6 items from 2013
Marlon Brando didn't show up to collect his second Golden Globe in 1972 for "The Godfather," which should have signaled his upcoming rejection of the Oscar. After all, back in 1954, he was there to pick up his prize from the Hollywood Foreign Press Assn. when he won for "On the Waterfront." The HFPA, which only nominated three performers in each category back then, had snubbed Brando for his Oscar-nominated turns in "A Streetcar Named Desire" (1951), "Viva Zapata!" (1952) and "Julius Caesar" (1953). He lost those Oscar races to Humphrey Bogart ("The African Queen"), Gary Cooper ("High Noon") and William Holden ("Stalag 17") respectively. Determined to finally prevail, Brando changed his ways, becoming the prince of politeness with the press. As the La Times reported on his Globes appearance, “Unusual was the fact tha »
Marlon Brando didn't show up to collect his second Best Actor Oscar in 1972 for "The Godfather," sending an actress in his stead to decline as a protest to Hollywood's portrayal of Native Americans. However, back in 1954 Brando was keen to win the award, after being skunked three previous times. His losing streak began in 1951 when his "Streetcar Named Desire" castmates (Vivien Leigh, Karl Malden, Kim Hunter) prevailed in the other three acting categories but Brando was bested by Humphrey Bogart ("The African Queen"). The following year, he lost his bid for "Viva Zapata!" to Gary Cooper ("High Noon") while in 1953 his nod for "Julius Caesar" was edged out by William Holden ("Stalag 17"). Brando had been surly and uncooperative while on the derby track those three times. So he switched strategies. First up was the Golden Globes on Feb. 24. As the La Times reported, “Unusual was the fact that B. »
★★★★☆ Winner of the Golden Bear prize at last year's Berlinale, the Taviani brothers' Caesar Must Die (Cesare deve morire, 2012) is a humanist quasi-documentary about a group of Italian maximum security prisoners performing William Shakespeare's illustrious tragedy, Julius Caesar. A fascinatingly perceptive film that blurs the lines between art and reality, Caesar Must Die brings a whole new intensity to this Elizabethan examination of betrayal and duplicity. The Taviani brothers "let slip the dogs of war", thrusting the audience into their seats for the final scenes of the play, before observing the actors being rounded up and led back to their cells.
Read more » »
- CineVue UK
In a prison in Rome, real-life convicts prepare to mount a production of William Shakespeare’s “Julius Caesar,” and as the night of the public performance draws nearer, their real lives and the play’s narrative conflate to the point of indistinguishability. So runs an approximate logline for the Taviani brothers’ “Caesar Must Die," the Golden Bear and Ecumenical Jury Prize winner from the Berlin International Film Festival in 2012. And given that summation, it’s easy to see why it won – there are few themes more festival-friendly than the interrelatedness of art and life. But there’s a difference between suggesting that such a relation exists and exploring or commenting on its nature, a difference the veteran directors, and the more breathless of the film’s admirers, seem only sporadically to acknowledge. Not that there is not a lot to enjoy here. The film is undeniably moving at times, and. »
- Jessica Kiang
Cesare deve morire (Caesar Must Die)
Directed by Paolo Taviani and Vittoria Taviani
Anyone who walks into a screening of Caesar Must Die with the belief that they will be seeing a documentary should know this now: Caesar Must Die is not a documentary. It can barely be called a docudrama. It rather belongs in the curious category of metafilm, nestled among those pictures that blur and obscure the line between fact and fiction, demolish the fourth wall and are so conscious of themselves that they may disappear into a spiral of self-referentiality. Metafilms can be some of the most innovative and invigorating pieces of cinema when successful, but when they are not they can materialise as hollow exercise or dense nuggets of intellectual tedium.
This film by the brothers Taviani, awarded the Golden Bear at »
Paolo and Vittorio Taviani’s docudrama “Caesar Must Die,” Italy's Oscar entry that runs February 6-19 at Film Forum, takes place at Rome’s maximum-security Rebibbia Prison, and stars the facility’s actual inmates. Many of the men are serving life sentences, with a variety of high crimes on their records: drug trafficking, Cammora and Mafia affiliation, and murder. A highlight of the inmates’ year is the annual theater production, which the more dramatically inclined can audition for and perform in, perhaps as a way of dealing with the inner sagas they experience day in and out. When the Taviani brothers take their grainy digital cameras to the prison, the play that has been selected is William Shakespeare’s “Julius Caesar.” Instead of making a traditional documentary interviewing the prisoners and following their personal conflicts and triumphs as they “put on a show,” the co-directors take a more meta »
- Beth Hanna
6 items from 2013
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners