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QUEEN OF THE DESERT
65. Berlinale (5-15 Febbraio 2015) - PREVIEW in ENGLISH by PETER DEBRUGE (www.variety.com)
(Queen of the Desert; USA/MAROCCO 2015; Biopic drammatico; 128'; Produz.: Benaroya Pictures/H Films/Raslan Company of America)
See SHORT SYNOPSIS
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Titolo in italiano: Queen of the Desert
Titolo in lingua originale:
Queen of the Desert
Anno di produzione:
2015
Anno di uscita:
2015
Regia: Werner Herzog
Sceneggiatura:
Werner Herzog
Soggetto: Biopic dedicato alla celebre Gertrude Bell, archeologa, politica, scrittrice e spia britannica dalla vita straordinariamente avventurosa.
Cast: Nicole Kidman (Gertrude Bell) James Franco (Henry Cadogan) Robert Pattinson (Col. T.E. Lawrence) Damian Lewis (Charles Doughty-Wylie) Holly Earl (la cugina Florence) Mark Lewis Jones (Frank Lascelles) Christopher Fulford (Winston Churchill) Michael Jenn (R. Campbell Thompson) Sophie Linfield (Judith Doughtie-Wylie) Jay Abdo (Fattuh)
Musica: Klaus Badelt
Costumi: Michele Clapton
Scenografia: Ulrich Bergfelder
Fotografia: Peter Zeitlinger
Montaggio: Joe Bini
Casting: Beth Charkham
Scheda film aggiornata al:
17 Febbraio 2015
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Sinossi:
IN BREVE:
Biopic dedicato alla celebre Gertrude Bell (Nicole Kidman), esploratrice, archeologa, politica, scrittrice e spia britannica dalla vita straordinariamente avventurosa: lavorò durante la prima guerra mondiale per i servizi segreti inglesi, aiutando la formazione dei moderni stati della Giordania e dell'Iraq e l'insediamento dei loro governanti. Anche il colonnello T. E. Lawrence (Robert Pattinson) ebbe un ruolo chiave nelle rivoluzioni del Medio Oriente, in quello stesso periodo, e fu amico vicino alla Bell.
SHORT SYNOPSIS:
A chronicle of Gertrude Bell's life, a traveler, writer, archaeologist, explorer, cartographer, and political attachĂŠ for the British Empire at the dawn of the twentieth century.
Commento critico (a cura di PETER DEBRUGE, www.variety.com)
NICOLE KIDMAN PLAYS THE EXPLORER GERTRUDE LOWTHIAN BELL IN WERNER HERZOG'S COMPELLING BUT DRAMATICALLY UNDERPOWERED EPIC.
The world is full of men content to spend their lives within a few miles of where they were born, men who will love one woman, learn one language and go to their graves hardly having dreamed at all. These are not the men about whom Werner Herzog makes movies, although it took until age 72 for the chronicler of such bombastic souls as âAguirreâ and âFitzcarraldoâ to deem a woman worthy of one of his mighty portraits. Better late than never, and though Nicole Kidman is hardly the female Klaus Kinski, in the formidable character epic âQueen of the Desert,â she conveys with quiet determination what Kinski never could: the kind of conviction that changes the world.
Leaning more on romance than one might suppose to capture such an independent spirit as Gertrude Lowthian |
Bell, whose self-directed explorations among and dealings with the Middle Eastâs many conflicting tribes informed how the former Ottoman Empire eventually came to be divided, âQueen of the Desertâ looks and feels big enough for megaplex play, yet lacks the central dramatic conflict that drove âThe English Patientâ and âLawrence of Arabiaâ to such mainstream success. In his career, Herzog has seldom been accused of subtlety, but this particular narrative is actually so understated, it will have to be handled as a specialty title in most territories.
