Miss Lucas Says

Yesterday I was feeling like shit, so I decided to watch a movie that would probably make me cry. I chose Joe Wright's Pride & Prejudice, it's a romantic epic movie - it'd help me to release my chest, plus there was a hidden intention that'll be explained ahead.

Bottom line is that I didn't cry, I actually felt even more restless as the movie ended. One of the things I mostly love about Jane Austen stories is that no matter how romantic they seem, there's always one particular character that brings you down to reality, the one who always punches you in the guts and kicks you in the ass. In Pride & Prejudice it's Miss Charlotte Lucas [played on the movie by the scrumptious Claudie Blakley].

Always put aside by Lizzie's mother, who never watches her tongue, she's the modest thing you barely notice, but once you get out of your egocentric shell you see how grand she is. On this last screening one of her lines gave me an interesting epiphany. But first a backstory.

Saturday I hooked up with this guy I've had a crush on for almost a year. It was never a hopeless crush because he lives in another town, so I'd only feel it whenever he came to Conquista to visit the friends [me and everyone else in my party]. On the Sunday we hooked up again and, minutes after he left the rock festival he came back to pick me up so I could spend the night with him - he was leaving the city on the following morning.

Knowing my mind you're probably aware of how I'm feeling right now. So, secretly I decided to watch P&P because I was feeling in a Jane Bennet/Charles Bingley situation. I'm shy when it comes to showing my feelings and guys - I mostly suck in coming on the boys and letting them know I'm wanting them. This guy, well, he's worst than me! So, at one moment, Lizzie and Charlotte were talking at the Bingley's private ball and it hit me:

"Lizzie [about Bingley and Jane]: I think he likes her very much.

Miss Lucas: But does she like him? Few of us are secure enough to be in love without proper encouragement. Bingley likes her enormously, but might not do more if she does not help him on it.

Lizzie: She's just shy and modest. If he cannot perceive her regard, he is a fool.

Miss Lucas: We are all fools in love..."

So Lucas [meaning me this time] what's next to do?

[Song: Mr. Donut - Saint Etienne]

Oh Keira!!

I'm fond of novelas and last year there was one that thrilled me the most. A sort of screwball comedy about six childhood friends having their chance again together as adults. One of them was played by stunningly beautiful actress, Juliana Paes. She's the typical TV actress who's mostly there for her looks than for her acting. However, in this novela she surprisingly shone and I thought that maybe, under a decent direction and a better text than a good-but-still-subdued-by-ratings soap she could do a good job.

Joe Wright's brilliant second film Atonement is not a bit close of a soap, but I remembered Paes as I saw Keira Kightley moving vivaciously on that mesmerizing emerald dress. Often bashed for her crappy movies [yes, I'm talking about Pirates], but it's incredible how much she shines and impresses when in a greatly directed movie. In her first work with Wright, my beloved Pride & Prejudice, she not only got an Oscar nod as she grabbed me by the balls and made me love her craft despite the previous shitty movies. In Atonement she steals you with a performance so filled with fire and maturity that your heart coldily warms every time her beautiful glance fills the screen with Cecilia's sorrow.

As a cinephile-wannabe I admit I still don't know much about films' techniques and specialities, but I can recognize a good acting performance when I see one. Keira's efforts on Wright's movies are for me top of the line stuffs, enough to place her among my favorite actresses alive. So I shall pray for one thing "oh Keira, keep doing at least a decent good film a year!" That would make me cinematically happy in every twelve months. Atonement is a last year's movie and it satiated my 2007 Keira thrist, as much as it did for my 2007 film craving so far. I still have other to see, but this movie made chill with each and every frame of it.

[Song: Briony - Dario Marianelli]

My Celluloid Women

Here are the top 6 movie women that made my year marvelous in different ways.

6. Anna Scott [Julia Roberts - Notting Hill]

There she is, the greatest star in the world; maybe the face we all can't forget. And out of nowhere she gets in an unattractive travelbooks shop and lives are changed. This marvelous modern Cinderella story made me cry unashamedly on some of the darkest days of the year. Roberts' performance was both heartbreaking and lightful, portraying the poor celebrity with marvelous dignity. If in the past I felt more like Hugh Grant's character, today I'd be definitely Miss Scott - hyped but unloved. The beauty of the movie lies on the feeling of possibility that fills the air as you watch it. As Björk would say "all is full of love... your doors are shut."

