Showing posts with label Joe Neumaier. Show all posts
Showing posts with label Joe Neumaier. Show all posts

Thursday, December 29, 2011

Joe Neumaier on his chats

People We've Met: Angelina Jolie, James Caan and other stars we spoke to in 2011

Joe Neumaier remembers talks with Michelle Williams, Drake Doremus, Joe Berlinger and more

Thursday, December 29 2011, 6:00 AM


Director Angelina Jolie  with Serbian actor Rade
Kevin Hagen/Kevin Hagen for the New York Dai
Director Angelina Jolie with Serbian actor Rade Serbedzija, who starred in her film 'In the Land of Blood and Honey.'

Sometimes, when speaking with actors and filmmakers, it’s the more, the merrier. Ideas can bounce around and the topic becomes bigger than just movies — though there’s plenty of that, too.

In March, Keanu Reeves , Vera Farmiga and James Caan sat and discussed their indie dramedy “Henry’s Crime.” The dynamic was fun, with Reeves — a wry guy who uses that “Bill & Ted” baritone to disarm — deferring to the once-and-forever Sonny Corleone on moviemaking matters.

Farmiga’s directorial debut, “Higher Ground,” was creating buzz then, too. But Caan regaled with tales of a life lived large, being box-office gold back in the day and his own directing debut, 1980’s “Hide in Plain Sight.”

In June, Suki Hawley and Michael Galinsky — the filmmakers behind one of the year’s best documentaries, “Battle for Brooklyn” — talked about good and bad changes in the borough they love and live in. Joining them was Daniel Goldstein , one of the most impassioned voices in Hawley and Galinsky’s film about the fight surrounding the Atlantic Yards project.

The first thing Galinsky noticed when we all sat down? That I was holding a coffee from a local deli, not a Starbucks “Venti.”

In early October at the Hamptons Film Festival — an autumnal event that’s one of the most vibrant movie gatherings in New York — I had a series of rambling, hilarious chats with “Like Crazy” director Drake Doremus and the co-star of his thoughtful romantic drama, Anton Yelchin .

Like a pair of goofy, quick-witted brothers who love to be seriously silly, Doremus and Yelchin bounced from topic to topic, from movie to movie: Yelchin’s “Star Trek” role led to ’70s sci-fi which led to Lars von Trier, and on and on. That conversation is surely still going on somewhere.

Also that month, the singularly sensational Michelle Williams had much to say about the golden age of starlets as represented in “My Week with Marilyn”; the importance of Brooklyn to her life and art, and the real magic of movies (she was on a break from re-creating the land of Oz on a soundstage in Detroit). As she heads to what’ll surely be a third Oscar nomination, Williams still appreciates finding her heart’s desire in her own backyard.

In November, I caught up with Joe Berlinger , co-director of the extraordinary “Paradise Lost 3: Purgatory.” His film was instrumental in freeing the men known as the “West Memphis 3,” and he had a lot to say about how movies can bring about change, even if that isn’t the actual intention when the cameras start rolling.

Speaking of change, earlier this month, Angelina Jolie , sitting with the co-star of her directorial debut,“In the Land of Blood and Honey” — veteran character actor Rade Serbedzija — was chatty, smart, sexy and, yes, sweet. The superstar effortlessly segued from what her gripping film means to the Bosnian people to how to get kids thinking about the world.

And a few weeks ago, Metropolitan Ave. in Queens was the setting for a walk-and-talk with writer-director Michael Cuesta , for an upcoming feature on his film “Roadie,” currently on VOD and in theaters Jan. 6.

Cuesta was talking the morning “Homeland” — the Showtime series for which he directed the pilot and finale, among other episodes — was nominated for a slew of Golden Globes. But you’d never know it from his easygoing manner: Cuesta is from Long Island, and is still a local guy. Listening to him discuss the people he makes movies about, it’s clear that homeland, to him, means New York first and foremost.

