FRAMES CINEMA

Tag: steven knight

Recensione Non riattaccare – Odissea nell’oscurità della mente

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Secondo lungometraggio di finzione per Manfredi Lucibello dopo il noir Tutte le mie notti, Non riattaccare prende le mosse da un romanzo di Alessandra Montrucchio e la sua premessa intrigante, affidando la stragrande maggioranza del tempo del racconto a una sola interprete e al voice over di un personaggio fuori campo. Laddove paragone che più spesso è stato citato è con Locke di Steven Knight per le ovvie similitudini – la corsa in automobile, notturna e solitaria, del protagonista unico Tom Hardy -, il noir sentimentale di Manfredi Lucibello prevede un cast di personaggi in scena più ampio ed è meno prigioniero dell’abitacolo. Appare quindi più libero dall’impostazione teatrale cui si potrebbe comunque ricondurre.

La lunga notte della pandemia

Opera forse meno ardua e rigida nel seguire la gimmick, il film di Lucibello, a differenza del dramma di Knight, imbocca ben presto la strada del thriller psicologico. Durante una delle lunghe e anonime notti del primo lockdown, Irene riceve una chiamata nel cuore della notte dall’ex Pietro, che lascia presagire un gesto estremo e disperato. Irene parte per un’odissea a rotta di collo, fin da subito funestata da ostacoli tecnici, umani e sentimentali, e segnata da una sola regola per impedire l’irreparabile: che i due, entrambi smarriti in una propria solitudine estrema e inconfessabile, non smettano di parlare al telefono. Ma la batteria si consuma, la benzina dell’auto pure, e Pietro appare instabile e Irene è sempre più sfinita.

Con l’unico, fragile legame che mantiene il contatto tra i due mentre Irene percorre le strade deserte di una città (di un mondo?) spettrale, i chilometri tra i due che si accorciano sempre più: la corsa solitaria nelle strade deserte della protagonista Irene è una gara contro il tempo e un viaggio nell’oscurità dei propri traumi.

L’effimero che ci unisce

Facile ma non del tutto errato etichettarlo come cinema “da pandemia”, cosa che può far storcere il naso a chi ci vede un facile tentativo di inserirsi nel contemporaneo. Ma il lockdown è solo il contesto in cui si muove un lento e paziente lavoro di svelamento di rapporti umani ridotti a brandelli. Non solo l’incertezza dei rapporti umani in tempo di pandemia costretti a un’assenza imprevista e traumatica: la sceneggiatura di Lucibello e di Jacopo del Giudice vorrebbe mettere in evidenza più in generale la fragilità sostanziale che ci lega come umani, prigionieri della nostra storia personale.

Tensione e sviluppo psicologico dei personaggi vanno di pari passo. Sul piano del thriller la scommessa di Lucibello regge: sfrutta appieno il contesto della pandemia per costruire una corsa contro il tempo perfettamente realistica che non scade quasi mai nella soluzione facile.

Nella sua disamina di rapporti sentimentali disastrati, disvela a dovere informazioni sui personaggi senza calcare la mano in over explaining. Ciò che manca, è una solida base di partenza, intesa come personalità forti in grado di reggere un film così imperniato sul dialogo, anche con una interprete come Barbara Ronchi, l’attrice che regge efficacemente da sola quasi un intero lungometraggio sulle proprie spalle. E non aiuta che il viaggio nella notte della pandemia finisca con il rifiutare ogni possibile ambiguità in favore di una conclusione fin troppo perentoria: le domande che pone sono decisamente più interessanti delle risposte.

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Valentino Feltrin,
Redattore.

July 13, 2024
Di nuovo nella breccia – Chloe Zhao e Steven Knight rifanno Shakespeare

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Centinaia di film si basano su soggetti tratti dalle immortali opere di William Shakespeare, da Laurence Olivier a Kenneth Branagh, da Akira Kurosawa al Re Leone. Tuttavia, negli ultimi anni, Shakespeare in persona si sta trasformando nel protagonista di sempre più film e serie TV di stampo biografico, ammesso che di biografia si possa parlare quando si ha tra le mani un individuo tanto misterioso quanto lo fu il Bardo della lingua inglese, vissuto a cavallo tra 1500 e 1600.