5. Regina George [Rachel McAdams - Mean Girls]

"This girl is the nastiest skank bitch I've ever met. Do not trust her. She is a fugly slut!"

Those who had seen the movie know what I'm talking about. But for the newbies I'd start with "Regina George is flawless", not because she really is, but because she knows she is and parades it! From all the evil self-indulgent bitches out there, Regina George is the most fun of them. With a notable beauty she goes beyond the hot shallow High School queen, becoming an archetype of a human phase. Of course there is some exaggeration on Tina Fey's genius script, but this girl is real, she's everywhere and [believe it or not] on every age field.

Of course that most of Regina's charm is due to McAdams's performance; you can see she's having the time of her life as the blonde adolescent who thinks she's the cherry on the top of the sundae. Her jargons and laidback confidence match adoringly with her [mostly] subtle meanness. As Janis says "she's a life ruiner", but as Cady says "she's like de Barbie doll I never had."

4. Elle Woods [Reese Witherspoon - Legally Blonde]

The best quality of Elle Woods is that she is good! "She may seem like your typical selfish, back-stabbing slut faced ho-bag"... but wait a minute, that's the #5! Elle Woods is GOOD!! She's sweet, helpful, devoted and hardworker. That's why you totally don't understand why that ugly-piece-of-shit Warner Huntington III breaks up with her. "You're breaking up with me because I'm too blonde?"

Further on we end up reassuring ourselves that breaking up with Elle was the best thing Warner could do to her, because she then created one of the best icons of this century so far. The way her triviality is never judged and is actually sweetened makes you adore her right away and hate those who mistreat her.

Besides, she's a twisted feminist icon, funnily competing with Enid, the lesbian activist from the same film; although she follows the preppy blonde stereotype, she's the reinvention of the feminist one. But above a feminist, Elle is a humanist! The best thing I learned with her was to have faith in people. As she'd say "you might be surprised."

3. Miranda Priestley [Meryl Streep - The Devil Wears Prada]
"Do you know why I hired you? I always hire the same girl- stylish, slender, of course... worships the magazine. But so often, they turn out to be- I don't know- disappointing and, um... stupid. So you, with that impressive résumé and the big speech about your so-called work ethic- I, um- I thought you would be different. I said to myself, go ahead. Take a chance. Hire the smart, fat girl. I had hope. My God. I live on it. Anyway, you ended up disappointing me more than, um- more than any of the other silly girls."
That's the worst thing you could hear from you boss right? Yup, we agree and there'll be no punchline here. Alright, I'm kidding! All I have to say is that no one could've said those lines better than La Streep with her Oscar-worthy performance as the most evil of the bitches: Miranda Priestley.
I'd say that she and Regina George are my favorite movie bitches, but what makes Miranda #1 is the fact that she's got reasons to be how she is; George is just a conceited teenager that is funny, hence we love her. But Miranda uses her meanness to keep herself where she is, on the top; and if she were a man everyone would say she's just doing her job, as Andy would say to defend her. The thing is that, despite the headeater behaviour, Priestley is a fine and perfect example of the modern executive women; and since we're keen to feminism, she's highly praised. That's all.
2. Lizzie Bennet [Keira Knightley - Pride & Prejudice]
Okay, I've written a million posts about this film and my Lizzie Bennet adoration. So, I'll limit myself in saying that the second Miss Bennet is still my favorite female character and that Keira is my favorite this-generation actress. I'm so damn happy she's got a Globe nod; I don't think she'll get an Oscar one, but I'm sure we'll have delicious red carpet moments!!
1. Bridget Jones [Renée Zellweger - Bridget Jones's Diary]
"Bridget Jones, wanton sex goddess, with a very bad man between her thighs... Dad... Hi."
I loved talking about my Bridget devotion. But right now I lack inspiration! This year I've become her by drinking vodka at home and mourning the broken heart with tearjerking songs. But indeed I've said so much about Bridge that I'll just leave it for the ho this time.
"So beyond good and evil with me, that now I'm careless about being a spinster and a lunatic, if my life can be carried with at least half the joi de vivre with which Bridget carries hers. It also left me craving a snow filled make out session."
"Whenever I'm having a rainy day, it instantly makes me feel better."
"Behold as Renee Zellweger creates a cultural icon."
[Song: The Weather - Patrick Wolf]

