Da uno dei più grandi autori di fumetti di sempre e da una idea geniale di due dei più brillanti registi contemporanei, aspettarsi un film perfetto era obbligatorio e - per fortuna - il risultato non delude.
Partendo dall'eccezionale materiale di Frank Miller (straconsigliato a chiunque), Robert Rodriguez e Quentin Tarantino portano sul grande schermo non solo la trama e l'atmosfera ma persino la tecnica di Miller, realizzando qualcosa di semplicemente spettacolare. Chroma-key a manetta per riprodurre alla lettera stile e inquadrature di uno dei fumetti più hard-boiled di tutti i tempi, un cast fenomenale e perfetto nei rispettivi ruoli e - soprattuto - tanto tanto amore per il fumetto e per il cinema.
Rivisto in lingua originale merita ancora di più.
Non resta che da portare sullo schermo i rimanenti albi.
Tags: hard-boiled, azione, noir, drammatico, thriller, omicidi, violenza, prostituzione, polizia, serial-killer, sedia elettrica, cardinale, arti marziali, senatore, spogliarellista, fumetto.
Rodriguez, Robert (I)
Nome di battesimo: Rodriguez, Robert Anthony
Data di nascita: 20 June 1968
Altezza: 6' 2" (1.88 m)
Coniuge: Elizabeth Avellan::(1990 - present) (separated) 5 children
- Sin City 3 (2008) .... (producer) [produttore]
- Grindhouse (2007) .... (producer) [produttore]
- Sin City 2 (2
007) .... (producer) [produttore]
- Ten Dead Men (2007) .... (inspiration and love to the works of) [misc]
- In the Headlights (2006) (V) .... (special thanks) [misc]
- The Adventures of Sharkboy and Lavagirl 3-D (2005) .... (written by) [scrittore]
- Broken (2005/I) .... (special thanks) [misc]
- Curandero (2005) .... (executive producer) [produttore]
- Nice Guys (2005) .... Mr. Lewis [attore]
- Sin City (2005) .... [regista]
Of all the people to be amazed by the images of of John Carpenter's 1981 sci-fi parable, Escape from New York (1981), none were as captivated as the 12-year-old Tejano boy who sat with his friends in a rowded cinema. Many people watch films and arrogantly proclaim "I can do that." This young man said something different: "I WILL do that. I'm gonna make movies." The young man in question is Robert Rodriguez and this day was the catalyst of his dream career.Born and raised in Texas, Robert was the middle child of a family that would include 10 children. While many-a-child would easily succumb to a Jan Brady-sense of being lost in the shuffle, Robert always stood out as a very creative and very active young man. An artist by nature, he was very rarely seen sans pencil-in-hand doodling some abstract (yet astounding) dramatic feature on a piece of paper. His mother, not a fan of the "dreary" cinema of the 1970s, instills a sense of cinema in her children by taking them on weekly trips to San Antonio's famed Olmos Theatre movie house and treats them to a healthy dose of Hollywood's "Golden Age" wonders, from Sergio Leone to the silent classic of Charles Chaplin and Buster Keaton.In a short amount of time, young Robert finds the family's old Super-8 film camera and makes his first films. The genres are unlimited: action, sci-fi, horror, drama, stop-motion animation. He uses props from around the house, settings from around town, and makes use of the largest cast and crew at his disposal: his family. At the end of the decade, his father, a salesman, brings home the latest home-made technological wonder: a VCR, and with it (as a gift from the manufacturer) a video camera.With this new equipment at his disposal, he makes movies his entire life. He screens the movies for friends, all of whom desperately want to star in the next one. He gains a reputation in the neighbourhood as "the kid who makes movies". Rather than handing in term papers, he is allowed to hand in "term movies" because, as he himself explains, "[the teachers] knew I'd put more effort into a movie than I ever would into an essay." He starts his own comic strip, "Los Hooligans". His movies win every local film competition and festival. When low academic grades threaten to keep him out of UT Austin's renowned film department, he proves his worth the only way he knows how: he makes a movie. Three, in fact: trilogy of short movies called "Austin Stories" starring his siblings. It beats the entries of the school's top students and allows Robert to enter the programme. After being accepted into the film department, Robert takes $400 of his own money to make his "biggest" film yet: a 16mm short comedy/fantasy called Bedhead (1991). Pouring every idea and camera trick he knew into the short, it went on to win multiple awards.After meeting and marrying fellow Austin