list http://www.spout.com/ Recent community activity around Teorema on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Teorema/34460/default.aspx Title: Teorema
Year: 1968
Director: Pier Paolo Pasolini
Plot: Terence Stamp is known only as "The Visitor" in Pier Paolo Pasolini's Teorema. The mysterious stranger insinuates himself into the home of a wealthy Italian family, where he exerts a curious, sensual spirituality over everyone in the household. He then wanders into the nearby village, where he casually begins performing all manner of miracles. Because he reveals so little about his innermost thoughts, "The Visitor" becomes all things to all people. What it boils down to is this: Is the enigmatic visitor Christ, or is he the Devil? Matching Terence Stamp's multi-textured performance every step of the way is Laura Betti as the family's maid; Betti, in fact, won the "Best Actress Award" at the 1968 Venice Film Festival. Director Pasolini adapted the screenplay of Teorema from his own novel. ~ Hal Erickson, All Movie Guide
Times Tagged: 4
Number of Lists: 3
Number of blog posts: 5
SpoutRating: 3
]]>Wed, 24 Dec 2008 20:01:06 GMTTeorema1968Pier Paolo Pasolini<a href="/players/P____67541/default.aspx" style='text-decoration:underline'>Terence Stamp</a> is known only as "The Visitor" in <a href="/players/P___105725/default.aspx" style='text-decoration:underline'>Pier Paolo Pasolini</a>'s Teorema. The mysterious stranger insinuates himself into the home of a wealthy Italian family, where he exerts a curious, sensual spirituality over everyone in the household. He then wanders into the nearby village, where he casually begins performing all manner of miracles. Because he reveals so little about his innermost thoughts, "The Visitor" becomes all things to all people. What it boils down to is this: Is the enigmatic visitor Christ, or is he the Devil? Matching <a href="/players/P____67541/default.aspx" style='text-decoration:underline'>Terence Stamp</a>'s multi-textured performance every step of the way is <a href="/players/P_____5993/default.aspx" style='text-decoration:underline'>Laura Betti</a> as the family's maid; Betti, in fact, won the "Best Actress Award" at the 1968 Venice Film Festival. Director Pasolini adapted the screenplay of Teorema from his own novel. ~ Hal Erickson, All Movie Guide4Slightly Tagged (1-5)353http://www.spout.com/ProductImages/t68210eevyh.jpghttp://www.spout.com/films/Teorema/34460/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/12/24/38826.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/24/2008 3:01:06 PM
Body: Yes, it’s that “most wonderful time of the year” again. And unless the scent of pine turns you on or you’ve got a fetish for glittery objects (like the crazy queen who must have designed this year’s Macy’s window display after watching A Beautiful Mind on acid – there’s even a borderline creepy ode to the “diva Tinsel” stenciled on the glass. Check it out if you’re in NYC, it’s a must!), you’re probably feeling about as sexy as eggnog right now. But don’t despair. If Macy’s can turn a stalwart tradition into an LSD trip I can find the perversion in The Sound of Music. So without further adieu, here are some sexy, family-friendly suggestions for gathering around the DVD player with the clan. Heavenly Creatures Dashing Cary Grant stars in Henry Koster’s 1947 The Bishop’s Wife, about an angel sent down to earth to help a holy man (played by the delightful David Niven) build a church – and recover his shaken faith in the process. Only problem is the bishop’s got a hottie wife in the form of radiant Loretta Young who the charming angel takes under his wing as well. Grant’s studly Dudley, a cuckolding do-gooder, is every bit as ambiguous as Grant himself was in real life. If your relatives are especially warped, have a double feature with Pasolini’s 1968 Teorema, in which an otherworldly knockout played by the breathtakingly beautiful Terence Stamp seduces the entire family kids included. And if you still haven’t gotten your fill of sexy spirits, throw in Warren Beatty’s and Buck Henry’s 1978 Heaven Can Wait, a remake of Alexander Hall’s 1941 Here Comes Mr. Jordan, in which steamy Beatty turns tasty Robert Montgomery’s boxer Joe Pendleton into a quarterback who prematurely gets called to the big leagues upstairs as a result of angel error. Sugar (Plum) Daddies As my friend CineKink founder Lisa Vandever has pointed out, if you have a suit fetish there’s no better film to turn to than Robert Wise’s 1965 The Sound of Music, in which Christopher Plummer as the immaculately attired, debonair daddy Baron Von Trapp tames Julie Andrews’ virginal Maria, turning the spunky nun into a submissive wife and mother. (And yes, as an added bonus, the film contains sexy Nazis to boot!) If it’s a marathon festival of family-friendly perversion you’re after, team this up with Victor Fleming’s 1939 Gone With The Wind, which stars the daddy of sexy rogues Clark Gable as Rhett Butler, the only man who could