Nelle ultime settimane sono state ufficializzate ben due produzioni future a proposito della vita privata di William Shakespeare. L’adattamento del romanzo sul figlio Hamnet con la regia di Chloe Zhao ha trovato i suoi protagonisti, e Steven Knight svilupperà una serie sulla carriera del grande drammaturgo, autore di capolavori letterari quali Romeo & Giulietta e Macbeth.

Hamnet di Chloe Zhao

Dopo mesi di speculazioni, è stato confermato da qualche settimana che la regista premio Oscar Chloe Zhao (Nomadland, Eternals) dirigerà il lungometraggio intitolato Nel nome del figlio – Hamnet, trasposizione cinematografica del romanzo omonimo di Maggie O’Farrell del 2020, grande successo di vendite e di critica (edito anche in Italia nel 2021 da Guanda). La stessa autrice scriverà la sceneggiatura del film a quattro mani insieme alla regista.

Gli attori candidati all’Oscar Paul Mescal (Aftersun, futuro protagonista de Il gladiatore 2) e Jessie Buckley (Women Talking – Il diritto di scegliere, Sto pensando di finirla qui) sono in trattative per interpretare i ruoli principali, ossia, rispettivamente, William Shakespeare e sua moglie Agnes / Anne Hathaway. Producono Amblin Partners, Hera Pictures, Neal Street Productions e Book of Shadows, e in particolare Liza Marshall e Pippa Harris insieme al premio Oscar Sam Mendes, originariamente indicato anche come regista del progetto (con il fantomatico casting di Tom Holland).

Il romanzo, già adattato a teatro nel 2023 dalla Royal Shakespeare Company, immagina la storia di Agnes, moglie dello scrittore più famoso del mondo, William Shakespeare, che non viene però accreditato come tale, nel difficile momento in cui la famiglia lotta per accettare la perdita del giovane e unico figlio maschio Hamnet. L’elaborazione del lutto porterà alla genesi di diverse opere del drammaturgo, tra cui in particolare quella ancora più celebre dopo secoli, Amleto, che affronta temi come la presenza della morte e la disgregazione dei legami familiari.

Serie di Steven Knight su Shakespeare

L’autore di Peaky Blinders Steven Knight (La promessa dell’assassino, Spencer) sta lavorando a una nuova serie basata sulla vita di William Shakespeare. La sceneggiatura è tratta da un concept dell’attrice Sarah Lancashire (Happy Valley, Yesterday), e sono coinvolte nella produzione anche le società Kudos (proprietà di Banijay U.K.), Via Pictures e Digbeth Loc. Studios di Birmingham.

Il progetto racconterà la storia completa del figlio del guantaio che divenne il più grande narratore della storia e di come il suo genio sopravvisse e prosperò in un’epoca di turbolenze e terrore, pericolo e malattia. Vuole essere il primo resoconto completo della passione, delle persone e della politica che hanno reso William Shakespeare il drammaturgo più famoso del mondo, soffermandosi sugli uomini e le donne intorno a lui che hanno amato, lavorato, tramato, complottato e ucciso in uno dei periodi più pericolosi nella storia.

Altre produzioni su Shakespeare

Di nessuno dei due progetti si conoscono ancora i dettagli della distribuzione né il momento di uscita, siccome si tratta di produzioni alle prime fasi. Nel frattempo è possibile recuperare i precedenti film e serie televisive incentrate sulla vita del Bardo dell’Avon, via via più numerose negli ultimi anni, sebbene gran parte di essi non sia mai stata distribuita in Italia.