Depression Movies #2 [Partie Un]: The Feminist

*there might be spoilers*

So tonight, as my very particular form of masochism I decided to watch for the millionth time Pride & Prejudice. Surely some will disagree with me, but I haven't seen lately such a perfect movie. I'm considering the last two years releases, at least. I'll give you three reasons why I think so.

The first and main one is that few film adaptations from novels, especially historically favourite ones such as this, remain so faithful to the original. When I first watched P&P I haven't read the book, although I was already familiar with the author's fame and prestige. The film however, like few others have, gave me this great urge to read the book as soon as possible. After I did all my screenings of the movie are always filled with even more praise on Deborah Moggach and Joe Wright's delightful transfiguration of Jane Austen's humor and writing. Other Austen films like Emma and Oscar winner [for best adapted screenplay] Sense And Sensibility, although being lovely and marvelous have failed to catch me as much as P&P.

The way Wright's camera chronicles the Bennets' lives is so voyueristic that you feel immersed in the movie. There are two specific scenes I never get enough of: at the first ball, during the dance Mr. Bingley is having with Miss Lucas but he and Jane Bennet can't take the eyes from each other, we see Eliza and Miss Lucas peeking at them in way that it feels like it's us who's peeking them all through a keyhole; later when the Bennet girls are leaving Netherfield, Mr. Darcy helps Eliza to get on the carriage... there! That scene is enchanting! It's their first touch and the film filled it with such life and meaning as we see Lizzie's expression and later the close at Mr. Darcy's hand. It reminds me of their first glance at each other back at the ball. It happens so quickly like in real life, hence setting for the public the charachters' passion.

The second point I must once again talk about is the cast. I've hardly seen such a charming ensemble in my life; all the actors worked perfectly in their actings, making those adorable characters coming to life with such naturalness as if we lived in the 18th century. This time I especially got impressed on Kelly Reilly's Caroline Bingley; Mr. Bingley's sister's snobby attitudes and falsehood were performed by Reilly in such a bitchy-yet-discreet way that I was amazed and surprise I never gave much attention to her before. Donald Sutherland's Mr. Bennet's laidbackness is as funny as the book describes; and I totally have no words for Brenda Blethyn and Tom Hollander's performances, they're simply hilarious and captivating; same goes for Carey Mulligan and Jena Malone's as the silly youngest Bennets and the subtle and mesmerzing Rosamund Pike, making Jane the most beautiful of the Bennets indeed [I just wanted to hold her everytime she was onscreen]. Talk about that Dench woman! In her almost-cameo performance she delivers a Lady Catherine de Bourg as bitchy and grand [despite her size] as you imagine that you just hate the hag. Oh and Simon Woods's Mr. Blingley is so cute and innocent you'd put him in a vial and admire him forever.

But surely my favorite actors in this movie are Mathew Macfadyen and Keira Knightley. Mathew has the power of making us fall in love with him at each and every screening. His Mr. Darcy is so poignant and honest that it is kind of cruel how he makes us desiring him to pop out of the screen and coming to us in that final scene. He's as stiff as an 18th century Brit man should be and as charming and thrilling as any Brit man is. As for Keira... well, the woman is G-d! Maybe because I read the book only after I saw the movie, I cannot imagine anyone else as Elizabeth Bennet. As the headstrong and determined woman that Lizzie is, Keira showed us with grand smiles and subtle gestures the character like perhaps Austen had imagined. Lizzie's fierce honesty and deep and sarcastic intelligence burst with life from the eyes and expressions of Knightley. Her voice goes up and/or stumbles at the right moments and the way she's always sweaty and dishevelled is genius!