make Vivien Leigh’s strong-willed Scarlett O’Hara glow the morning after a night of non-consensual sex. (Frankly, my dear, I’d screw him, too.) If your relatives don’t do musicals or sweeping epics there’s always slapstick comedy in the form of Brian Levant’s 1996 Jingle All The Way, starring my favorite slab of political beefcake, the Governator himself, as a dad determined to score a Turbo Man toy for his son’s Christmas gift. (Now if only I can nab a seat on Santa’s lap the next time Arnie dresses up for one of those kids’ fundraisers. Guess my wish, Mr. Claus.) Hot Mama Lest I forget the boys who like girls and the girls who like girls, Peter Godfrey’s 1945 Christmas in Connecticut, starring the smoldering Barbara Stanwyck as a family advice columnist who fakes a family for the sake of publicity, is a great excuse for a double feature. Pair this with Alfred E. Green’s 1933 Baby Face, in which Stanwyck plays an unapologetic slut who sleeps her way to the top, and have yourself a “Working Girls’ Christmas.” Originally posted on:SpoutBlog
]]>Wed, 24 Dec 2008 20:01:06 GMTSpoutBlogSpoutBlog on spout.com12/24/2008 3:01:06 PMYes, it’s that “most wonderful time of the year” again. And unless the scent of pine turns you on or you’ve got a fetish for glittery objects (like the crazy queen who must have designed this year’s Macy’s window display after watching A Beautiful Mind on acid – there’s even a borderline creepy ode to the “diva Tinsel” stenciled on the glass. Check it out if you’re in NYC, it’s a must!), you’re probably feeling about as sexy as eggnog right now. But don’t despair. If Macy’s can turn a stalwart tradition into an LSD trip I can find the perversion in The Sound of Music. So without further adieu, here are some sexy, family-friendly suggestions for gathering around the DVD player with the clan. Heavenly Creatures Dashing Cary Grant stars in Henry Koster’s 1947 The Bishop’s Wife, about an angel sent down to earth to help a holy man (played by the delightful David Niven) build a church – and recover his shaken faith in the process. Only problem is the bishop’s got a hottie wife in the form of radiant Loretta Young who the charming angel takes under his wing as well. Grant’s studly Dudley, a cuckolding do-gooder, is every bit as ambiguous as Grant himself was in real life. If your relatives are especially warped, have a double feature with Pasolini’s 1968 Teorema, in which an otherworldly knockout played by the breathtakingly beautiful Terence Stamp seduces the entire family kids included. And if you still haven’t gotten your fill of sexy spirits, throw in Warren Beatty’s and Buck Henry’s 1978 Heaven Can Wait, a remake of Alexander Hall’s 1941 Here Comes Mr. Jordan, in which steamy Beatty turns tasty Robert Montgomery’s boxer Joe Pendleton into a quarterback who prematurely gets called to the big leagues upstairs as a result of angel error. Sugar (Plum) Daddies As my friend CineKink founder Lisa Vandever has pointed out, if you have a suit fetish there’s no better film to turn to than Robert Wise’s 1965 The Sound of Music, in which Christopher Plummer as the immaculately attired, debonair daddy Baron Von Trapp tames Julie Andrews’ virginal Maria, turning the spunky nun into a submissive wife and mother. (And yes, as an added bonus, the film contains sexy Nazis to boot!) If it’s a marathon festival of family-friendly perversion you’re after, team this up with Victor Fleming’s 1939 Gone With The Wind, which stars the daddy of sexy rogues Clark Gable as Rhett Butler, the only man who could make Vivien Leigh’s strong-willed Scarlett O’Hara glow the morning after a night of non-consensual sex. (Frankly, my dear, I’d screw him, too.) If your relatives don’t do musicals or sweeping epics there’s always slapstick comedy in the form of Brian Levant’s 1996 Jingle All The Way, starring my favorite slab of political beefcake, the Governator himself, as a dad determined to score a Turbo Man toy for his son’s Christmas gift. (Now if only I can nab a seat on Santa’s lap the next time Arnie dresses up for one of those kids’ fundraisers. Guess my wish, Mr. Claus.) Hot Mama Lest I forget the boys who like girls and the girls who like girls, Peter Godfrey’s 1945 Christmas in Connecticut, starring the smoldering Barbara Stanwyck as a family advice columnist who fakes a family for the sake of publicity, is a great excuse for a double feature. Pair this with Alfred E. Green’s 1933 Baby Face, in which Stanwyck plays an unapologetic slut who sleeps her way to the top, and have yourself a “Working Girls’ Christmas.” Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/9/3/34690.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 9/3/2008 11:00:49 AM