resident Elizabeth Avellan, Robert comes up with a crazy idea: he will sell his body to science in order to finance his first feature-length picture (a Mexican action adventure about a guitarist with no name looking for work but getting caught up in a shoot-'em-up adventure) that he will sell to the Spanish video market and use as an entry point to a lucrative Hollywood career. With his quot;guinea pig" money he raises a mere $7,000 and creates Mariachi, El (1992). But rather than lingering in obscurity, the film finds its way to the Sundance film festival where it becomes an instant favourite, wins Robert a distribution deal with Columbia pictures and turns him into an icon among would-be film-makers the world over.Not one to rest on his laurels, he immediately helms the straight-to-cable movie _Roadracers (1994)_ (TV) and contributes a segment to the anthology comedy Four Rooms (1995) (his will be the most lauded segment). His first "genuine" studio ef
fort would soon have people referring to him as "John Woo from south-of-the-border". It is the "Mariachi" remake/sequel Desperado (1995). More lavish and action-packed than its own predecessor, the movie--while not a blockbuster hit--does decent business and single-handedly launches the American film careers of Antonio Banderas as the guitarist-turned-gunslinger and Salma Hayek as his love interest (the two would star in several of his movies from then on). It also furthers the director's reputation of working on low budgets to create big results. In the year when movies like Batman Forever (1995) and GoldenEye (1995) were pushing budgets past the $100 million mark, Rodriguez brought in quot;Desperado" for just under $7 million.The film also featured a cameo by fellow indie film wunderkind, Quentin Tarantino. It would be the beginning of a long friendship between the two sprinkled with numerous collaborations. Most notable the Tarantino-penned vampire schlock-fest From Dusk Till Dawn (1996). The kitschy flick (about a pair of criminal brothers on the run from the Texas Rangers, only to find themselves in a vamp-infested Mexican bar) became an instant cult favourite and launched the lucrative film career of "ER" (1994) star George Clooney.After a two-year break from directing (primarily to spend with his family, but also developing story ideas and declining Hollywood offers) he returned to "Dusk till Dawn" territory with the teen/sci-fi/horror movie The Faculty (1998), written by _Scream (1996)_ writer, Kevin Williamson. Although it's developed a small following of its own, it would prove to be Robert's least-successful film. Critics and fans alike took issue with the pedestrian script, the off-kilter casting and the flick's blatant over-commercialization (due to a marketing deal with clothing designer Tommy Hilfiger).After another three-year break, Rodriguez returned to make his most successful (and most unexpected) movie yet, based on his own segment from Four Rooms (1995). After a string of bloody, adult-oriented action fare, no one anticipated him to write and direct the colourful and creative Spy Kids (2001), a movie about a pair of prepubescent Latino sibs who discover that their lame parents (Antonio Banderas and Carla Gugino) are actually two of the world's greatest secret agents. The film was hit among both audiences and critics alike.After quitting the Writers' Guild of America and being introduced to digital filmmaking by George Lucas, Robert immediately applied the creative, flexible (and cost-effective) technology to every one of his movies from then on, starting with an immediate sequel to his family friendly hit: Spy Kids 2: Island of Lost Dreams (2002) which was THEN immediately followed by the trilogy-capper Spy Kids 3-D: Game Over (2003). The latter would prove to be the most financially-lucrative of the series and employ the long-banished movie gimmick of 3-D with eye-popping results.Later the same year Rodriguez career came full circle when he completed the final entry of the story that made brought him to prominence: "El Mariachi". The last chapter, Once Upon a Time in Mexico (2003), would be his most direct homage to the Sergio Leone westerns he grew up on. With a cast boasting Antonio Banderas (returning as the gunslinging guitarist), Johnny Depp (as a corrupt CIA agent attempting to manipulate him), Salma Hayek, Mickey Rourke, Willem Dafoe and Eva Mendes, the film delivered even more of the Mexican shoot-'em-up spectacle than both of the previous films combined.Now given his choice of movies to do next, Robert sought out famed comic book writer/artist Frank Miller, a man who had been very vocal of never letting his works be adapted for the screen. Even so, he was wholeheartedly convinced and elated when Rodriguez presented him with a plan to turn Miller's signature work into the film Sin City (2005). A col
