- Actores: Ewan McGregor, Jonathan Rhys Meyers, Toni Collette, Christian Bale, Eddie Izzard
- Formato: Importación
- Audio: Alemán (Dolby Digital 5.1), Inglés (Dolby Digital 5.1)
- Subtítulos: Alemán
- Región: Región 2 (Más información sobre Formatos de DVD.)
- Relación de aspecto: 1.77:1
- Número de discos: 1
- Calificación FSK: No recomendada para menores de 12 años. No se nos ha facilitado la calificación española por edades (ICAA), pero puedes consultarla en la página oficial del ICAA. Las calificaciones por edad y/o versiones de otros países no siempre coinciden con la española. Más información sobre las diferentes calificaciones por edad.
- Estudio: Universum Film
- Duración: 115 minutos
- ASIN: B003XI3LMA
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Velvet Goldmine [Alemania] [DVD]
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Descripción del producto
TV-Norm: SDTV 576i (PAL). Sprachversion: Deutsch DD 5.1, Englisch DD 5.1
Anfang der Siebziger: Brian Slade ist der unangefochtene König des Glam Rock. Auf dem Höhepunkt seiner Karriere inszeniert er seine eigene Ermordung und verschwindet spurlos. Zehn Jahre später erhält der britische Journalist Arthur Stuart den Auftrag, zum Jahrestag des spektakulären Popskandals über den Verbleib des einstigen Rockstars zu berichten. Er beginnt bei Brians Ex-Frau Mandy, die Arthur in die abgedrehte Zeit der 70er mitnimmt.
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That being said, the first time I viewed VELVET GOLDMINE I felt as though I smoked peyote and dropped acid at the same time. It was just an acid washed trip down memory land (a memory lane that I wasn't familiar with, seeing as though I was a product of the 80s-90s Michael Jackson/Prince/Madonna phenomena). I really had to take several deep, cleansing breaths after finishing and question my sanity in purchasing the movie.
I decided to give it another shot a few days later (once the peyote/acid remnants *imagined* had worn off). 2nd time around, I fared much better, and really started to peel back the layers that Todd Haynes was trying to convey. Some quick observations:
Ewan M./Curt Wild-As much as I admire Ewan's boldness in going the "full Monty" route (again *sigh*), his best parts in this film are when he's at his most quiet; I love the look in the restaurant (looks like the Russian Tea Room in NYC) when he tells Brian "You could be my main man." One issue (and this isn't Ewan's fault) is his "look." Why is he a clean-cut Curt Cobain clone? If the production team were trying to *loosely* base Curt Wild on Iggy Pop, then the look should've been grungier and wilder (no pun intended) looking.
JRM/Brian Slade-Such an absolutely exquisite, gorgeous creature. His characterization of the virile, feline, effeminate glam-rockers is very, very eerie (one standout to me, is in the "Perfect and poisonous" montage when he's skipping/dancing in the street, and smooches the sailor-after they've kissed, he does a small twirl/hop that's so girlie, but believable). His vocals (which have gotten stronger over the years-check him out on the AUGUST RUSH soundtrack) are more than adequate, a pleasant surprise for someone unfamiliar with his work (his heartbreaking rendition of "Sebastian" gets me every time).
Toni Collette/Mandy Slade-I've really appreciated Toni's work since MURIEL'S WEDDING (she did a good job with a mess of a script in IN HER SHOES as well). She's so effervescent in the beginning of this rockin' time, but is so downtrodden and bitter by 1984. She does the role such justice.
Eddie Izzard/Jerry Devine-Playing a "suit" is a new one, but it really worked. Izzard's totally over-the-top (in a good way) as an ambitious (yet caring-sort of) manager. He goes for the gusto every time he steps in a scene.
I've watched the movie about 5 times since purchasing, and am planning on getting the soundtrack (to be played at maximum volume of course!) also. It's grown on me for sure. Give it a whirl. If you don't understand after the first time, let it marinate for a few days, then try again. 4-star effort.
So much has been made of this film, so much has been speculated on and criticized but I honestly think that most people - especially the harsher critics - are missing the point. Very often the film is chastised for not being `historically accurate' and I have two opinions on this. 1) the film's primary goal is not to be historically accurate and 2) I'm not sure how it isn't at least in part historically accurate. As a lover of glam rock, as a massively huge fan of David Bowie - not to mention Lou Reed, The Velvet Underground, Iggy Pop and all the others referenced in this film - I've read literally every biography on Bowie ever written, and If I haven't read every interview he's ever given, I've at least read most of them - going as far back as 1970. What I can tell you based on that knowledge is that this film is based on the lore, and the lore whether accurate or not, whether truthful or not is what was projected by all the players involved at the time. Ziggy Stardust, Glam Rock it's all a mirage, it's a dream, it isn't real, it doesn't exist in the reality that we know. It's a show. This film is based loosely on those people who were involved, it rely's heavily on the interviews that those people gave, it rely's heavily on what was reported in the media at that time, and it rely's - however appropriate or inappropriately - heavily on first hand accounts and books written by people who where there - namely Angela Bowie's book "Backstage Passes" At least half the dialogue in the film is taken directly from interviews Bowie gave himself, not to mention interviews given by Lou Reed and Iggy Pop. Though Bowie had nothing to do with this film - he shunned it in a massive way and refused to let any of his music or his name be connected with it - Pop and Reed were not so harsh. They indeed allowed their music to be used, and they at least offered some information. I fail to see how in this respect the film isn't historically accurate, considering so much of it comes directly from the `horses mouth' so to speak. Of course, the film takes creative license, and it expertly blends fact and fiction, and it combines facts and mixes and matches various pieces of lore - no doubt in an attempt to veil the story enough so as not to be sued for slander.