Body: Sociopolitical Drama: Lior Ashkenazi, Walk On Water Who is Lior Ashkenazi?  I have no idea.  What I do know is that finally getting around to watching American-born Israeli director Eytan Fox’s 2004 Walk On Water, starring the incredible Israeli hunk Ashkenazi as a Mossad agent who finds himself intertwined in the lives of the grandson and granddaughter of a fugitive Nazi he’s assigned to capture, I realized I haven’t wanted to lay a movie star this bad since I first laid eyes on Daniel Craig’s 007.  The sturdy-bodied, raven-haired Marlboro Man with magnetic eyes and a chin both chiseled and Travolta dimpled is so mesmerizing I can’t get his image out of my head – like a catchy techno tune stuck on endless repeat.  The film itself is a fascinating character study for the first hour – until the characters leave the Holy Land for Berlin, wherein the plot descends into ludicrous soap opera melodrama complete with Deutsche drag queens and Jean-Claude Van Damme damage (and Bruce Springsteen’s annoying “Tunnel of Love” stuck on endless repeat).  But none of this really matters because it’s also got – Lior Ashkenazi!  (And just to make me more hot and bothered he even gets naked, the camera caressing his hirsute chest – before he soaps up another man.  And the character is straight.  Continue reading while I take a cold shower.) Suspense Thriller: Said Taghmaoui, Traitor I recently endured Jeffrey Nachmanoff’s international espionage yawner Traitor (my review at The House Next Door is titled Jihad for Dummies – ‘nuff said) only because it stars Don Cheadle as a devout Muslim/former U.S. soldier/possible terrorist pursued by Guy Pearce’s southern fried FBI man – and my friend Judy talked me into going because she wants to bed Guy Pearce.  (Personally I’ll take Russell Crowe’s L.A. Confidential thug over Pearce’s clean-cut good cops any day, but that’s another column.) Fortunately, the one saving grace of this renegade mess comes in the form of Said Taghmaoui (who made his debut in Mathieu Kassovitz’s La Haine) as Cheadle’s character Samir’s baddie pal Omar (or more accurately, “Oh my” every time I think of those sexy flexed biceps as he grips his gun!)  No matter that Omar’s also a religious man, for when I initially caught sight of those dark penetrating eyes set off by a skullcap as he toys with Samir upon their first meeting I fell into immediate lust.  During the shoot and bomb jailbreak scene I even not so piously prayed for Omar’s Middle Eastern garments to shred, to fall from him Incredible Hulk style as he emerges without a scratch.  (Alas, my prayers fell on Nachmanoff’s tone-deaf ears.)  There hasn’t been an Arab actor this Casanova dreamy since Omar Sharif.  And speaking of Omar Sharif… Historical Epic: Klaus Kinski, Doctor Zhivago O.K., so Kinski only has a cameo as a (what else?) wild disillusioned radical in David Lean’s sweeping take on Boris Pasternak’s Russian Revolution-set novel (screening September 24th as part of the director’s retro at NYC’s Film Forum), but because we’re talking Kinski – a man who doesn’t just chew scenery, but devours it whole like a snake swallowing a rat – his animal passion steals a giant chunk of the show.  The first time I saw Doctor Zhivago it took me a moment to realize the ice-eyed and hot-blooded, nonsensical madman was indeed Kinski.  No, my very first thought was, “That crazy person would make one hell of a lay!” The man couldn’t help it.  Kinski was an actor who, onscreen (metaphorically) and off-screen (literally) couldn’t keep his dick in his pants, was always showing it off, swinging it around (and oftentimes using it for pissing matches with Herzog).  Kinski was one of those rare stars with a sexuality that both infused and dwarfed that of the characters he played.  And since I’m on the subject of larger-than-life dudes… Documentary: The Rock, Operation Filmmaker So I’ll admit it, the only reason I requested a screener of Operation Filmmaker, Nina Davenport’s painfully P.C. doc following an Iraqi student filmmaker plucked from Baghdad and thrown into the vapid world of Hollywood, is because Dwayne “The Rock” Johnson was listed in the credits.  Like with Daniel Craig, I’ll get my rocks off to anything with The Rock in it.  Or, more precisely, I’ll fast-forward through anything with The Rock in it just to get to the rare scene in which he might show some flesh. And by the way, the African-American/Samoan hunk stalked the ring half-naked and steroid-enhanced, baby-oiled muscles bulging during his wrestling days, and now I’m lucky to catch a glimpse of forearm.  What’s up with that?  But then, some men ain’t afraid to show some leg. Road Movie: Terence Stamp, The Adventures of Priscilla, Queen of the Desert Yup, Terence Stamp, like Mastroianni, is a hottie for the ages.  Even under all that fab makeup and frou-frou frocks in Stephan Elliott’s drag chick flick, those lusty eyes and Frankenfurter bisexual appetite scream “hardcore perv!”  I didn’t buy for one minute that Stamp’s Bernadette Bassenger was the proper good girl on a busload of badass trannies.  I kept thinking of Teorema, expecting Stamp to use that entrancing gaze and cat-like prowl that could never be muted to seduce every man, woman and dingo that got in the way of oncoming Priscilla.  