Viggo in New York this Summer

Viggo News

Jump to page:
RSS feed for this page

Search Result

Show all news items in: Viggo News

Print View Link to this newsitem

Hi Res from L'Uomo Vogue

Source: L'Uomo Vogue
What a treat! We have been lucky enough to receive the hi res images from the September 2011 issue of L'Uomo Vogue. Enjoy!

Click on images to enlarge.

© L'Uomo Vogue.
© L'Uomo Vogue.
© L'Uomo Vogue.
© L'Uomo Vogue.
© L'Uomo Vogue.
© L'Uomo Vogue.

© L'Uomo Vogue.

Print View Link to this newsitem

Images from Venice

Categories: Media
A couple of quick images for you from today's events at VIFF.

© Getty/AP.

Print View Link to this newsitem

VIFF Press Conference

Source: RAI.
Found By: Chrissie
Categories: Media
© RAI.
Our thanks to Chrissie for the link to today's ADM press conference in Venice from RAI.

For those of you who may have missed the live stream, here is - Rai TV press conference clip.

© RAI.

Print View Link to this newsitem

A Look at Viggo's Role in ADM

Source: The Playlist.
Found By: Chrissie
Thanks go to Chrissie for surfacing this nice piece from The Playlist.

Venice '11 Review: Cronenberg's 'A Dangerous Method' An Insightful Look At Sexuality & The Mind

© Hanway/Lago.
The recent career of David Cronenberg has been an interesting thing to watch. Having made his name with a very particular, icky brand of fetish-happy body horror, he hasn't dipped back into that well for a decade now, preferring instead to take his obsessions and use them to spice up what in other hands could be standard fare. And generally speaking, it has worked well: "Spider," "A History Of Violence" and "Eastern Promises" all have much to recommend them, all peculiarly Cronenbergian, but each pushing in a slightly different direction. But now, he's made what, on the surface at least, might seem to be his biggest departure to date: a period piece, based on a stage play (one of several in Venice this year--have movies rediscovered theater as a source of material?), that examines the relationship between the two major forefathers of psychoanalysis, Sigmund Freud and Carl Jung.

Of course, the elements that might seem to mark this as a real departure for the Canadian helmer are purely cosmetic, but we'll come to that in a moment. First, the set-up: Sabina Spielrein (Keira Knightley), a young, mentally ill woman is brought to the hospital in Zurich where Carl Jung (Michael Fassbender) works. She's clearly in a bad way, reduced to paralyzing fits of spasms and anxiety after years of beatings from her father. Jung uses the so-called "talking cure" (also the name of the Christopher Hampton play the film is based on, which starred Ralph Fiennes in London) pioneered, but seemingly never used, by Sigmund Freud (Viggo Mortensen), which uncovers a sexual heart to Sabina's problems. The method leads to a great deal of improvement and Sabina begins training as a psychoanalyst herself, and brings Jung to the attention of Freud, who becomes a kind of father figure. But the arrival of a renegade protege of Freud, Otto Gross (Vincent Cassel), and the continuing attentions of Spielrein, cause Jung to cross a line that can't be uncrossed.

Few filmmakers deal with sexuality--proper, grown-up sexuality, not "can you have sex without falling in love?"--like Cronenberg does, so in many ways a film like this is a natural fit, particularly considering an interest in psychoanalysis already shown in "Spider." As such, some might be surprised at how restrained the film is, bar a couple of spanking scenes and a sticky close-up of virginal blood. Instead, it's a film of ideas, one dominated by verbal exchanges, as you might expect considering its theatrical origins--Cronenberg opens it up more successfully than Polanski did with "Carnage," but it's certainly less cinematic than "The Ides of March" (which was also based, albeit very loosely, on a play). But where it does feel like a film authored by the director is in the control, the discipline with which it's put together--one scene in which Jung conducts research on his wife Emma (Sarah Gadon) displays some of the best cutting of the year.

