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 Love and friendship, le film de Whit Stillman adapté de Lady Susan

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Bon, on est pas près de le voir en France.

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Le précédent film du réalisateur est sorti en France mais j'imagine que pour celui ci il faudra attendre la sortie du DVD ...

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Je pense qu'on l'aura rapidement en video à la demande si c'est Amazon qui distribue.
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Poppée a écrit:
Je pense qu'on l'aura rapidement en video à la demande si c'est Amazon qui distribue.
Oui, mais pas sûre qu'en France on y ait accès No

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Une nouvelle photo promo que je trouve très sympa !

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Le film va être présenté le mois prochain au Festival de Sundance : Arrow
Ce qui veut dire qu'on aura sans doute bientôt de nouvelles photos, une affiche et surtout une bande-annonce bounce

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Chouette !

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Shelbylee a raison, en général nous n'avons pas accès au vidéo d'amazon et il faut souvent attendre un moment avant de pouvoir les voir (c'était le cas avec la dernière saison de Ripper Street ou Bosch).
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Le film est présenté à Sundance ce week-end. Pour l'occasion, le magazine Vanity Fair a interviewé le réalisateur et publié une photo inédite cheers Arrow

Love and friendship, le film de Whit Stillman adapté de Lady Susan - Page 3 Whit-stillman-love-friendship

Citation :
The cult director of contemporary and contemporary-ish Austen-inflected fare discusses Love & Friendship, his adaptation of a little-known comedy of manners, bowing at Sundance this weekend.

by Mark Rozzo,

With Love & Friendship, Whit Stillman, the director of Metropolitan, The Last Days of Disco, and other contemporary (or near contemporary) tales of America’s so-called urban haute bourgeoisie, steps back 200 years, crosses the Atlantic, and takes on a formidable collaborator: Jane Austen. The movie is based on a posthumously published, little-read Austen work called Lady Susan, whose heroine, played by Kate Beckinsale, is a Georgian-era mantrap—intelligent, irresistible, and entirely unencumbered by scruples. (In a Last Days of Disco mini-reunion, Chloë Sevigny plays Lady Susan’s conniving American sidekick, Alicia Johnson.) On the eve of the film’s January 23 premiere at Sundance, Stillman—who also has a deal with Little, Brown for a tie-in novel, due out in August—chatted with V.F. about his undying ardor for all things Austen and how Love & Friendship, gearing up for a spring 2016 release, finds fresh comedy amid the corsets and carriages.

Vanity Fair: In Metropolitan, there’s an exchange between Audrey and Tom in which she says, “What Jane Austen novels have you read?” And he answers, “None.” I’m guessing you’re with Audrey on that one.

Whit Stillman: Well, I’m sort of with both of them, because I do have the habit of not reading things and of talking about things I haven’t read. I actually was wrong-footed with Jane Austen. In college, I made the mistake of reading her too early, with the wrong book. So I started, sophomore year, with Northanger Abbey. And I didn’t like it at all. I didn’t get it. And I would loudly tell people that she was overrated and bad for a long time. Until, after college, my sister said, “You better read Pride and Prejudice.” I did, and it changed me.

Did you become an Austen devotee?

Absolutely. I mean, I read tons of Jane Austen. I read a lot of the biographies and the later books. I find it fascinating. The first thing I fell for was 18th-century British literature, Dr. Johnson and Alexander Pope. And she’s very much a Johnsonian. So if you sort of want Samuel Johnson in fiction, it’s Jane Austen.

We’re all recovering English majors at heart, aren’t we?

I was actually a history major playing hooky in the English department.

Would you say that, in your career, you’ve been inspired as much by great novelists as by great filmmakers?

Well, yeah. There are three fiction writers who were really important for the films—Fitzgerald, Austen, and Salinger. And I think it was kind of a gift that Salinger wouldn’t let his books be adapted, because we sort of had to do our own Salinger films without using his stories.

With each of the pictures you’ve done, do you find yourself going back and looking at certain favorite books by these writers?

Well, it did help me a lot. I remember dipping into Austen while I was writing the Metropolitan script. I was reading her sort of as a palate cleanser while I was trying to write. I tend to like authors where you read a paragraph and you like it so much you sort of think about it—so I don’t progress too far in terms of page-turning plot.

That brings up a question. You’re a master of dialogue and don’t need any help in that area. But with Love & Friendship, because there was source material, you must have ended up leaning on Austen for dialogue. How did that work out?

Yeah. It’s really rich in Austen dialogue. The problem was that she was still writing in the 18th-century epistolary form—letters between characters. And we were trying to change the letters into scenes and dialogue. And that’s one reason why it was very helpful to me that I didn’t have any deal with this project—it was just on my own. I didn’t tell anyone about it and just worked on it when I didn’t have to work on other things. To make it playable took years and years.