Pasolini knew instinctively that Stamp has a sexuality that is equal parts sinner and saint – a truly unique and intoxicating combination that transcends both time and screen. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 03 Sep 2008 15:00:49 GMTKarinaKarina on SpoutBlog9/3/2008 11:00:49 AMSociopolitical Drama: Lior Ashkenazi, Walk On Water Who is Lior Ashkenazi?  I have no idea.  What I do know is that finally getting around to watching American-born Israeli director Eytan Fox’s 2004 Walk On Water, starring the incredible Israeli hunk Ashkenazi as a Mossad agent who finds himself intertwined in the lives of the grandson and granddaughter of a fugitive Nazi he’s assigned to capture, I realized I haven’t wanted to lay a movie star this bad since I first laid eyes on Daniel Craig’s 007.  The sturdy-bodied, raven-haired Marlboro Man with magnetic eyes and a chin both chiseled and Travolta dimpled is so mesmerizing I can’t get his image out of my head – like a catchy techno tune stuck on endless repeat.  The film itself is a fascinating character study for the first hour – until the characters leave the Holy Land for Berlin, wherein the plot descends into ludicrous soap opera melodrama complete with Deutsche drag queens and Jean-Claude Van Damme damage (and Bruce Springsteen’s annoying “Tunnel of Love” stuck on endless repeat).  But none of this really matters because it’s also got – Lior Ashkenazi!  (And just to make me more hot and bothered he even gets naked, the camera caressing his hirsute chest – before he soaps up another man.  And the character is straight.  Continue reading while I take a cold shower.) Suspense Thriller: Said Taghmaoui, Traitor I recently endured Jeffrey Nachmanoff’s international espionage yawner Traitor (my review at The House Next Door is titled Jihad for Dummies – ‘nuff said) only because it stars Don Cheadle as a devout Muslim/former U.S. soldier/possible terrorist pursued by Guy Pearce’s southern fried FBI man – and my friend Judy talked me into going because she wants to bed Guy Pearce.  (Personally I’ll take Russell Crowe’s L.A. Confidential thug over Pearce’s clean-cut good cops any day, but that’s another column.) Fortunately, the one saving grace of this renegade mess comes in the form of Said Taghmaoui (who made his debut in Mathieu Kassovitz’s La Haine) as Cheadle’s character Samir’s baddie pal Omar (or more accurately, “Oh my” every time I think of those sexy flexed biceps as he grips his gun!)  No matter that Omar’s also a religious man, for when I initially caught sight of those dark penetrating eyes set off by a skullcap as he toys with Samir upon their first meeting I fell into immediate lust.  During the shoot and bomb jailbreak scene I even not so piously prayed for Omar’s Middle Eastern garments to shred, to fall from him Incredible Hulk style as he emerges without a scratch.  (Alas, my prayers fell on Nachmanoff’s tone-deaf ears.)  There hasn’t been an Arab actor this Casanova dreamy since Omar Sharif.  And speaking of Omar Sharif… Historical Epic: Klaus Kinski, Doctor Zhivago O.K., so Kinski only has a cameo as a (what else?) wild disillusioned radical in David Lean’s sweeping take on Boris Pasternak’s Russian Revolution-set novel (screening September 24th as part of the director’s retro at NYC’s Film Forum), but because we’re talking Kinski – a man who doesn’t just chew scenery, but devours it whole like a snake swallowing a rat – his animal passion steals a giant chunk of the show.  The first time I saw Doctor Zhivago it took me a moment to realize the ice-eyed and hot-blooded, nonsensical madman was indeed Kinski.  No, my very first thought was, “That crazy person would make one hell of a lay!” The man couldn’t help it.  Kinski was an actor who, onscreen (metaphorically) and off-screen (literally) couldn’t keep his dick in his pants, was always showing it off, swinging it around (and oftentimes using it for pissing matches with Herzog).  Kinski was one of those rare stars with a sexuality that both infused and dwarfed that of the characters he played.  And since I’m on the subject of larger-than-life dudes… Documentary: The Rock, Operation Filmmaker So I’ll admit it, the only reason I requested a screener of Operation Filmmaker, Nina Davenport’s painfully P.C. doc following an Iraqi student filmmaker plucked from Baghdad and thrown into the vapid world of Hollywood, is because Dwayne “The Rock” Johnson was listed in the credits.  Like with Daniel Craig, I’ll get my rocks off to anything with The Rock in it.  Or, more precisely, I’ll fast-forward through anything with The Rock in it just to get to the rare scene in which he might show some flesh. And by the way, the African-American/Samoan hunk stalked the ring half-naked and steroid-enhanced, baby-oiled muscles bulging during his wrestling days, and now I’m lucky to catch a glimpse of forearm.  What’s up with that?  But then, some men ain’t afraid to show some leg. Road Movie: Terence Stamp, The Adventures of Priscilla, Queen of the Desert Yup, Terence Stamp, like Mastroianni, is a hottie for the ages.  