2000). Now 10 years older (and paunchier), Crowe still has the sullen brooding and iron-clad sense of righteousness down pat. But there's no twinkle of merriment in his eyes, nothing to suggest a man who would not only be outraged by poverty and injustice, but wily enough to make sport of those responsible.

    Among supporting players, Isaac channels "Gladiator's" Joaquin Phoenix as a fey yet ruthless tyrant; Eileen Atkins serves up a formidable Eleanor of Aquitaine; William Hurt brings subtle shadings to the role of a chancellor in whom Robin finds a shrewd ally; and Matthew Macfadyen sneers his way through a few scenes as the Sheriff of Nottingham. But it's von Sydow who gives the film's most heartrending turn as a man trying to smother his grief with a boisterous fighting spirit.

    Though heavier on talk than action, pic does boast some robust setpieces, amplified by Marc Streitenfeld's urgent score and d.p. John Mathieson's vertiginous crane shots, somewhat marred by distracting camera effects in an otherwise stylistically old-fashioned film. One must be grateful that Universal avoided the current blockbuster trend toward 3D, especially considering the eye-popping possibilities afforded by archery.

    Other craft contributions are generally superb, though some touches, such as the illuminated manuscripts that serve as expository visual aids, only compound the film's self-seriousness.

    Camera (color, Panavision widescreen), John Mathieson; editor, Pietro Scalia; music, Marc Streitenfeld; production designer, Arthur Max; supervising art director, John King; art directors, Mark Homes, Adam O'Neill, Matt Robinson, Mike Stallion, Tom Still, Mark Swain, Remo Tozzi, Alex Cameron, Anthony Caron-Delion; set decorator, Sonja Klaus; costume designer, Janty Yates; sound (DTS/SDDS/Dolby Digital), Tony Dawe, John Mooney; supervising sound editors, Wylie Stateman, Mark Stoeckinger; re-recording mixers, Paul Massey, David Giammarco; visual effects supervisor, Richard Stammers; visual effects, MPC, Hammerhead Prods., Prime Focus, Invisible Effects, Lola VFX; stunt coordinator, Matthew Sampson; associate producer, Keith Rodger; assistant director, Max Keene; second unit director, Alexander Witt; casting, Jina Yay. Reviewed at Arclight Cinemas, Los Angeles, May 4, 2010. (In Cannes Film Festival -- opener, noncompeting.) MPAA Rating: PG-13. Running time: 139 MIN.

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