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Il
cinema di Rachel Weisz
Giudizi critici
RACHEL WEISZ è Rachel Ashley in RACHEL di ROGER MICHELL:
Peter Bradshaw in "The Guardian"
"Weisz owns the screen as Rachel: it is a theatrically self-aware performance, encased in shimmering black, an outfit occasionally accessorised with jewellery to which Rachel is not entitled. In an early spasm of rage, and before he has laid eyes on her, Philip demands to know from a servant what Rachel looks like and if she has a moustache. The answer to this ungallant question is of course no, but there is something dark and sensually hirsute about Weisz’s presence, mixed with an insolent confidence in her bearing. She effortlessly wins a round of gamesmanship with Philip when first arriving in his house, succeeding in making him feel uncomfortable, when he had decided to make her squirm. Her success is amusing and obliquely erotic... Weisz is a great villainess, a character who uses the promise of sex and the actual activity of sex for her own ends and yet keeps alive the possibility that she isn’t what we suspect. The final long-shot of Rachel and her horse is another allusion to Hardy, with an entertaining frisson of the macabre".
Allan Hunter in "Daily Express":
"Rachel Weisz and Sam Claflin are superb in this dark Victorian thriller. The intellectual detail in all this is fascinating. Rachel is a feminist trailblazer, joyfully, deliciously in control of her life, and driving through 19th Century patriarchal society like a wanton black bulldozer. Michell, the director, regularly needles the class system and pillories Philip’s sense of entitlement (he can’t imagine why Rachel would not marry him), and consistently delivers some very ballsy Hitchcockian references – a staircase strangulation scene feels as if it were lifted directly from Hitchcock’s thematically similar Du Maurier adaptation Rebecca"
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