Even under all that fab makeup and frou-frou frocks in Stephan Elliott’s drag chick flick, those lusty eyes and Frankenfurter bisexual appetite scream “hardcore perv!”  I didn’t buy for one minute that Stamp’s Bernadette Bassenger was the proper good girl on a busload of badass trannies.  I kept thinking of Teorema, expecting Stamp to use that entrancing gaze and cat-like prowl that could never be muted to seduce every man, woman and dingo that got in the way of oncoming Priscilla.  Pasolini knew instinctively that Stamp has a sexuality that is equal parts sinner and saint – a truly unique and intoxicating combination that transcends both time and screen. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/9/3/34688.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/3/2008 11:00:33 AM
Body: Sociopolitical Drama: Lior Ashkenazi, Walk On Water Who is Lior Ashkenazi?  I have no idea.  What I do know is that finally getting around to watching American-born Israeli director Eytan Fox’s 2004 Walk On Water, starring the incredible Israeli hunk Ashkenazi as a Mossad agent who finds himself intertwined in the lives of the grandson and granddaughter of a fugitive Nazi he’s assigned to capture, I realized I haven’t wanted to lay a movie star this bad since I first laid eyes on Daniel Craig’s 007.  The sturdy-bodied, raven-haired Marlboro Man with magnetic eyes and a chin both chiseled and Travolta dimpled is so mesmerizing I can’t get his image out of my head – like a catchy techno tune stuck on endless repeat.  The film itself is a fascinating character study for the first hour – until the characters leave the Holy Land for Berlin, wherein the plot descends into ludicrous soap opera melodrama complete with Deutsche drag queens and Jean-Claude Van Damme damage (and Bruce Springsteen’s annoying “Tunnel of Love” stuck on endless repeat).  But none of this really matters because it’s also got – Lior Ashkenazi!  (And just to make me more hot and bothered he even gets naked, the camera caressing his hirsute chest – before he soaps up another man.  And the character is straight.  Continue reading while I take a cold shower.) Suspense Thriller: Said Taghmaoui, Traitor I recently endured Jeffrey Nachmanoff’s international espionage yawner Traitor (my review at The House Next Door is titled Jihad for Dummies – ‘nuff said) only because it stars Don Cheadle as a devout Muslim/former U.S. soldier/possible terrorist pursued by Guy Pearce’s southern fried FBI man – and my friend Judy talked me into going because she wants to bed Guy Pearce.  (Personally I’ll take Russell Crowe’s L.A. Confidential thug over Pearce’s clean-cut good cops any day, but that’s another column.) Fortunately, the one saving grace of this renegade mess comes in the form of Said Taghmaoui (who made his debut in Mathieu Kassovitz’s La Haine) as Cheadle’s character Samir’s baddie pal Omar (or more accurately, “Oh my” every time I think of those sexy flexed biceps as he grips his gun!)  No matter that Omar’s also a religious man, for when I initially caught sight of those dark penetrating eyes set off by a skullcap as he toys with Samir upon their first meeting I fell into immediate lust.  During the shoot and bomb jailbreak scene I even not so piously prayed for Omar’s Middle Eastern garments to shred, to fall from him Incredible Hulk style as he emerges without a scratch.  (Alas, my prayers fell on Nachmanoff’s tone-deaf ears.)  There hasn’t been an Arab actor this Casanova dreamy since Omar Sharif.  And speaking of Omar Sharif… Historical Epic: Klaus Kinski, Doctor Zhivago O.K., so Kinski only has a cameo as a (what else?) wild disillusioned radical in David Lean’s sweeping take on Boris Pasternak’s Russian Revolution-set novel (screening September 24th as part of the director’s retro at NYC’s Film Forum), but because we’re talking Kinski – a man who doesn’t just chew scenery, but devours it whole like a snake swallowing a rat – his animal passion steals a giant chunk of the show.  The first time I saw Doctor Zhivago it took me a moment to realize the ice-eyed and hot-blooded, nonsensical madman was indeed Kinski.  No, my very first thought was, “That crazy person would make one hell of a lay!” The man couldn’t help it.  Kinski was an actor who, onscreen (metaphorically) and off-screen (literally) couldn’t keep his dick in his pants, was always showing it off, swinging it around (and oftentimes using it for pissing matches with Herzog).  Kinski was one of those rare stars with a sexuality that both infused and dwarfed that of the characters he played.  And since I’m on the subject of larger-than-life dudes… Documentary: The Rock, Operation Filmmaker So I’ll admit it, the only reason I requested a screener of Operation Filmmaker, Nina Davenport’s painfully P.C. doc following an Iraqi student filmmaker plucked from Baghdad and thrown into the vapid world of Hollywood, is because Dwayne “The Rock” Johnson was listed in the credits.  