So when did you start working on it?

I was writing to someone about it in 2004, but I think our conversations about it must have been earlier. So it’s been a long time. But it was never like, “Oh, I’m so frustrated. I’m not getting this done.” I was waiting for it to be ready.

There’s something of the period piece in all of your movies, even though they’re set in the present or the near present. What was it like to leap back 200 years for Love & Friendship?

It was pretty liberating. I mean, I just love the period. And almost all my reading for pleasure is in that period. It really seemed like, “This is fun. This is really, really, really a good period to be working in.”

What drew you to Lady Susan?

It’s really about an extravagant, really funny character. And kind of wicked. We just had a lot of fun with the character. Austen got more devout and religious as her life went on. So when she was guiding Pride and Prejudice through the publishing process, she thought it was too light and airy and silly. She wanted to write something more serious. So she wrote Mansfield Park. So that’s her cast of mind later on, and it explains why she didn’t rush to publish Lady Susan while she was alive. This is something she’d left in its first or second draft. It’s very funny, but she would have done more to complete it. And that’s why we felt that if we changed things, if we amplified things, if we added characters that we needed to make it a film, we were part of her process of finishing it rather than taking one of her masterpieces and reducing it to a 90-minute film. I mean, we’re adding a new volume to the Jane Austen library.

Why did you end up swapping the title with an earlier work of juvenilia, Love & Friendship?

She had no title on it. I’ve seen the manuscript. It’s in the Morgan Library. Her nephew, when he published it in 1871, put the title Lady Susan on it. Austen had sort of shifted as she went along from character names to imposing noun names for titles. Sense and Sensibility was supposed to be called Elinor and Marianne. So we took the title from a juvenile short story to give it that Austen sound.

Is there something different about Lady Susan that makes it stand out from the more familiar, beloved Austen novels?

It’s very different. I mean, it’s really this funny, extravagant, manipulative character. It’s comedy. It’s sort of her channeling Oscar Wilde or Evelyn Waugh, more than what people would associate with Sense and Sensibility, for example.

Is it a more “modern” Austen?

Well, I’m sort of anti-modern. So I think it’s what it is. People were very funny in the past, too. And it is a lot funnier than almost anything else written in the 18th century. There’s great comedy written in the 18th century. But this—this is particularly good comedy.

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L'équipe du film est à Sundance ce week-end :

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Et l'affiche vient d'être dévoilée !

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J'aime bien la photo de l'affiche mais pas forcément les messages qui me semblent un peu racoleurs.

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J'aime bien cette affiche Very Happy

Variety a publié une critique très élogieuse du film (apparemment, la prestation de Kate Beckinsale vaut vraiment le coup d'œil) :

Citation :
Kate Beckinsale plays an uncharacteristically viperous Jane Austen heroine in Whit Stillman's characteristically droll comedy of manners.

Justin Chang
Chief Film Critic
@JustinCChang

“He’s very silly, but he has a charm of a kind.” “He’s lively; he brings a new angle to things.” The man being described thusly is an extremely foolish if conveniently wealthy 18th-century gentleman by the name of Sir James Martin, but the kind words might just as well apply — without a hint of euphemism, and with far more honest approbation — to the director of “Love & Friendship,” a supremely elegant and delicately filigreed adaptation of Jane Austen’s epistolary novella “Lady Susan.” With his love of fine clothes and finer diction, Whit Stillman proves an unsurprisingly intuitive fit for Austen, but he also knows just how to give her pointed social satire an extra stab of wink-wink postmodern drollery without breaking the spell. Starring Kate Beckinsale as Lady Susan, the most irresistibly devious of Austen protagonists, this inspired marriage of two distinctive stylists should become a delectable arthouse/VOD draw for Roadside Attractions and Amazon Studios.

“Lady Susan” was written early in Austen’s career (probably around 1794, according to scholars) but published posthumously in 1871, and “Love & Friendship” pointedly refers to the source material as “unfinished,” perhaps in reference to the rather hasty, impatient manner in which the author concluded her otherwise delightfully barbed experiment with the novella-in-letters format. To the possible chagrin of Austen purists (though with “Pride & Prejudice & Zombies” around the corner, they probably have bigger fish to fry), Stillman has not only finished the story in his own way but also adapted the work with a free hand, doing away with its epistolary structure and granting breezy yet full-bodied shape to scenes and incidents that Austen mainly described through a series of variably reliable narrators.