For me, the `truth' of this film is completely irrelevant. It is based on the lore presented at the time, and who are any of us to say which parts of the lore are fact or fiction? Any fan who claims to know the `real' Bowie is mistaken or delusional, Bowie is lore himself, and only he can tell you what is fact and what is fiction but he chooses not to comment on the film at all.
Moving away from the accuracy aspect of the film what it really has going for it is the performances. Jonathan Rhys-Meyers plays the lead role of Brian Slade/Maxwell Demon - obviously based on David Bowie/Ziggy Stardust - and he handles the material with a beautiful precision and intensity. You believe every word he speaks, you believe his every move. He completely embodies his character, he becomes Maxwell Demon before your very eyes, and you believe every minute of it. His acting is mesmerizing, he's a total rock-star in this film and while I think his acting is always rather spot on this performance in particular is really standout. I'm not sure I've seen him match the level of depth and intensity that he infuses into this role.
Ewan McGregor who is billed as a lead takes a much smaller role as Curt Wild - loosely based on an amalgamation of Iggy Pop, and Lou Reed with a bit of Kurt Cobain thrown in for good measure. Though his screen time is limited in this film, every scene he's in is brilliant. He makes this movie work. His on stage performances are brilliant reproductions of the kinds of thing Iggy was so famous for doing. He embodies his character, he makes you believe it, he makes you feel it. He imbues his performance with so much emotion that it's almost heart-breaking to watch. His final stage scene, in which he preforms "Gimmie Danger" is painfully sad. He is everything you can ask for in this film, and you have to give him props for doing all of his own singing. As mesmerizing as Myers is McGregor is more so, and the film doesn't work without him. Neither does Myer's performance work without him. The two have such brilliant chemistry together that you believe in the strength of their love affair - and you feel Curt's loss as deeply as he does.
By contrast Collette plays the perfect transformation of supportive, loving wife, to crazy outrageous rock `n' roll wife, to embittered cast-aside. If she is not everything Angela Bowie is portrayed to be then I don't know what she is. She handles the material perfectly, and you feel her sadness, you feel her loss, you feel her joy, her longing, and her regret. I can not think of a more perfect actor to take on the role.
Christian Bale is perhaps the most surprising entity in the film. He plays a former fan, now journalist tasked with writing up a story about Brian Slade on the 10th anniversary of his `death stunt' The film is told through a serise of flashbacks that include how Bale's character Arthur became involved in the glam scene in the first place, and how it effected his life. To look at Bale's work now, and then to go back to 98 when this film was made and see the quality of performance he gave is absolutely incredible. I simply can not imagine the Bale of today ever agreeing to take on this role, and yet, back then he took it and he played it perfectly. From an awkward gawky insecure teenager to a somewhat morose adult he basically plays two roles here and they are so different from one another. You can feel his longing, you can feel his nostalgia, you can feel his regret, his anger, his shock, his surprise, his bitterness - and it's perfect. Some people have claimed that he was miscast in the role, but I can hardly think of anyone better. It's the very fact that he's not perfect, which makes him perfect because glam rock was not about perfection, it was about misfits uniting under a common thread and for a common cause.
Performances aside the film is also beautiful. It's lush, it's colorful, it's dramatic in color in scope in scale, in costume in everything. You are bombarded in all sensory areas, the film is a visual feast, an auditory pleasure. The music is fantastic. Several of the songs are from the actual era - Iggy and the Stooges, Lou Reed, Roxy Music, Gary Glitter and T-Rex for example. Other songs were written specifically for the film and preformed by artists such as Thom York. They may not be songs of the era but they have that feeling, they have that energy they fit with the magic of the film. All that sound combines to make what is possibly one of the top ten best film soundtracks.
All these things and more is what makes this film such a marvel. Though as I said it's not without it's flaws - accuracy aside - the film is slow to start, and it combines a lot of layers - so many in fact that the film may seem confusing and convoluted. I admit a linear timberline may have been more beneficial to the average viewer, but I don't think Haynes intention was to appeal to the average viewer. He was writing a love-letter to the era, and to those of us `in the know.' and so I think a more `straight forward' approach may have taken away slightly from the spectacle of it all. This film, if nothing else is spectacle, it's a performance, it's a show, it's myth, it's lore, it's all pretend, and if you go into it expecting some version of the reality that you know, you'll only be disappointed. The film does not take itself particularly seriously, and neither should you. Just enjoy it, and honestly I think this is film that improves greatly upon second and possibly third viewing. All the layers in it, are sometimes missed upon a first watch. The more you watch it, the more you discover in it. For me this is a film that never gets old, it never gets boring, and no matter how many times I watch it I never loose interest. It is one of the very, very few films that I want to re-watch the very minute the last credit rolls - and that's saying something.