Nel 1978 l’emittente televisiva britannica ITV realizzò una serie in sei parti con protagonista Tim Curry intitolata Will Shakespeare, dedicata alla vita del drammaturgo. Il lungometraggio Shakespeare in Love, premio Oscar al miglior film 1999, romanza alcune componenti biografiche del poeta, mescolandole al contenuto di diversi suoi drammi, principalmente Romeo & Giulietta e La dodicesima notte.

A proposito di infedeltà storica, nel 2011 il regista tedesco Roland Emmerich imbastisce con Anonymous un affresco complottista sul vero autore delle opere attribuite a William Shakespeare. Nel 2016 la serie Will, ideata da Craig Pearce (collaboratore di Baz Luhrmann), immagina la carriera di un ambizioso e giovane provinciale che fa il suo ingresso nella scena teatrale punk-rock della Londra del XVI secolo.

Tra il 2016 e il 2020 viene prodotta da BBC la sitcom Upstart Crow, che rivede la storia di Shakespeare in chiave comedy, progetto piuttosto apprezzato che finisce per espandersi addirittura in uno spettacolo teatrale collegato. Lo sceneggiatore dello show è Ben Elton, che scrive anche la biopic sugli ultimi anni di vita del poeta Casa Shakespeare (All is True), diretta e interpretata dal veterano in materia Kenneth Branagh.

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Edoardo Borghesio,
Redattore news.

May 4, 2023
La donna che visse due volte – Remake con Robert Downey Jr scritto da Steven Knight

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Secondo un’esclusiva di Deadline, Paramount Pictures avrebbe acquisito i diritti per realizzare un remake di La donna che visse due volte, thriller psicologico di Alfred Hitchcock del 1958.

Nel rifacimento di Vertigo Robert Downey Jr assumerebbe il ruolo di protagonista che fu di James Stewart, un ex poliziotto con la fobia dell’altezza e che soffre di vertigini a seguito di un incidente avvenuto in servizio. Lo sceneggiatore della pellicola sarà Steven Knight, acclamato autore di Peaky Blinders, il quale recentemente ha firmato anche per girare un film di Star Wars.

Paramount era già stata casa di produzione dell’originale del 1958, che quindi, insieme alla Hitchcock Estate approva il nuovo progetto. Il primo Vertigo, riconosciuto da Sight and Sound nel 2012 il migliore film di tutti i tempi, era stato scritto da Alec Coppel e Samuel A. Taylor a partire dal romanzo D’entre les morts di Boileau-Narcejac.

Smarrito per il suo incidente, dopo essersi ritirato, l’ex agente viene assunto come detective privato per sorvegliare una moglie, ma verrà trascinato in una misteriosa trama. Il film di Hitchcock fu il primo a impiegare l’effetto Vertigo o dolly zoom, una tecnica di ripresa che distorce la prospettiva per mostrare la vertigine nell’inquadratura.

Produrranno il remake Davis Entertainment di John Davis e John Fox, attualmente impegnati nella post produzione del film di prossima uscita Uglies e del cartone Harold e la matita viola, insieme a Team Downey di Robert e Susan Downey, i quali in questo momento hanno fra le mani la seconda stagione di Perry Mason su HBO e The Sympathizer di Park Chan-wook per A24 ed HBO.

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Edoardo Borghesio
Redattore news

March 25, 2023
RECENSIONE LOCKE – PICCOLO THRILLER DEL QUOTIDIANO

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Un’automobile che è la sola ambientazione del film, un solo personaggio che diventa sineddoche della solitudine che attraversa tutta la società.

Locke è il secondo cortometraggio scritto e diretto da Steven Knight (sceneggiatore e creatore di Peaky Blinders). Un film indipendente del 2013 costato poco meno di due milioni di dollari, che fin dai primi trailer ha catturato l’attenzione per la sua premessa fulminante: la presenza di un solo attore in scena (Tom Hardy nel ruolo dell’eponimo Locke), ripreso per tutto il tempo all’interno di una automobile. Nonostante l’originalità, soprattutto in un’epoca di blockbuster e grandi produzioni, quest’idea rischiava di essere una lama a doppio taglio.