In speaking with biographer Paul Cronin, Herzog once dismissed the idea that a college education had anything but the most rudimentary technical knowledge to offer aspiring directors, advising that would-be storytellers instead ought to walk the roughly 2,000-mile road from Madrid to Kiev on foot, collecting genuine life experience along the way. Her self-evident intelligence not remotely sated by her studies at Oxford (where |
she was one of the first women allowed to attend), Bell immediately set about pursuing the sort of post-graduate course of which Herzog would approve: She begged her father to send her âanywhere,â so that she might escape stodgy old England and experience the world. He obliged, shipping her off to the Tehran embassy, where an uncle was employed.
Far more at ease in this exotic outpost, Bell allowed herself to be politely seduced by embassy secretary Henry Cadogan (James Franco, looking tired but charming, and acting almost entirely with his eyebrows). Their courtship is the stuff of Merchant Ivory movies, complete with scenic marriage proposal and an old Macedonian coin split in two for the lovers to remember one another by, though Bellâs father refuses to give his blessing, spelling tragedy for the couple. At the next stop on her travels, she encounters a young T.E. Lawrence (a consternated-looking Robert |
Pattinson, who, like Franco, elicited laughs in Berlin when he first appeared onscreen). Though she clearly makes a strong impression on every man she meets, he surprises her by asking, âGertie, will you please not marry me?â
For Herzog, this proposal opens up a different set of opportunities to them both: They would be reunited more than a decade later by Winston Churchill to advise Britain on how to handle the countryâs colonial stake in the Ottoman Empire. But in the meantime, being unattached allowed each to travel wherever their curiosity might lead. Of course, Lawrenceâs exploits have been well documented, most famously by David Lean, while Bellâs have been largely overlooked on film, making this a long-overdue if somewhat under-dramatized chance to boost her historical profile.
As it happens, Lawrence and Bell were once featured in an episode of âThe Young Indiana Jones Chronicles,â advising young Indy against a life in |
diplomacy (where Bell helped to make her mark). For audiences whoâve come to associate Jonesâ B-movie adventure-hero exploits with archaeology, however, Bellâs life will surely seem somewhat less exciting â which is unfortunate, since it would be hard to find a more exciting life among Bellâs contemporaries if you looked. And Herzog has looked.
Whereas the films he made with Kinski traded on the combustible actorâs volatility, this collaboration with Kidman uses the actressâ poised and almost regal bearing to its advantage. It also finds the actress looking younger and more expressive than she has in years, and though itâs impolite to remark on the âworkâ that movie stars have done, Kidman convincingly manages to play Bell as a delicate yet determined twentysomething, forging her way across untamed deserts, but still fragile enough to fall in love on two separate occasions. The second of these is with a married officer, Maj. |
Charles Doughty-Wylie (Damian Lewis, as the ensembleâs most period-appropriate participant), with whom she begins an epistolary love affair whose florid expressions of yearning serve to narrate long, dry passages of desert wandering.
In Kidman, we see how fearless and resourceful Bell must have been in her travels â a noblewoman uncowed by her male peers. When the British authorities attempted to talk her out of visiting potential trouble spots, she went anyway, forging documents as needed and barely flinching when armed tribesmen surrounded her small expedition party or, in a scene where they approach with guns blazing, refusing to let a superficial bullet wound slow her course.
For modern audiences, Kidmanâs embodiment of Bell may serve to represent an early symbol for equality of the sexes, but in Herzogâs more Germanic way, it actually stands to represent a kind of superiority: Here was a woman whose thirst for life left her towering |
over the petty ambitions of bureaucrats, civil servants and other small men. The movie celebrates that spirit in every aspect, from its valorizing widescreen cinematography (all the better to appreciate the scenery of a shoot based primarily in Morocco and Jordan) to its even more hagiographic score (composed by Klaus Badelt, doing his best Maurice Jarre, with ululating Arabic vocals to boot). And yet, Herzogâs script loses its way in the desert at one point, dutifully chronicling a life whose principal conflicts are a bit too abstract to dramatize. In the end, itâs not clear whatâs driving Bell, nor whatâs holding her back. |
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