Like with Daniel Craig, I’ll get my rocks off to anything with The Rock in it.  Or, more precisely, I’ll fast-forward through anything with The Rock in it just to get to the rare scene in which he might show some flesh. And by the way, the African-American/Samoan hunk stalked the ring half-naked and steroid-enhanced, baby-oiled muscles bulging during his wrestling days, and now I’m lucky to catch a glimpse of forearm.  What’s up with that?  But then, some men ain’t afraid to show some leg. Road Movie: Terence Stamp, The Adventures of Priscilla, Queen of the Desert Yup, Terence Stamp, like Mastroianni, is a hottie for the ages.  Even under all that fab makeup and frou-frou frocks in Stephan Elliott’s drag chick flick, those lusty eyes and Frankenfurter bisexual appetite scream “hardcore perv!”  I didn’t buy for one minute that Stamp’s Bernadette Bassenger was the proper good girl on a busload of badass trannies.  I kept thinking of Teorema, expecting Stamp to use that entrancing gaze and cat-like prowl that could never be muted to seduce every man, woman and dingo that got in the way of oncoming Priscilla.  Pasolini knew instinctively that Stamp has a sexuality that is equal parts sinner and saint – a truly unique and intoxicating combination that transcends both time and screen. Originally posted on:SpoutBlog
]]>Wed, 03 Sep 2008 15:00:33 GMTSpoutBlogSpoutBlog on spout.com9/3/2008 11:00:33 AMSociopolitical Drama: Lior Ashkenazi, Walk On Water Who is Lior Ashkenazi?  I have no idea.  What I do know is that finally getting around to watching American-born Israeli director Eytan Fox’s 2004 Walk On Water, starring the incredible Israeli hunk Ashkenazi as a Mossad agent who finds himself intertwined in the lives of the grandson and granddaughter of a fugitive Nazi he’s assigned to capture, I realized I haven’t wanted to lay a movie star this bad since I first laid eyes on Daniel Craig’s 007.  The sturdy-bodied, raven-haired Marlboro Man with magnetic eyes and a chin both chiseled and Travolta dimpled is so mesmerizing I can’t get his image out of my head – like a catchy techno tune stuck on endless repeat.  The film itself is a fascinating character study for the first hour – until the characters leave the Holy Land for Berlin, wherein the plot descends into ludicrous soap opera melodrama complete with Deutsche drag queens and Jean-Claude Van Damme damage (and Bruce Springsteen’s annoying “Tunnel of Love” stuck on endless repeat).  But none of this really matters because it’s also got – Lior Ashkenazi!  (And just to make me more hot and bothered he even gets naked, the camera caressing his hirsute chest – before he soaps up another man.  And the character is straight.  Continue reading while I take a cold shower.) Suspense Thriller: Said Taghmaoui, Traitor I recently endured Jeffrey Nachmanoff’s international espionage yawner Traitor (my review at The House Next Door is titled Jihad for Dummies – ‘nuff said) only because it stars Don Cheadle as a devout Muslim/former U.S. soldier/possible terrorist pursued by Guy Pearce’s southern fried FBI man – and my friend Judy talked me into going because she wants to bed Guy Pearce.  (Personally I’ll take Russell Crowe’s L.A. Confidential thug over Pearce’s clean-cut good cops any day, but that’s another column.) Fortunately, the one saving grace of this renegade mess comes in the form of Said Taghmaoui (who made his debut in Mathieu Kassovitz’s La Haine) as Cheadle’s character Samir’s baddie pal Omar (or more accurately, “Oh my” every time I think of those sexy flexed biceps as he grips his gun!)  No matter that Omar’s also a religious man, for when I initially caught sight of those dark penetrating eyes set off by a skullcap as he toys with Samir upon their first meeting I fell into immediate lust.  During the shoot and bomb jailbreak scene I even not so piously prayed for Omar’s Middle Eastern garments to shred, to fall from him Incredible Hulk style as he emerges without a scratch.  (Alas, my prayers fell on Nachmanoff’s tone-deaf ears.)  There hasn’t been an Arab actor this Casanova dreamy since Omar Sharif.  And speaking of Omar Sharif… Historical Epic: Klaus Kinski, Doctor Zhivago O.K., so Kinski only has a cameo as a (what else?) wild disillusioned radical in David Lean’s sweeping take on Boris Pasternak’s Russian Revolution-set novel (screening September 24th as part of the director’s retro at NYC’s Film Forum), but because we’re talking Kinski – a man who doesn’t just chew scenery, but devours it whole like a snake swallowing a rat – his animal passion steals a giant chunk of the show.  The first time I saw Doctor Zhivago it took me a moment to realize the ice-eyed and hot-blooded, nonsensical madman was indeed Kinski.  No, my very first thought was, “That crazy person would make one hell of a lay!” The man couldn’t help it.  Kinski was an actor who, onscreen (metaphorically) and off-screen (literally) couldn’t keep his dick in his pants, was always showing it off, swinging it around (and oftentimes using it for pissing matches with Herzog).  