The third and last reason of my P&P loving is more about the novel than the movie itself. The women from Austen's book are typical 18th century women, except for Eliza of course. Eliza is ahead of her time, that craves for the things women from her time crave, but with a patience, sense and dignity that was rarely found on feminine characters from that period. In a society which a woman had not many options than getting married, Eliza's desire for real and earthquakingly love was groundbreaking. On the plot we know that in case Mr. Bennet died before his daughters got married and left the house, they'd all be thrown to poverty and homelessness. So marriage was a question of survival; still Eliza stood for her beliefs in spite of the dreadful circumstances. Ironically, though, the most heartbreakingly line of the novel, that shows the twisted part of women in that society, is not from Eliza, but from Miss Lucas: "Not all of us can afford to be romantic, Lizzie."[Song: Drowned World/Substitute For Love - Madonna]

Auditory Memory

I had an aunt who said that buying soundtracks was stupid: once the movie's momentum was gone so would the interest for its music. My dad once said that movie music belongs to movies and that they have no way of fitting on our daily lives: our connection with it lasts while the film lasts. At first I was too coy to debate with them, but now having seen as much movies as I have seen and having heard as much movie soundtracks/original scores as I have heard I can fully disagree with them.

On early March I went to the best party I've attended to date: the Nave. Among the all-time favorites that were played by the party's DJs were two from Quentin Tarantino's 2003 masterpiece Kill Bill Vol. 1's soundtrack: a crazy remix of Nancy Sinatra's Bang Bang (My Baby Shot Me Down) and The 5, 6, 7, 8's Woo Hoo was played twice. These songs are my irrefutable proofs that movie music can transcend the celluloid.

When my relatives said those things they took for granted two powerful arts: filmmaking and music. It's known that a lot of a film's emotion would be hard to be transmited without a score and/or a soundtrack. Music is such a grand art that most of the songs contained on films soundtracks weren't written for the motion picture, but there they are molding themselves to the plot's spirit setting the mood for the public's catharsis. The art of filmmaking got as grand status in this sense especially for being able to mold an older and more independent art [despite of MTV music doesn't need video] to its designs. A recent example is the use of dancefloor classic Vogue on modern-already-classic The Devil Wears Prada. The song got a glamourous and even more iconic turn bathed in all those Channel's, Prada's, Gucci's etc etc. Nowadays I can't help feeling at a Dolce & Gabbana runway when I listen to Madonna's masterpiece.

Last night as I listened to the two Kill Bills' soundtracks I was struck by another confirmation of these arts' power: the feelings those songs imprint to one's emotional memory. While Don't Let Me Be Misunderstood got me holding my Hattori Hanzo, I before rode the town with my ultra-cool yellow outfit and motorbike at the sound of the Green Hornet theme. But Tarantino's music taste goes beyond filmy experiences. His last two epics transformed cult songs into mainstream gems [everybody heard-till-got-sick-of Carolina Márquez's The Killer Song with Bernard Herrmann's Twisted Nerve ill-used sample]; they also got my first contact with Ennio Morricone's genius music and I bet that everyone in the party I mentioned above felt like wacko Japs dancing at The House Of Blue Leaves whenever Woo Hoo was played, I at least did.

In addition, listening to a movie's soundtrack or score can bring back the feelings the movie brought upon you. One might say that way we limit the music to one thing, but that's what we do all the time isn't it? We can't feel everything when we do something, so we connect the situation to one sensation. Whenever I listen Dario Marianelli's tunes for 2005 literature adaptation Pride & Prejudice I feel connected to Lizzie Bennet's wit and vivacity and Mr. Darcy's charm and presence. When Isabelle Hupert sings Françoise Hardy's hit A Message Personnel or Fanny Ardant does the incredible bossa rendition of the wild French disco hit that is Nicoletta's A Quoi Sert De Vivre Libre both from the 2002 François Orzon's film 8 Femmes I feel the colors and the joi de vivre from those marvelous women.

Music and films is a match made in heaven, because for me film music is a way to keep vivid in my memory the awesomeness of the motion picture. The same way we lose momentum from a film and consequently its score we lose momentum from all kinds of artists and music. It's the moment that counts, whenever it is.