lection of noir-ish tales set in a fictional, crime-ridden slum, the movie boasts the largest cast Rodriguez has worked with to date. Saying he didn't want to mere "adapt" Miller's comics but "translate" them, Rodriguez' insistence that Miller co-direct the movie lead to Robert's resignation from the Director's Guild of America (and his subsequent dismissal from the film John Carter of Mars (2006) as a result). Nevertheless, he has looked back on his decision with no regrets.Playing by his own rules or not at all, Robert Rodriguez has redefined what is and is not for a film-maker to do. Shunning Hollywood's ridiculously-high budgets, multi-picture deals and the two most powerful unions for the sake of maintaining creative freedom are decisions that would (and have) cost many directors their careers. Robert Rodriguez has turned these into his strengths, creating some of the most imaginative works the big-screen has ever seen. Where will his career lead him
next ? It's hard to say. He's too busy making movies to think about a time when he can't make them anymore.
Trivia random: His adult-oriented movies always feature a fictional brand of beer called "Cerveza Chango". Chango is the Orisha (a deity as in the Afro-Cuban religion of Santeria - an amalgam of African tradition and Catholocism) of fire, lightning and dance. Chango is renowned for the way he avenges crimes against the innocent, a recurring theme in Rodriguez-movies in which the fictional beer appears.
Citazione random: "I didn't want Frank [Miller, creator of the comic "Sin City" and co-writer on the film] to be treated just as a writer because he is the only one who has actually been to 'Sin City'. I am making such a literal interpretation of his book that I'd have felt weird taking directing credit without him. It was easier for me to quietly resign because otherwise I'd have been force to make compromises I was unwilling to make, or set a precedent that might hurt the guild later on." -- March, 2004 in response to why he left the Directors' Guild of America just before the filming of Sin City (2005)
Filmography links and data courtesy of IMDb.
Nome di battesimo: Tarantino, Quentin Jerome
Data di nascita: 27 March 1963
Altezza: 6' 2½" (1.89 m)
- Inglorious Bastards (2008) .... (producer) [produttore]
- Grinder (2007) .... (very special thanks to) [misc]
- Grindhouse (2007) .... (producer) [produttore]
- Hell Ride (2007) .... (producer) [produttore]
- Hostel: Part II (2007) .... (executive producer) [produttore]
- Killshot (2007) .... (executive producer) [produttore]
- Sukiyaki Western Django (2007) .... Ringo (rumored) [attore]
- Freedom's Fury (2006) .... (executive producer) [produttore]
- Reservoir Dogs (2006) (VG) .... (screenplay) (story) [scrittore]
- Budd Boetticher: A Man Can Do That (2005) (TV) .... (special thanks) [misc]
In January of 1991 a film titled Reservoir Dogs (1992) hit the Sundance Film festival. The writer-director was a first-timer by the name of Quentin Tarantino. The film garnered critical acclaim and the director became a legend in the England, UK and the cult film circuit. Three years later he followed up 'Dogs' with the film Pulp Fiction (1994). 'Pulp' premiered at the Cannes film festival, where it won the coveted 'Palme D'Or' the virtual equal of the Best Picture at the Academy Awards. At the '93 Academy Awards, 'Pulp' was nominated for the Best Picture Oscar, in addition Best Director and Best Original Screenplay, among others. Tarantino and writing partner Roger Avary came away with the award only for Best Original Screenplay. (Where Roger uttered his now famous line, "I've gotta go pee".) In 1995, Tarantino directed one fourth of the Anthology Four Rooms (1995) with friends and fellow auteurs Alexandre Rockwell, Robert Rodriguez, and Allison Anders. That film was released on December 25th in the United States to very weak reviews. This is mainly due to the heavy cutting of the first two segments and the introduction which make much of the plotline unintelligible, and creates a complete mess out of the second segment, directed by Alexandre Rockwell. The best two segments of the film are Robert Rodriguez's and Tarantino's. Tarantino's next film was From Dusk Till Dawn (1996), a crime/vampire film which he wrote and co-starred with George Clooney. The film did fairly well theatrically.
