MAINTENANCE – The Norwegian actress-director sign a fiery adaptation of the play by the Swedish August Strindberg
After several productions of theater, Liv Ullmann takes the camera to provide a Miss Julieen resonance with his fiery personality, sensitive and free. No other rule for her to go to meet in life.
LE FIGARO. – Why did you favorite movies for that part of Strindberg
Liv Ullmann?. – At first, there was a proposal for the production, who wanted to address the theme of the fatal different directors woman. I suggested Miss Julie , because I’ve never had the opportunity to play the role, and it was a way to get into the field of Strindberg. You know, it’s less acclaimed Ibsen, but its influence is much deeper. It’s like a huge tree whose foliage extends to O’Neill and Tennessee Williams, I recently mounted.
You see Miss Julie as a femme fatale
Not at all. I kinda hijacked the topic! Julie is someone cold outside, but not inside. I have often thought that people who have an air of disdain or anger are not so deep in themselves. But it is plagued by conflict and there is an attraction in itself to death.
The beautiful final shot shows her as Ophelia buried among the flowers. Romanticize suicide
Oh no! There is nothing romantic about suicide, and I do not think it’s ever a good solution. I think Julie longs desperately to serenity, and the only path open to it to reach goes towards death.
What made you choose Jessica ? Chastain, who looks so much like you
She told me that Terrence Malick said: “It looks like a young Liv Ullmann.” But I have not thought about at all likeness; for me, Jessica is very different. I would not have made the same choices of interpretation. My Julie probably would have been lower, more in demand, love, life. Jessica gave him courage, authority, astonishing maturity.
As a director, what were your biases?
There two main axes. I first wanted to highlight the contrast between exterior and interior, intimate social reality and truth. We can pretend that the class system does not exist anymore, things have not really changed. Social inequalities are still valid, as the inequalities between men and women. My staging is based on the opposition, and because it’s a movie, the camera can express them while walking in the background.
And the second line
This is the solitude. Strindberg was a great painter of solitude. I wanted to isolate the trio of characters and everyone put in his reports that he has irreducible. I love the pride of Kathleen (Samantha Morton), who imposes his truth beautifully servant and lover.
And you, what do you think of loneliness?
I’m not afraid of loneliness. I trust loneliness because it’s a deep need to be, a place of creativity and connections. But it must be chosen, seen as a privilege, not an injustice imposed. When you love, there is always an element of loneliness, and it is beautiful.
and children, which is also very present in the film
A lot of things come from childhood. There is a little girl in me will never die. I lost my father when I was 6. I do not have many memories of him, but I see his brown leather jacket, and he holds my hand. This image is so real, even today. And I always look this hand, in love or in friendship. This is what I put at the beginning of the film when Miss Julie called her mother who is no more. Often it is the last word of the dying soldiers “, Mummy” and this name is always unique, it contains a whole universe. For me, parts, films must remember that there are fundamental in life. Otherwise it is not worth it.
Julie (Jessica Chastain) is the mistress of the castle, John (Colin Farrell), the valet. She asks him to lick his boots. It runs. It is the Feast of St. John, madness awaits souls in distress. Domestic Katleen (Samantha Morton) is watched helplessly tearing torque sadomasochistic Miss Julie , the play by Strindberg (1888). Liv Ullmann sign a classic adaptation, elegant dissection scalpel moods. Familiar theatrical adaptations, she returns to the screen the dramatic tension, tilting the balance of forces and its disastrous consequences. But the play remains rooted in its time and no longer tastes like sulfur it had when it was created in 1889 photography Mikhail Krichman, who also created the Leviathan Andrey Zvyagintsev (released September 24) puts the actors in majesty. In the dress Julie, Jessica Chastain radiates both in the hope of a new life in the painful acceptance of the inevitable. Colin Farrell plays the alluring least ambiguity. Finally, Samantha Morton brilliantly complements this couple
prestigious.
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