L’idea di un kammerspiel all’ennesima potenza, di un dramma ridotto all’osso in termini di ambientazioni e personaggi (a parte Tom Hardy, il cast è presente solo come voci al telefono) rischiava di risultare solo un esercizio di stile. Per mantenere alto l’interesse era necessario che la regia, il montaggio e l’interpretazione principale fossero in grado di reggere un meccanismo drammatico così stringato, ma il motivo per cui siamo qui a parlarne è proprio perché la combinazione di questi elementi funziona alla perfezione ed è in grado di mantenere alta l’attenzione per tutti i suoi 85 minuti.

Ivan Locke è un uomo serio, un capocantiere che ha gestito la propria vita all’insegna della precisione e della correttezza nei confronti di famiglia e colleghi. La sua vita integerrima crolla quando riceve la notizia che una collega, ammalata di solitudine come lui, sta per partorire il figlio avuto a seguito dell’incontro di una notte con lui. Oltre al crollo del suo matrimonio, a seguito di questa rivelazione Locke è costretto ad affrontare difficoltà burocratiche in vista di un’importantissima giornata di lavoro a cui non potrà essere presente.

Quello messo in scena da Steven Knight è un thriller dell’ordinario: la posta in gioco è di proporzioni relative, il viaggio dura un’ora e mezza su un’autostrada per Londra, non c’è un antagonista (almeno, non nel senso più canonico del termine), il protagonista non compie azioni straordinarie. Le conseguenze di questa odissea notturna ricadono tutte sulla psicologia del personaggio, sul suo rispetto di sé come persona: Locke è un eroe tragico “quotidiano” che sacrifica la vita che ha costruito per fare la cosa giusta, pur sapendo ciò che gli costerà in termini personali e professionali. L’antagonista (o l’insieme di antagonisti) del film, se c’è, è incorporeo ancora più delle voci al telefono con cui Locke dialoga: il padre morto con cui Locke immagina di conversare e sul quale scarica tutta la sua amarezza, le aspettative di una società cinica e votata solo al profitto, pronta ad abbandonarlo non appena devia dalla “retta” via, le sue stesse nevrosi.

Locke è un film dall’impianto teatrale che però non esclude la specificità del medium per il quale è stato creato, anzi: il rapporto tra uomo e società viene sottolineato proprio dalla tecnica cinematografica spontanea e con pochi fronzoli.

Ivan Locke viene pedinato da una macchina da presa nervosa, e il montaggio (di Justine Wright) oscilla in modo inquieto tra il dramma individuale nella macchina e le panoramiche di autostrade e paesaggi urbani, in cui si consumano forse tanti altri drammi simili che lo spettatore non può vedere. Le riprese, effettuate nel corso di sole otto notti – con le chiamate “in diretta” del resto del cast – sono spesso sfocate per rendere la stanchezza fisica e psicologica del protagonista, mentre le luci di lampioni e fari sono riflessi lontani e confusi che impediscono l’orientamento.

Nonostante il lato tecnico e la scrittura siano entrambi ottimi, questo è ovviamente il film di Tom Hardy. L’attore britannico è noto per la sua capacità di calarsi nel personaggio con tutto sé stesso con il rischio di sfociare nell’overacting, ma in questo caso ha trovato la combinazione perfetta tra attore e personaggio: pur concedendosi a qualche sporadico virtuosismo, per la maggior parte del tempo lascia trasparire tutta l’umanità del suo Ivan Locke e resta sempre al servizio del personaggio, risultando per questo ancora più magnetico e veritiero.

Locke è un piccolo film ma ricco di attenzione ai dettagli e alla psicologia del suo eroe e, al netto di diverse forzature drammatiche e di alcuni eccessi – le battute melodrammatiche riservate alla moglie, per esempio, si incastrano male nel realismo dei dialoghi -, è un film teso e dritto al punto, anche grazie alla sua essenzialità.

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November 3, 2021