Trivia random: Often references numerous attributes of the works of Jean-Luc Godard, particularly in Pulp Fiction (1994). The disjointed structure of Pulp Fiction (1994) may itself be an homage to Godard's use of jump cuts in À bout de souffle (1960) (Breathless), the film that launched the French New Wave of cinema.
Citazione random: "If you want to make a movie, make it. Don't wait for a grant, don't wait for the perfect circumstances, just make it." - Giving advice to young aspiring filmmakers at the 1994 Independent Spirit Awards
Filmography links and data courtesy of IMDb.
Miller, Frank (II)
Data di nascita: 27 January 1957
Altezza: 6' 1½" (1.87 m)
Coniuge: Lynn Varley::(? - ?)
- Sin City 3 (2008) .... (graphic novels) [scrittore]
00 (2007) .... (executive producer) [produttore]
- Sin City 2 (2007) .... (producer) [produttore]
- Ten Dead Men (2007) .... (inspiration, thanks and love to the works of) [misc]
- Elektra (2005) .... (comic book characters) [scrittore]
- Knight of the Living Dead (2005) (V) .... (special thanks) [misc]
- Sin City (2005) .... (graphic novels) [scrittore]
- Rats: A Sin City Yarn (2004) .... (graphic novel) [scrittore]
- Daredevil (2003) .... Man with Pen in Head [attore]
- The Men Without Fear: Creating 'Daredevil' (2003) (V) .... (special thanks) [misc]
Frank Miller was a big comics writer/artist in the 70s and 80s. He wrote and penciled the Marvel series "Daredevil" for a long time. Friend Klaus Janson inked. He also wrote two spinoffs about the character Electra and did a miniseries about the "X-Men" character Wolverine. His hit miniseries "Ronin" was published by DC in the mid-eighties. His greatest success came with DC's character Batman. In 1980, he wrote the acclaimed "Batman" story "Wanted - Santa Claus - Dead or Alive!" for DC Comics. In 1986, his most notable comic-book work, the groundbreaking "Batman: The Dark Knight Returns," an alternate history story about Batman in a grim future, was published by DC. Miller wrote and penciled, In 1988, he wrote
the acclaimed "Batman: Year One," about Batman's first year on the job, for DC. In 1996, he wrote "Spawn versus Batman," a one-shot issue published by DC and Image Comics. Miller also co-created the Robocop character. He wrote the major motion pictures _Robocop 2 (1990)_ and RoboCop 3 (1993) and did the "Robocop" comic series for a little while.
Trivia random: In mid-2003, a comic book company called Avatar is publishing a comic book series adapting his original screenplay for _Robocop 2 (1990)_ , which allegedly had enough subplots and material for several movies.
Citazione random: "I realized that I was about to turn 30, and Batman was permanently 29. And I was going to be damned if I was older than Batman."
Filmography links and data courtesy of IMDb.