Kinski was one of those rare stars with a sexuality that both infused and dwarfed that of the characters he played.  And since I’m on the subject of larger-than-life dudes… Documentary: The Rock, Operation Filmmaker So I’ll admit it, the only reason I requested a screener of Operation Filmmaker, Nina Davenport’s painfully P.C. doc following an Iraqi student filmmaker plucked from Baghdad and thrown into the vapid world of Hollywood, is because Dwayne “The Rock” Johnson was listed in the credits.  Like with Daniel Craig, I’ll get my rocks off to anything with The Rock in it.  Or, more precisely, I’ll fast-forward through anything with The Rock in it just to get to the rare scene in which he might show some flesh. And by the way, the African-American/Samoan hunk stalked the ring half-naked and steroid-enhanced, baby-oiled muscles bulging during his wrestling days, and now I’m lucky to catch a glimpse of forearm.  What’s up with that?  But then, some men ain’t afraid to show some leg. Road Movie: Terence Stamp, The Adventures of Priscilla, Queen of the Desert Yup, Terence Stamp, like Mastroianni, is a hottie for the ages.  Even under all that fab makeup and frou-frou frocks in Stephan Elliott’s drag chick flick, those lusty eyes and Frankenfurter bisexual appetite scream “hardcore perv!”  I didn’t buy for one minute that Stamp’s Bernadette Bassenger was the proper good girl on a busload of badass trannies.  I kept thinking of Teorema, expecting Stamp to use that entrancing gaze and cat-like prowl that could never be muted to seduce every man, woman and dingo that got in the way of oncoming Priscilla.  Pasolini knew instinctively that Stamp has a sexuality that is equal parts sinner and saint – a truly unique and intoxicating combination that transcends both time and screen. Originally posted on:SpoutBlog http://www.spout.com/blogs/kristen/archive/2008/5/16/29319.aspx Post By: kristen
Post To: kristen Blog
Post Date: 5/16/2008 7:54:05 PM
Body: Although this movie is Italian and looks great, it is a bit too vague for me to care about the story. Did I enjoy it? Yes, no question. A man, Visitor, so sexy that everyone around his is drawn to sexually crave his eternal presence is funny. This Visitor has some supernatural power, be it the power of God or the Devil. He effects the people negatively. Some are driven to lust, to starvation, but others to artistic production and elevation. They all strive to obtain him, or his powers, which leads me to believe that this movie is about playing God or trying to be God. It has to do with God, no question. But in what way in so vague that most interpretations will be acceptable. There are depressing parts but also moments of hope. Overall, it is depressing and seductive. The Tolstoy reference to his novella The Death of Ivan Ilyich is superfluous. The story reference does not give meaning to such a vague film, even if it why trying to have a similar message. The Vistor pretends or is Gerasim, a servant in the novella who helps Ivan Ilich find his soul or life before his death. Maybe the characters that the Visitor affects live a rigid, scheduled life following the rules like Ivan Ilich, but that is debatable. Anyway, this clear reference does not add any depth to the film. What I like most about the movie is the atmosphere. It is absolutely hypnotic in the a Tarkovsky esque way (and I mean that as one of my highest compliments). Unfortunately, this movie does not carry the weight of Tarkovskys spiritual masterpieces (The Sacrifice, Stalker, even Solaris). But, for the look and this hypnotic effect the movie is worth watching. ~Kristen Gorlitz
]]>Fri, 16 May 2008 23:54:05 GMTkristenkristen Blog5/16/2008 7:54:05 PMAlthough this movie is Italian and looks great, it is a bit too vague for me to care about the story. Did I enjoy it? Yes, no question. A man, Visitor, so sexy that everyone around his is drawn to sexually crave his eternal presence is funny. This Visitor has some supernatural power, be it the power of God or the Devil. He effects the people negatively. Some are driven to lust, to starvation, but others to artistic production and elevation. They all strive to obtain him, or his powers, which leads me to believe that this movie is about playing God or trying to be God. It has to do with God, no question. But in what way in so vague that most interpretations will be acceptable. There are depressing parts but also moments of hope. Overall, it is depressing and seductive. The Tolstoy reference to his novella The Death of Ivan Ilyich is superfluous. The story reference does not give meaning to such a vague film, even if it why trying to have a similar message. The Vistor pretends or is Gerasim, a servant in the novella who helps Ivan Ilich find his soul or life before his death. Maybe the characters that the Visitor affects live a rigid, scheduled life following the rules like Ivan Ilich, but that is debatable. Anyway, this clear reference does not add any depth to the film. What I like most about the movie is the atmosphere. It is absolutely hypnotic in the a Tarkovsky esque way (and I mean that as one of my highest compliments). Unfortunately, this movie does not carry the weight of Tarkovskys spiritual masterpieces (The Sacrifice, Stalker, even Solaris). But, for the look and this hypnotic effect the movie is worth watching. ~Kristen Gorlitz http://www.spout.com/blogs/spoutblog/archive/2007/7/27/16677.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/27/2007 2:00:42 PM
