Word: polanski
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...Roman Polanski: Wanted and Desired, one of the most talked about documentaries at the Sundance Film Festival and the first to sell here this year, unfolds like a noir thriller about the director's notorious 1977 statutory rape case. But the shadowy villain in this film isn't Polanski - it's the judge who presided over his case, Laurence Rittenband. Through dozens of interviews and deft use of archival footage, director Marina Zenovich untangles the dense web of legal issues that surround the Chinatown director's sensational story and exile to France...
Zenovich doesn't make excuses for Polanski's crime, one that would almost certainly be prosecuted with even more fervor today, in the age of "To Catch a Predator" and Megan's Law. But she does make a compelling case that Polanski was the victim of a kind of '70s version of celebrity justice. "People have been more interested in the lurid details, because this is such a sensational case," says Zenovich. "This part of the case somehow got lost...
...Local Parisian color is provided by some unusual suspects: director Roman Polanski as a police inspector with a sideline in proctology; Noemie Lenoir as a chanteuse whom Carter has a dalliance with before suspecting that she's a female impersonator ("I went to second base with a man! It's The Crying Games! I'm Brokeback Carter!"); and actor-director Yvan Attal (My Wife Is an Actress) playing a cab driver who switches from anti-Americanism to pro-Hollywoodism once he becomes embroiled in one of the Lee-Carter chase scenes. "Now I know what...
...electors -the Cannes Jury -change membership 100% every year, so you can't go by past winners. Finally, it doesn't help much to imagine which of the competing films the jury president would like best. In 2002, when David Lynch was president, the winning film was Roman Polanski's very traditional The Pianist. Last year, ultra-hip auteur Wong Kar Wai gave the Palme d'Or to Ken Loach's political epic The Wind That Shakes the Barley. Go figure...
...tastes of the majority are the tyranny.”This ethos seems to explain the contemporary move away from longer shots, smaller casts, and more thoughtful cinematic construction. So much the worse for viewers.Still, accomplished modern filmmakers recognize the huge debt they owe to legends like Kurosawa and Polanski even if the average consumer may not.In an interview with Prairie Miller of the Long Island Press, Allen deliberately prostrated himself before the greats: “You can look at a film of Kurosawa’s and a film of mine, and see the difference...