muse-en-scene: Closer

Closer, est l’adaptation cinématographique de la pièce de théâtre Closer  écrite en 1997 par l’auteur britannique Patrick Marber.

Le réalisateur Mike Nichols évoque en quelques mots Closer, entre adultes consentants : « Si on y réflechit, on se souvient généralement très bien du début et de la fin de nos relations amoureuses, mais on a tendance à oublier ce qu’il y a eu entre les deux. Closer, aborde aussi cela. Comment nous souvenons-nous réellement des choses et comment la vie nous apparaît-elle vraiment ? ».  (citation via: allocine.)

Bien que très théâtrale -car ca en est une a la base- et tourne entièrement a l’ intérieur, Closer est un film qui ennuie pas, (du moins pas moi) grâce au jeu d’acteurs époustouflants.  J’aime particulierement le personnage de Larry, le médecin qui, dans le film, apparait comme le personnage le plus archaïque, le moins libre d’esprit parmi les 4 protagonistes et qui ironiquement tient les discours les plus plein d’esprits.

LARRY: Well, I'll see to myself in the elle decoration bathroom.
ANNA: You chose that bathroom.
LARRY: And every time I wash in it I feel dirty. It's cleaner than I am. It's got attitude. The mirror says, "Who the fuck are you?"
ANNA: You chose it.
LARRY: Doesn't mean I like it. We shouldn't have this.
ANNA: I hear middle class guilt.
LARRY: Working class guilt.

traduction:

Larry: Bon, je compenserai dans la salle de bain « elle decoration »

Anna:  C’est toi qui l’as choisi!

Larry:Je me sens sale dedans. Elle me bat en proprete, elle me snobe. La glace m’envoie chier.

Anna: Tu l’as choisie!

Larry: Ca ne veut pas dire que je l’aime. On n’aurait pas du avoir tout ca.

Anna: J’entends « la mauvaise conscience bourgeoise »

Larry: La mauvaise conscience prolétaire!

Mais regardez moi ce loft! Bon, je comprends la mauvaise conscience bourgeoise, mais en même temps, qui ne voudrait pas habiter un loft pareil, hein? Murs en briques blancs (ce qui est très prisé en ce moment), la chaise vintage, le bureau d’architecte, la table de ferme, le sol en béton, les photos en noir et blanc, la porte coulissante et en applique, les poteaux, les vitres….Tout y est beau, y compris les acteurs!

 

 

muse-en-scene: A single Man de Tom Ford

Tom Ford! No comment 🙂

muse-en-scene: mon oncle de Tati

M. Hulot is the dreamy, impractical, and adored uncle of young Gérard (nine years old), who lives with his materialistic parents in an ultra-modern geometric house and garden (Villa Arpel) in a new suburb of Paris, situated just beyond the crumbling stone buildings of the old neighborhoods of the city. Gérard’s parents, M. and Mme. Arpel, are firmly entrenched in a machine-like existence of work, fixed gender roles, and the acquisition of status through possessions and conspicuous display. (A running gag involves a fish-shaped fountain at the center of the Arpels’ garden that Mme. Arpel turns on only for important visitors).

Each element of Villa Arpel is representational rather than functional, an environment completely hostile to the comfort of its occupants. In choosing modern architecture to punctuate his satire, Tati once stated, « Les lignes géométriques ne rendent pas les gens aimables » (« geometrical lines do not produce likeable people »). From pas japonais positioned like mine fields, to impossible-to-sit-on furniture, to a kitchen with the decibel level of a jet engine, every facet of Villa Arpel emphasizes the supremacy of superficial aesthetics and electrical gadgets over the reality of daily living. (source: wikipedia)

And Mr. Hulot’s building for the contrast! :

I was about to write some lines about this movie and how genious Tati was about design but right here, I saw Larry Weinberg’s great review about it, i definetly couldn’t express it better!

muse-en-scene: Pedro Almodóvar

Pedro Almodóvar’s movies’ interiors are all gems of vintage, colourful, tasty design! He even has a quote about his use of decor in his movies:

« I think decor says a lot about someone’s social position, their taste, their sensibility, their work – and also about the aesthetic way I have chosen to tell their story. »

I think he is doing great work!

Here are some screen shots from « all about my mother »:

The wallpaper on the picture above reminds me of our curtains in the beginning of 80s in turkey 🙂 It was the same pattern but with white-turquoise-dark blue colors 🙂

I don’t know whether it’s a lamp or not but i love this wooden sculpture-like thingie on the left corner (picture above).

And here are some pictures of the « broken embraces »: The pictures are taken from Elle decor and Modernica blogs.

muse-en-scene: in the mood for love

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For those who don’t know me personally, I am coming from a « film making » background.  When i was planning to launch this blog, i had this category about home interiors in the movies. I call it « muse-en-scene ».

So here you have the first post of this category. I wanted to launch it with one of my favourite director of all times: Wong Kar Wai. I am a huuuge fan of his cinematography, lightning, simple and touching stories, characters…everything he does in fact.

In the mood for love is, in my point of view, the climax in his stylish cinematography. Interiors of Hong-Kong flats are so tiny, yet so ingeniously shot , Maggie Cheung’s dresses are in a perfect harmony with every scene she is in, yet  it doesn’t feel superficial. I love the richness of the patterns and colours on the walls, dresses, beds etc..I am not going to talk more, but let you see some of the screenshots i have. I almost wanted to capture every single image of this movie, it’s a piece of art.