If you were to see only the first twenty minutes, however, you would beg to disagree. It's an unwieldy opening, dominated by what initially threatens to be a disastrous performance from Knightley. In fairness, it's a near-impossible part to pull off; when we first meet her (and she's the very first thing we see), she's a whirling ball of crazy, more a walking, spasming personified tic than a human being, and Knightley, seemingly unhinging her lower jaw like a Predator, is all mannerism at first. The effort is visible, and it's clear that she's acting rather than inhabiting the character, even if she's admirably free of vanity while she does it. Fassbender, in turn, seems to find it difficult to play off her, essentially playing a stern note and not much else.

Fortunately, things improve a great deal once Freud arrrives. Mortensen (aided by probably the most significant nose prosthesis since Nicole Kidman's in "The Hours") is, as he so often is these days, tremendous, bringing a patrician wit and real pathos to the part. His arrival comes with the return of sanity to Sabina, and it helps the film no end. Once Knightley settles into the part, she's as affecting as she has been in most of her recent turns, her late-in-the-game pride at what she's achieved being particularly moving. Cronenberg is underrated as a director of women, and the film is as much a celebration of a bright, talented woman as it is about the men's battles over the early days of their new science.

As things continue, Fassbender is sometimes impenetrably stiff (as he probably should be), but he too gets a few moments in which to stretch his wings a little in the third act. The film retains the small, focused cast of the stage version, but the supporting players are strong; Cassel walks off with his scenes as the unrestrained id to Jung's ego and Freud's superego, while Cronenberg's new favorite Sarah Gadon (who'll return in next year's "Cosmopolis") doesn't have a great deal to do, but has a few nice moments of steeliness to flesh out the character.

All in all, it's a pacy, absorbing picture, and one of real substance (certainly more so than the enjoyable, but somewhat hollow "Eastern Promises"). But if anything keeps it from quite hitting the heights that it could, it's Hampton's scripting. It's not so much the uncompromising manner of the material--an audience member could probably get by on the briefest knowledge of psychoanalysis, which in this day and age most have, and, while the dialogue is sometimes tortuously wordy, the cast are able to make it fly, with only one or two lines sounding clunky. It's more that Hampton can't quite stick the landing; Freud and Jung's feud over the latter moving into more radical, mystical territory isn't really adequately covered, while a break and then a resumption of the affair between Jung and Sabina kills the momentum of the thing.

Still, if the take off and landing are a bit bumpy, most of "A Dangerous Method" is fearsomely smart, a grown-up film that doesn't forget to move you even as it fires up the synapses. Mortensen caps off a trilogy of perfect performances for Cronenberg (and is the film's best bet for award nods, we imagine), the other leads hold their own, at least after that awkward first reel, and it examines the creative and destructive elements of sexuality in a way that very few filmmakers would dare. While we hope that Cronenberg will kick off and play a little more loose the next time out, we're glad he decided Hampton's play was worth the effort.

© Playlist. Images © Hanway/Lago.

Print View Link to this newsitem

A Good Review of ADM from the Hollywood Reporter

Source: The Hollywood Reporter.
Found By: Gargamel
Our thanks to Gargamel for surfacing the great review of ADM from the Hollywood Reporter.

A Dangerous Method: Venice Film Review

© Hanway/Lago.
By Todd McCarthy

2 September 2011

David Cronenberg's film, which stars Keira Knightley, Viggo Mortensen and Michael Fassbender, explores Sigmund Freud and Carl Jung's falling-out over a beautiful, sexually hysterical patient.

"We have to go into uncharted territory," the psychiatrist Carl Jung observes in regard his own pioneering work, and the complex, fascinating topic of Jung's and Sigmund Freud's touchy relationship and eventual falling out over a beautiful, sexually hysterical patient has been grippingly explored by director David Cronenberg and writer Christopher Hampton in A Dangerous Method. Precise, lucid and thrillingly disciplined, this story of boundary-testing in the early days of psychoanalysis is brought to vivid life by the outstanding lead performances of Keira Knightley, Viggo Mortensen and Michael Fassbender. Sure to be well received by festival audiences in Venice, Telluride, Toronto and New York (except, perhaps, by orthodox adherents of both physicians), this Sony Classics release should enjoy a vigorous life in specialized release.