So, which is the soundtrack piece that rocks your socks?

[Song: The Secret Life Of Daydreams - Dario Marianelli]

Top 3 Romantic Craps

When I say "crap" I mean things that cynical bitches like moi would rather get away from, but they're so lovely and so catchy that not even the strongest and the most bitter of spirits can help. Here are three of my favorite things to do when this romantic wave gets me by the knees.

3. Romantic Flicks

Whether just cute melodramas like The Lake House or cute comedies like Never Been Kissed I can't resist their power. Truth be told even the most convicted of quirkyalones daydream about "the one" and these pieces of manipulative media touch us on the wound. It's not like I die in desperation every time I watch a romantic flick, but yeah I get emotive, I cry like a Madeleine Wallace, I curse the world and myself and others more for being alone etc etc.

When things are really dark I get the Hollywood conservative you're-nothing-till-you-have-a-man films like Never Been Kissed, Notting Hill, Love Actually, wrap myself in a blanket, have a pan of brigadeiro and cry my insides out when they end. When I'm optmistic and wanting to feel good I get things like Pride And Prejudice and Bridget Jones with lighter and deeper approaches.

Today I rented Moulin Rouge, let's see if I'll survive.

2. Kylie Minogue's Put Yourself In My Place*

What is it that even if we're not heartbroken we feel drowned by broken-hearted songs?

Kylie Minogue is a marvel; she's known for her dance beats and the hipnotic states her music brings to us on clubs, or even at home when we put her cds or listen to her songs on the radio. But only the attentive listeners and the fans know that her lyrics are the saddest lyrics from Pop Music; get some of her dance classics like Can't Get You Out Of My Head, On A Night Like This, Please Stay and I Should Be So Lucky and you'll find a want of reciprocity in love that is heartbreaking when you notice that it's combined with those wild beats that makes you forget everything to follow your body's desire to dance.

And, if you get to the ballads, then you die. As one of the most underrated performers she delivers song renditions full of feeling and emotion. Listen to Dangerous Game and you feel disappointed with love, Finer Feelings [an upbeat ballad] and you want a good life. But the one that touches me to the bone, chills me to the spirit is the once-ignored [by me] Put Yourself In My Place.

I'm not gonna ramble about the lyrics 'cause they obviously summarize what I'm talking about. But her performance, uhg it's heavenly! Few pop divas I know transmit so much of what the lyrics mean in their voices without sounding cheesy and exaggerating [read: Beyoncé and Christina Aguilera]; Kylie gives to this song the desolation and sadness it brings and when you're feeling romantically self-destructive it's just like chocolate.

1. Madonna's Crazy For You**

I don't know if it's the sense of freshness or the hope, but this song is pure diamond. Madge's vocals are heartfelt and mostly sad; they sound like a desperate call that everyone should be oblidged to listen to. The lyrics are like Put Yourself In My Place before the cheating, therefore it's hopeful. Who wouldn't love to hear an honest and emotive "I'm crazy for you"? And that's what and how Madonna tell us whenever she sings this song.

Recently I downloaded Re-Invention Tour's studio tests, like the tests they do on studio with new arrangements for rehearsals and dance routines creation. When it comes to Crazy For You feels like the whole world goes silent and all you listen is the song with her lovely slips on the lyrics and the little jokes. It feels like she's singing just for you. Crazy For You resembles to those times when you were a teenager waiting for "the one" to fall from the sky just to say such words. And guess what, in the romantically self-destructive state of mind that's exactly what you become again.

Call me silly but whenever I go to a party I can't help dreaming that what this song describes happens to me that night.

*Showgirl Tour's version: the best live performance I've heard of it so far.
**RIT's studio version.