Thursday, December 22, 2011

NY Daily News, The Wrap,


'In the Land of Blood and Honey'

Article Rating

First-time writer/director Angelina Jolie gives war a face and soul in gripping ‘Land of Blood and Honey’  

Thursday, December 22 2011, 12:25 PM


The intimacy of war — how connected its enemies can feel, the emotional impact each side has on the other — is difficult to portray. It’s the inverse of the usual cinematic approach to battle, which involves tactics and tanks instead of hearts and souls.
The accomplishment, then, of “In the Land of Blood and Honey,” Angelina Jolie’s gripping debut as a writer and director, is not how it dramatizes the division between Serbians and Bosnians once Yugoslavia succumbed to tribal bloodshed after the fall of the Soviet Union. It is how the film never loses sight of the closeness of the combatants, turning national intimacy into a tragic casualty.
In 1992, Ajla (Zana Marjanovic), a Bosnian Muslim painter, leaves her sister and nephew to go to a nightclub, where she meets Danijel (Goran Kostic), a Serbian policeman and Aija’s potential lover.
As they start to flirt and dance, a bomb explodes outside, and the division that has already engulfed Croatia erupts in Sarajevo.
Serb aggressors round up and shoot Bosnian men; the women are sent to camp.
Danijel, whose father (Rade Serbedzija) is a general in the Serbian Army, becomes an officer at one of those camps, where rape and demoralization are weapons of war. He at first attempts to keep Ajla safe, though her fellow war prisoners suffer a more cruel fate.
Later, after Alja escapes and is reunited with her sister, Danijel hears of her whereabouts and sends a patrol to bring her back. He then keeps her in his quarters, where she is able to paint and survive but, also, live in fear of the sadistic soldiers — and of Danijel.
If Alja’s treatment reflects the war’s physical atrocities, Jolie’s portrait of the ethically gray Danijel’s less-than-decent, morally improvised intentions is one of “Blood and Honey’s” representations of the war’s psychic toll.
This is not a love story torn asunder; it is, instead, about the soul of a people split apart.
Jolie’s actors, all from the former Yugoslavia and unknown in the West except for the superb veteran character actor Serbedzija, give magnetic, raw performances. Their commitment helps us through a movie that is often harrowing, never less than intense but important, one unafraid of moments too many have chosen to forget.
Published: December 22, 2011 @ 9:51 am
Thu Dec 22, 2011 12:51pm EST

When actors decide to direct, it’s often a dicey proposition. Some are naturals (Clint Eastwood) but others turn out films that are unwatchable, self-indulgent hokum (anyone else sit through Nicholas Cage’s “Sonny” in 2002?).
So how does Angelina Jolie do with “In the Land of Blood and Honey,” which marks her feature directing-screenwriting debut and landed her on the cover of Newsweek? It’s a respectable first effort, longer on earnestness than art, though much of that is due to her choice of topic material.
“Blood and Honey” is a drama set in Bosnia during and amidst the Bosnian War (1992-95). Jolie is well known for her involvement in global humanitarian causes, and here she takes on the notorious human-rights violations that occurred during the conflict in the former Yugoslavia, including ethnic cleansing, genocide and mass rapes.
She does so through the prism of a complicated love story, one that begins in pre-war Sarajevo. That’s where Danijel (Goran Kostic), a Serbian policeman, and Ajla (Zana Marjonovic), a Bosnian artist, strike sparks while on a first date at a nightclub. As they dance cheek to cheek, their budding romance is interrupted by a bombing, a harbinger of the carnage to come. (The film is in Bosnian, with English subtitles, though Jolie also shot an English-language version.)
Soon, war has broken out and Ajla is among a group of Bosnian women taken prisoner and moved to a military barracks where Danijel is a commander. The women have been brought there to serve as both servants and forced sexual partners for the men.
Danijel takes Ajla under his protection, making clear to his men that she’s off limits to them. The resulting relationship between the two is a fraught mixture of passion and distrust, with neither ever quite sure where the other stands emotionally. It would be impossible, given the brutality and senseless violence going on all around them and their own conflicted loyalties, for it to be otherwise.
More power to Jolie, both for taking on such a demanding subject and for not trying to pretty it up or poeticize it. But the central conceit, a wartime Romeo and Juliet story, around which she has built the movie often seems an awkwardly manufactured device, one that is at odds with the film’s almost documentary-like aspirations.
As a director, Jolie avoids showy angles or camera movements and instead concentrates on telling a story. She displays a solid sense of how to build narrative momentum, though she occasionally lets a scene to stretch on too long to allow an actor an extended moment (a fault shared by many other actors turned first-time directors).
Overall, Jolie has nothing to be embarrassed about and much of which to be proud with this movie. Even in moments where the film doesn’t quite work, she shows ample evidence of ambition and a discerning director’s eye.

Review  ||   || 

REVIEW: Angelina Jolie Makes a Bleak Bosnian War Romance with In the Land of Blood and Honey

Movieline Score: 7