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Actor Clive Owen poses for a portrait while promoting the new HBO film "Hemingway & Gellhorn" at the Television Critics Association Winter Press Tour in Pasadena , Calif. on Friday, Jan. 13, 2012.
Jan 18 12 4:37 AM
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Posted by Adam
Wednesday January 18, 2012
NICOLE Kidman has dished the dirt on her latest love scene!The actress romps inside a collapsing building with Clive Owen in upcoming TV movie Hemingway and Gellhorn and Nicole loved every minute of it.“It’s awesome,” she says of the Earnest Hemingway biopic.“It really emphasises that they came together through war. Two people that will make love through a building collapsing — that says something about who they are and that is why I think that scene is important.“You really see that this is where they are at their most comfortable and their most passionate and that is where their love thrives.”
The actress romps inside a collapsing building with Clive Owen in upcoming TV movie Hemingway and Gellhorn and Nicole loved every minute of it.
“It’s awesome,” she says of the Earnest Hemingway biopic.
“It really emphasises that they came together through war. Two people that will make love through a building collapsing — that says something about who they are and that is why I think that scene is important.
“You really see that this is where they are at their most comfortable and their most passionate and that is where their love thrives.”
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Co-starring Nicole Kidman and directed by Phillip Kaufman (”The Unbearable Lightness of Being,” “Quills”), the film will tell the story of the titular Ernest Hemingway and Martha Gellhorn who shared a tumultuous relationship and five-year marriage which began after meeting at a local Key West bar in 1936. They married in 1940 after romancing in Europe with Hemingway’s famous novel “For Whom the Bell Tolls” written during that time. Their respective correspondent work, however, meant they spent a significant time apart, which was ultimately a driving factor behind their divorce in 1945. Both tragically ended their own lives — Hemingway in 1961, struggling with psychological and physical deterioration and Gellhorn years later in 1998 after a long battle with cancer and blindness. Fun!
If there is anything we're uncertain of at this point, it's the tone of the film, which in this extended five-minute trailer wheels wildly from the comic, to the dramatic, to the camp (the sex scene, amongst explosions, is fairly over-the-top). And while we were uncertain of Owen as Hemingway, as the spot goes on, his performance comes into its own. As for Kidman, as usual, she looks like she's delivering a firecracker of a performance.
Feb 6 12 5:08 PM
By David Haglund
Now that TV—and especially premium cable—is flexing its own macho muscles, it was perhaps just a matter of time before the siren song of Papa caught HBO’s ears. (Faulkner is on his way, too.) But the network has introduced a very welcome twist: Their upcoming movie Hemingway & Gellhorn is, as the title suggests, not only about the author of The Old Man and the Sea (adapted in 1958) and so on, but also Martha Gellhorn, a writer equally worthy (perhaps more so) of the biopic treatment. And if the nearly five-minute trailer that just surfaced online is any indication, Gellhorn, played by Nicole Kidman, is even more front-and-center in this movie than her one-time husband (played by Clive Owen) To be sure, the film still has many hallmarks of “Hollywood Hemingway”: exotic locales, war scenes, drunken, melodramatic romance. (“An epic motion picture event,” a title card blares.) And this trailer has not quite won me over to either of these performances. But that supporting cast! In addition to Owen and Kidman, we get David Strathairn, Robert Duvall, Parker Posey, Connie Nielsen, Tony Shalhoub (and also, for some reason, the drummer for Metallica). Ultimately, I worry this movie will not only suffer from its indulgence of the Hemingway myth, but from the problems endemic to the biopic. (Is that Gellhorn voiceover done by someone other than Kidman? Sounded like it.) That said, I have fond memories of Henry & June, the similarly named and somewhat similarly themed—two writers in love, one of them married—movie by the same writer/director, Philip Kaufmann. And I hear his adaptation of The Unbearable Lightness of Being is good, too. (He also adapted The Right Stuff.) So maybe Hemingway & Gellhorn will surprise. I look forward to finding out.
To be sure, the film still has many hallmarks of “Hollywood Hemingway”: exotic locales, war scenes, drunken, melodramatic romance. (“An epic motion picture event,” a title card blares.) And this trailer has not quite won me over to either of these performances. But that supporting cast! In addition to Owen and Kidman, we get David Strathairn, Robert Duvall, Parker Posey, Connie Nielsen, Tony Shalhoub (and also, for some reason, the drummer for Metallica).
Ultimately, I worry this movie will not only suffer from its indulgence of the Hemingway myth, but from the problems endemic to the biopic. (Is that Gellhorn voiceover done by someone other than Kidman? Sounded like it.) That said, I have fond memories of Henry & June, the similarly named and somewhat similarly themed—two writers in love, one of them married—movie by the same writer/director, Philip Kaufmann. And I hear his adaptation of The Unbearable Lightness of Being is good, too. (He also adapted The Right Stuff.) So maybe Hemingway & Gellhorn will surprise. I look forward to finding out.
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Publication Date: March 15, 2012 | Series: Contemporary Film Directors American director Philip Kaufman is hard to pin down: a visual stylist who is truly literate, a San Franciscan who often makes European films, he is an accessible storyteller with a sophisticated touch. Celebrated for his vigorous, sexy, and reflective cinema, Kaufman is best known for his masterpiece The Unbearable Lightness of Being and the astronaut saga The Right Stuff. In this study, Annette Insdorf argues that Kaufman's cinema is both stylistically and philosophically rich and that his versatility is what distinguishes him as an auteur. She demonstrates Kaufman's skill at adaptation and how he finds the precise cinematic device for a story drawn from seemingly un-adaptable sources by using his cinematic eye to translate the authorial voice in many of the books that serve as inspiration for his films. Closely analyzing his films to date, Insdorf links Kaufman's versatile cinema by exploring the recurring and resonant themes of sensuality, artistic creation, and manipulation by authorities. She illustrates while there is no overarching label or bold signature that can be applied to his oeuvre, there is a consistency of themes, techniques, images, and preoccupations that permeates all of Kaufman's works.
Apr 15 12 5:20 PM
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