[Song: Put Yourself In My Place - Kylie Minogue]
[Song 2: Crazy For You - Madonna]

My Favorite Movie Of The Year

G-d knows how I'm good about myself, and that I am not a romantic fool who loses himself for the urge of a feeling similar to love.
But damn, this movie is my fairy tale pleasure. Of course there's nothing as faily tale-esque on Jane Austen's novel neither on Wright's beautiful motion picture; but the charisma of the former's characters and the latter's actors makes it such a thrilling and lovely film that one cannot help to fall for it.
I may not live for the day that a Mr. Darcy will come to tell me that "you have bewitched me, body and soul, and I love, I love, I love you. I never wish to be parted from you from this day on", but when this day comes...
*dies*

[Song: Your Hands Are Cold - Dario Marianelli]

Back to the start...

During my trip back to Marilia, my father and I started an argument about promiscuity in the homossexual world. His arguments convinced me and even though I don't judge that lyfe-style and sometimes wish it, I fell into a melancholy I could not exactly explain even to myself. I want romance.
To see Pride and Prejudice reassured on me that feeling. I want to share feelings in a deeper level than club-hunting or mall flirting; all this making out has been draining out my energy, especially because when I'm not having it I crave for it. Is one supposed to be enslaved by shallow and quick sensations? It probably depends on what one wants and I honestly want more, I want to go deeper and deeper, find a like-minded companion and have loads of intellectual intercourse.
Knowing how picky I am, I know I'll have to be patient until I find someone worth-exchanging... or someone in his teen years... ohh boy, Lucas gotta change!! Lol!!
By the way, due to this new romance-craving era I'm addicted to a new song: It's called Pra Ser Sincero by Brazillian [genius] singer/songwriter Marisa Monte. It's a sweet girly ballad about guess what... heartache!!! Here're the lyrics:
Eu era tão feliz
E não sabia, amor
Fiz tudo o que eu quis
Confesso a minha dor
E era tão real
Que eu só fazia fantasia
E não fazia mal
E agora é tanto amor
Me abrace como foi
Te adoro e você vem comigo
Aonde quer que eu voe

E o que passou, calou
E o que virá, dirá
E só ao seu lado, seu telhado
Me faz feliz de novo
O tempo vai passar
E tudo vai entrar no jeito certo de nós dois
As coisas são assim
E se será, será
Pra ser sincero, meu remédio é te amar, te amar
Não pense, por favor
Que eu não sei dizer
Que é amor tudo o que eu sinto longe de você
[Song: Pra Ser Sincero - Marisa Monte]

I Believe In Romance Films

When I saw Pride And Prejudice's trailer I wanted to see it simply because it had Keira Knightley. Later she got that Oscar nod that made me even more willing to see it, then I found out the importance that Jane Austen's novel has in Brit Literature. I missed it at the theatre, but at the 1st moment I saw its poster at the video renter's window I could not miss it, so I rented.

Well, I adored it! At first the ironic and beyond funny dialogues made me think it as the best comedy I've ever seen. Then, the whole romantic plot and the sweetness of Joe Wright's direction are mesmerizing. Not only Knightley but simply everyone else in it is beyond perfect. Brenda Blethyn is genius as Mrs. Bennet. And uhg, of course, Matthew Macfadyen and Simon Woods are not only stupidly gorgeous but they can act! Macfadyen for instance is so subtle and poignant that his beauty doesn't only hypnotizes you but it makes you believe and desire him [or a man like him]; through him, Mr. Darcy's words are true and powerful. But the real delight of the film is indeed Keira. She's so sweet, subtle and humble that you can't help falling for her. And OMG, that score!!

But besides its cinematical features what makes "Pride and Prejudice" a lovely movie is how it reassures you the belief [and desire] in romanticism. Not the burgeois crap but the yearning for a real romance with a like-minded companion that will always be pushing your buttons and making you want to grow and to challenge yourself. As a true quirkyalone, Elizabeth Bennett chose celibacy instead of marrying a man she didn't love. And doesn't matter how corny it sounds, but for me she's a real inspiration.

The film is powerful that in the end my father and I had thick tears running down our faces. Well, everyone knows my dad and I are weepers, but he slept through good part of the movie, but still felt its power. Not only The Constant Gardener but also this one was totally robbed at the Academy Awards! Way better than those Crash or Brokeback Mountain craps.

Note to self: start reading the book "yesterday"!!

[Song: Pra Ser Sincero - Marisa Monte]