Word: cinema
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...swoon in the telling of a story about Jade (radiant Japanese star Rie Miyazawa), a Kunqu Opera singer who marries into a noble house and falls into a near-lesbian relationship with her new master's mannish cousin Rong (Joey Wong, the premier ghost diva of '80s Hong Kong cinema). They don't make their sexual affinity explicit; as Jade sings in one of her ballads, "Words are not needed in such a beautiful silence." This is the love that need not speak its name...
...Farrell won't be unknown for long. Later this year, he'll appear as Jesse James in American Outlaws, and soon the lad who previously could be seen only in the bbc's Irish drama series Ballykissangel and a few below-the-radar movies will perpetually be at a cinema near you. Is he ready for impending stardom? "I don't know. How do you ever know?" he replies between sips of a vodka tonic. "I just have to take...
...Cleopatra found her way onto the silver screen even before cinema had sound. In 1917, Theda Bara starred-in harem girl get-up-in a silent-film version of Cleopatra. Seventeen years later, Claudette Colbert had the title role, and Hollywood waged an all-out publicity campaign to encourage female moviegoers to adopt the "Cleopatra look." Many copied Colbert's dark bangs after hearing her declaim, following the seduction of Antony: "I've seen a god come to life. I'm no longer a queen. I'm a woman...
...lives of people she knows. After circumstances deny her influence over her own destiny early in life, Amélie decides to outwit fate by manipulating events to fulfill the hopes and desires of others. Populating that plot is an array of stock characters from classic French cinema, updated with comically magnified conditions, obsessions and idiosyncrasies. Amélie's jilted concierge tipples port in the presence of a pet dog preserved by taxidermy. The wise, grandfatherly neighbor from whom Amélie seeks guidance is a misanthropic crank. Even Amélie's beloved goldfish is suicidal...
...movie is the fourth feature by French writer and director Jean-Pierre Jeunet, whose previous project was Alien: Resurrection. That 1997 sci-fi horror film established Jeunet in international cinema's big-time, but two years in Hollywood left him longing for the charms of Paris. Back home in Montmartre, Jeunet began planning a film that would reflect Paris in his uniquely colorful and contorted visual style and recapture the dream-like atmosphere of his 1991 black comedy Delicatessen. The intent of Amélie, Jeunet says, was to make audiences feel happy-a goal he has clearly fulfilled...