Whitty on “The Orphanage”
Juan Antonio Bayona‘s The Orphanage (Picturehouse) “won’t be released until the end of December, and there will be plenty of [similar-type] films before then — including the very big budget I Am Legend,” writes Newark Star-Ledger critic/columnist Stephen Whitty. “But I’m willing to already call this little Spanish film the best horror movie of the year.
The Orphanage director Juan Antonio Bayona following our chat in the Majestic Hotel lounge in Cannes — Wednesday, 5.23.07, 12:25 pm
“Admittedly, it’s not going to be a big hit with the blood-and-guts crowd (although there is one gory shock midway through that left even a Fangoria writer shaken). And its scares have more to do with suggestion than special effects. Then again, that’s exactly why I liked it.
“Watching it at the New York Film Festival, I kept thinking of classics like The Innocents and The Haunting, as well as the Spanish masterpiece The Spirit of the Beehive.”
Damn straight. I said exactly the same thing four a half months ago. I expect many others to join in as the release date approaches.
After seeing it twice at last May’s Cannes Film Festival, I wrote that The Orphanage is “hands down the creepiest sophisticated ghost story/thriller to come along since Alejandro Amenabar‘s The Others.
“If you ask me (or anyone else who’s seen it here) it absolutely deserves a ranking alongside other haunted-by-small-children classics as Jack Clayton‘s The Innocents and Nicolas Roeg‘s Don’t Look Now. It also recalls Robert Wise‘s The Haunting, although the ghosts in that 1961 film were all over 21.”
i am so there. THE HAUNTING is one my favorites.
If one were to judge this man by the picture alone, I think it would be fair to say that the only thing he seems capable of doing is conning a divorced mother of three grown children out of her life savings.
So funny, I had lunch earlier, sitting in between Juan and his actress, and I spent some time talking with Stephen afterwards about our respective New York critics groups.
If this does well, I hope it will spawn the DVD release of another underappreciated piece of Spanish horror, LA RESIDENCIA. AIP released it in the ’70′s as THE HOUSE THAT SCREAMED, in a truncated PG-rated edition. It’s available in a longer but still-cut version in an upcoming “Elvira’s Movie Macabre” collection, but what it really deserves is an uncut DVD release, with commentary from Guillermo Del Toro, who has openly championed the film.
Saw it in Toronto, it killed. A sure-fire hit if it was in English, but I’m not sure if it’ll get the Pan’s Labyrinth crossover audience in the US. Scary as hell though, with a couple of absolutely masterful set-pieces.
Speaking of, what’s the word around the water cooler regarding I Am Legend? Teaser was great…story was amazing…
Is an English-language remake still already in the works, or are they waiting to let this try to make some coin and perhaps garner some awards?
I thought “The Orphanage” was slick but ultimately just too preposterous. Wells, don’t you think they would have combed EVERY INCH of that house when the kid disappeared?
Don’t believe production has started yet, but yes, New Line has the English-language remake rights. The director seemed more resigned than optimistic about this (he chose not to be involved).
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While my Chinese ancestors had their feet cruelly mangled in lotus shoes, women today enjoy the benefits of 21st century engineering and research that have created towering wonders that raise us up even as they encase our feet securely and safely.
Today, with more women earning their own money, heels have inadvertently become a sign of empowerment and emancipation. It is little surprise,Chrsitian Louboutin clay suede Spartenvol 100 crystal sandals, therefore, that this trend has dovetailed with the rise of the celebrity shoe designer in the 1990s. The high-priced creations of Christian Louboutin and Manolo Blahnik go beyond mere footwear, approximating near works of art.
At the peril of sprained ankles and shattered tarsals, there will emerge an eventual winner on Saturday. But of what? Of negotiating urban terrain in impossible footwear? It is a Pyrrhic victory,Christian Louboutin BIANCA 140 KID, some cry, one that reinforces the stereotype of the woman as a hobbled,Christian Louboutin Very Prive black suede, tethered creature of man’s and now her own volition.
Semmelhack is right, but only up to a point. Shoewise, a woman’s power is derived not just from her high heels, but from the fact that she has many choices today. No woman lives in stilettos exclusively. She is likely also to own sneakers,Christian Louboutin Banana Cork-Heel, flip-flops and ballerina flats, among others. Her shoe collection reflects her many personality aspects and roles – as CEO, mother or sportswoman.
Feminists have long vilified the high-heeled shoe as the devil’s work, leading many strong and successful women to have a somewhat conflicted love-hate relationship with their vertiginous indulgences in luscious Pierre Hardy or the latest Giuseppe Zanotti number.
On Saturday, a Singapore radio station, will stage a Stiletto Race at 11am at the Singapore Flyer, where participants will have to run 100m in three-inch high heels. The race is akin in spirit to similar events in Milan, New York,Discount Christian Louboutin Shoes, Sydney and even in Tenerife, where the race is run by drag queens.
Feminist arguments aside, any woman in high heels understands the power she immediately wields. Her posture changes as she straightens up, her back arches and her shoulders are pulled back. She is automatically elevated, physically,Christian Louboutin Yolanda Suede, to stand shoulder to shoulder with a man,Jimmy Choo Wavy Strap Sandal, if not towering over him. High heels, with a suit,Jimmy Choo Clue patent-leather slingbacks, convey sexuality, femininity and power – an intoxicating combination in the boardroom.
However,Yves SaYves Saint Laurent Tribute Low-Heel Sandal Black, Elizabeth Semmelhack, curator of the Bata Shoe Museum in Toronto, Canada, in an interview with Collectors Weekly last year,Christian Louboutin Mater Claude Red, expressed her reservations about this common perception: “It seems like what wins for women in the culture is not the Harvard education that you have and how many cases you correctly argue in court; it’s whether or not when you walk into a room, you make all the men want to drop to their knees. For me that’s very problematic, because if the high heel is an accessory of female power – and if the definition of female power is sexual – that power has a very short shelf life.”
Most importantly,Christian Louboutin red patent calf So Private 120 slingbacks, a woman wears high heels today because she is allowed to celebrate her sexual power. In the past, her sexual appeal came from the perception of frailty symbolized by restrictive footwear and curtailed movements.
High-heeled shoes have long signified power and status, even among men. In the French court and in Europe of the 17th century,Jimmy Choo blue snake Shokira knotted sandals, men wore heels to mark themselves as part of the elite (prompting women to hike their heels up even higher). In the early 1700s,Jimmy Choo Private patent-leather sandals, Louis XIV, the Sun King, who wore heels as high as five inches, decreed that red heels were to be worn only by nobility and that no one’s heels could be higher than his.
Even before Cinderella’s step-sisters tried to squeeze their feet into her glass slipper, women’s shoes were already the schizophrenic icon of female subjugation and folly, as well as sexuality and power.
So the fact that we can take part in stiletto races today is progress indeed. There is also smug satisfaction to be had in the knowledge that very few men can sprint 100m in high heels with the same balance,Christian Louboutin Bianca Patent Platform Pump, style and power as we can.
Folklore around the world has various versions of the Cinderella story, dating even as far back as the ancient Greeks. The female foot has been bound, twisted and fetishized over millennia, and this practice continues today with the eternal popularity of the high-heeled shoe.
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