Shaking off any dusty remnants of a period biographical piece, the film tackles thorny psycho-sexual issues and matters of professional ethics with a frankness that feels entirely contemporary. Hampton's script is an outgrowth of his 2003 stage play The Talking Cure, which in turn was based on John Kerr's esteemed 1994 book A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein.

Spielrein (Knightley) is a young Russian woman put under the care of Jung (Fassbender) at the Burgholzli mental hospital outside Zurich in 1904. Clearly intelligent, she is also subject to seizures so violent it looks as though she might turn inside out (if this were a different sort of Cronenberg film, she might have actually done so.) Already a Freudian even though he has not yet met the master, Jung learns that Spielrein's sexual fear and sense of humiliation stems from abuse dished out by her father from the time she was four.

Screaming and alarmingly jutting out her jaw in extremis, Knightley starts at a pitch so high as to provoke fear of where she'll go from there. Fortunately, the direction is down; as her character, under Jung's fastidious care, gradually gets a grip on her issues and can assess herself with a measure of intellectual composure, the performance modulates into something fully felt and genuinely impressive.

As Jung, Fassbender creates the picture of a disciplined, successful young doctor; fastidiously groomed and sporting perfectly trimmed moustache and wire-rimmed glasses, he's got a proper, wealthy wife (Sarah Gadon), a child and a few more to come. Physically and tempermentally, he seems so trim and tight that he could almost bust apart; in fact, he must.

When the two analytical pathfinders eventually meet, they flatter one another and have much to discuss; for his part, Freud (a pleasantly aged Mortensen) is pleased to welcome a Catholic into his circle, given his concern over its perception as a strictly Jewish domain, while even at this early stage, Jung has misgivings at the older man's tendency to connect nearly every symptom to sexuality.

Hampton pivots the drama on the character of another early analyst, Otto Gross (fierce Vincent Cassel), a cocaine addict sent by Freud to Jung. An obsessive whose motto is, "Don't repress anything," Gross lives up to it by routinely sleeping with his patients and believes Freud (the father of six) is preoccupied by sex because he doesn't get any.

This sets Jung to agonizing over the question of why people devote so much effort to suppressing their most natural instincts, perhaps, in particular, himself. Goaded by Spielrein to divest her of her virginity, give her the sexual experience she lacks and "be ferocious" in the bargain, Jung finally casts off his habitual restraints and dives into a torrid affair with his patient, which has major implications for all three of the main characters.

Shortly after Spielrein insists that Jung admit everything to Freud, the two men sail to the United States to attend a conference. Gazing at Manhattan as their ship approaches, Freud wonders, "Do you think they know we're on our way, bringing them the plague?" It's a great line, and if indeed what they imported was a plague, it was one obliging individuals to look inward, analyze their behavior, ponder the balance of liberation and repression, question their nature rather than blandly accept it. Of all of Cronenberg's films, A Dangerous Method reminds most of the brilliant Dead Ringers, if only because they both so breathtakingly embrace the dramatic dualities within humans, especially when they brush up against the primal subjects of sex and death.

Despite having to cover stages in the trio's relationships spread over many years, Hampton's screenplay utterly coheres and never feels episodic. The dialogue is constantly confronting, articulate and stimulating, the intellectual exchanges piercing at times. Cronenberg's direction is at one with the writer's diamond-hard rigor; cinematographer Peter Suschitzky provides visuals of a pristine purity augmented by the immaculate fin de l'epoch settings, while the editing has a bracing sharpness that can only be compared to Kubrick's.

Along with Knightley's excellent work as a character with a very long emotional arc indeed, Fassbender brilliantly conveys Jung's intelligence, urge to propriety and irresistible hunger for shedding light on the mysteries of the human interior. A drier, more contained figure, Freud is brought wonderfully to life by Mortensen in a bit of unexpected casting that proves entirely successful.

© Hollywood Reporter. Images © Hanway/Lago.

Display options:
Order by:        
Jump to page:
RSS feed for this page
Last edited: 21 April 2018 08:56:33