Also, there is Julie Gianni ( Cameron Diaz), a woman David has had sex with more than once but has no feelings for, though she is quite the opposite. Soon, he is introduced to Sofia Serrano ( Penélope Cruz), a dynamic, and sensual women who wins him over at a party. He instead enjoys the fruits of his income, living a life of excess of parties and women. The film then shifts to a flashback where we learn that David is a very wealthy publisher in New York City, a company he inherited from his father, and to which he leaves its daily operating functions to others. Curtis McCabe ( Kurt Russell) about how he came to be as he is. Wearing a smooth, nude-colored prosthetic mask, he talks to court psychologist, Dr. The story follows David Aames (Cruise), who begins the film in prison for murder. The Seine at Argenteuil (1873), Claude Monet The film’s altered title derives from the work of impressionist artist Claude Monet, who tended to use a vanilla color in his skies, most particularly for The Seine at Argenteuil, a painting featured in the final film. Using the source material as a start, Crowe adapted his own screenplay and photography begin in late 2000. READ MORE: A closer look at that moment in the Tom Cruise sports drama Jerry Maguire Crowe, who had to this point, famously written his own material, instead found the ambiguousness of the project too appealing to pass up and joined Cruise in making an English-language version. Cruise called Crowe, who had just directed him to high praise in the drama Jerry Maguire. Tom Cruise and his production partner Paula Wagner, optioned the film rights to Open Your Eyes after its debut at the 1998 Sundance Film Festival. How it came to be starts with the film’s star. But when creative writer and director Cameron Crowe, who had already broke a few rules and released many acclaimed films, was announced as heading the remake of the much-lauded 1997 Alejandro Amenábar Spanish film, Abre los ojos (Open Your Eyes), there was reason to be excited. The experimental film styles and visionary filmmakers outside of Tinseltown are not tethered to the strict formulas and multiple studio heads input that tend to weaken many American films and group them into stale genres. Hollywood has never shirked from taking foreign films and giving them a new spin, sometimes for the better though usually for the worse. Today, Cinema Remembered looks back at a remake of an influential Spanish film about a wealthy yet vain man whose life is turned upside down by a vengeful ex-lover.
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