Body: I’ve got an unlikely double feature planed for today–a press screening of the Leonardo DiCaprio-narrated environmental doc The 11th Hour, followed by a special screening of Pasolini’s Teorema at BAM–and it’ll keep me away from the computer for most of the afternoon. So here’s a round of things you really should read before checking out for the weekend: “I don’t like movies in which a strong, confident woman learns (often through humiliation) that her life simply isn’t going to be fulfilling until she finds herself a man and maybe a child or two. I don’t care if it’s Bette Davis in Now, Voyager or Diane Keaton in Baby Boom, it’s insulting to single women, and I was a single woman for long enough that I still feel insulted.” That’s the cold open to Jette Kernion’s No Reservations review at Cinematical. The Reeler’s Annaliese Griffin notes that this year’s lineup for Scanners, the annual video festival which opens tonight at Lincoln Center, “grapples with our sex obsession in surprising ways…Traditionally form, not content, has been the shocker at video festivals like Scanners, and while plenty of experimental videos are on the program this year, artists are pushing the boundaries with their subject matter far more than their editing software.” NewTeeVee’s Jackson West has a round-up of the top ten traditional filmmaking techniques that are put to use in the majority of web videos. Number 9 is “Fixed Camera”: “The first films shot by the Lumiere Brothers were simply a single camera fixed on a tripod shooting a single set and scene with no editing. Web cams also lend themselves to this style — hence, the Lumiere Challenge project where people tag their video posts shot under the same restrictions the Lumiere brothers were subject to.” According to a Defamer operative who attended a cast and crew screening last night, Lindsay Lohan’s I Know Who Killed Me might be destined to become the next unintentional camp classic. “Also, in the scene where Lindsay gets hit in the face with a shovel– a scene meant to be terrifying–the audience erupted into laughter.” Originally posted on:Spoutblog
]]>Fri, 27 Jul 2007 18:00:42 GMTSpoutBlogSpoutBlog on spout.com7/27/2007 2:00:42 PMI’ve got an unlikely double feature planed for today–a press screening of the Leonardo DiCaprio-narrated environmental doc The 11th Hour, followed by a special screening of Pasolini’s Teorema at BAM–and it’ll keep me away from the computer for most of the afternoon. So here’s a round of things you really should read before checking out for the weekend: “I don’t like movies in which a strong, confident woman learns (often through humiliation) that her life simply isn’t going to be fulfilling until she finds herself a man and maybe a child or two. I don’t care if it’s Bette Davis in Now, Voyager or Diane Keaton in Baby Boom, it’s insulting to single women, and I was a single woman for long enough that I still feel insulted.” That’s the cold open to Jette Kernion’s No Reservations review at Cinematical. The Reeler’s Annaliese Griffin notes that this year’s lineup for Scanners, the annual video festival which opens tonight at Lincoln Center, “grapples with our sex obsession in surprising ways…Traditionally form, not content, has been the shocker at video festivals like Scanners, and while plenty of experimental videos are on the program this year, artists are pushing the boundaries with their subject matter far more than their editing software.” NewTeeVee’s Jackson West has a round-up of the top ten traditional filmmaking techniques that are put to use in the majority of web videos. Number 9 is “Fixed Camera”: “The first films shot by the Lumiere Brothers were simply a single camera fixed on a tripod shooting a single set and scene with no editing. Web cams also lend themselves to this style — hence, the Lumiere Challenge project where people tag their video posts shot under the same restrictions the Lumiere brothers were subject to.” According to a Defamer operative who attended a cast and crew screening last night, Lindsay Lohan’s I Know Who Killed Me might be destined to become the next unintentional camp classic. “Also, in the scene where Lindsay gets hit in the face with a shovel– a scene meant to be terrifying–the audience erupted into laughter.” Originally posted on:Spoutblog http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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