Certainly the more casual Austen buff may be surprised to encounter, in Lady Susan Vernon (Beckinsale), the sort of duplicitous and diabolically self-interested heroine who seems not to have sprung from the same pen as Lizzie Bennett and Emma Woodhouse. Beautiful, sophisticated and recently widowed, Lady Susan is also an inveterate schemer — “the serpent in Eden’s garden,” in the words of her sister-in-law, Mrs. Catherine Vernon (Emma Greenwall), who alone seems to see through the woman’s pleasing manners and the unfailingly seductive effect they have on the men in her midst. And so she’s immediately suspicious when Lady Susan decides to pay an extended visit to her and her husband, Mr. Charles Vernon (Justin Edwards), at their countryside estate of Churchill. There, not coincidentally, she has a mutually charming first encounter with Catherine’s handsome and eligible younger brother, Reginald De Courcy (Xavier Samuel).

As Lady Susan describes in her regular visits to her similarly duplicitious best friend, Mrs. Alicia Johnson (Chloe Sevigny), she’s determined to secure her financial future by marrying Reginald. And her extended flirtation with her young suitor is a master class in manipulation: She knows just the way to disarm his prejudices, flatter his ego, and lure him into dismissing the occasional rumors of her indiscreet past as vicious slander. But Lady Susan’s plans are waylaid by the sudden arrival at Churchill of her daughter, Frederica (Morfydd Clark), who has run away from school, and who clearly lives in fear and dread of the mother who has never shown her honest affection.

Sensing that Frederica might lure Reginald away from her, Lady Susan retaliates by inviting the aforementioned Sir James (Tom Bennett), whom she’s determined to foist upon her daughter, never mind that he seems grossly unsuitable even under the more venal codes of the era. (“But marriage is for one’s whole life!” Frederica protests. “Not in my experience,” her mother sniffs.) As Catherine and Charles forge a sympathetic alliance with Frederica, Lady Susan pulls out all the stops and finds ever new ways to twist the not-as-smart-as-he-thinks-he-is Reginald around her finger — right up to an amusingly bawdy and twisty conclusion that not only softens Austen’s more punitive ending, but also confers a sweet measure of grace on just about every character in the story.

Stillman has been devising elaborate comedies of manners since his 1990 Sundance-premiered debut, “Metropolitan,” and while Austen’s plotting lends him the sort of intricate, well-tooled narrative machinery that has eluded some of his more free-form verbal farces (including 2012’s captivating “Damsels in Distress”), the style of the telling remains recognizably his own. He takes the inherent sophistication of Austen’s worldview and introduces just the right note of sly, self-deflating mockery, starting with his technique of regularly pausing mid-scene to introduce his dramatis personae with names and tongue-in-cheek character descriptions — a helpful acknowledgment of the difficulty in keeping track of so many interconnected lords and ladies.

Elsewhere, he gets in an amusing dig at the novella by having Catherine’s parents (Jemma Redgrave and James Fleet) try to read one of their daughter’s letters, a tedious task that they finally abandon, in much the same way that “Love & Friendship” dispenses with Austen’s epistolary approach. The ingenuity of the adaptation lies not only in its distillation of Austen’s formal prose into an arch yet accessible idiom, but also in the way he plays with the characters’ at-least-partial awareness of their own absurdity. Admittedly, Sir James seems wholly oblivious to what an imbecile he is, and Bennett’s grinning, garrulous turn is one of the movie’s foremost pleasures, whether the character is rambling on about his knowledge of “advanced agricultural methods” or making reference to “the Twelve Commandments.”

But Lady Susan is an altogether more slippery creation, and Beckinsale, coolly imbibing one of the most satisfying screen roles of her career, lends the character an edge of ironic self-appreciation. When she deadpans a line like “Facts are horrid things” or “I am done submitting my will to the caprices of others” (something she has almost certainly never done), it’s hard not to sense the character giving the audience the subtlest of winks from beneath her broad-brimmed hats and expensive furs.

As the biggest name in the cast, Beckinsale magnetizes the screen in a way that naturally underscores how far ahead of everyone else she is, an effect that doesn’t always work to the movie’s advantage: Greenwell’s Catherine is radiant but too genteel to be a plausible threat to Lady Susan, and while the role of Alicia has been duly Americanized for Sevigny’s benefit, the actress never seems sufficiently comfortable in this setting to justify her on-screen reunion with her “Last Days of Disco” co-star Beckinsale. (As Alicia’s shrewd husband, Stephen Fry makes you wish he had a bit more to do.) But Samuel and Clark stand out nicely as the young and very impressionable Reginald and Frederica, respectively, and Stillman keeps the dialogue delivery so fleet and frothy (he could be directing “His Lady Friday”) that his ensemble is allowed little room for error.

While “Love & Friendship” hums along so mellifluously that you could easily enjoy it with your eyes closed (especially with the tuneful accompaniment of Benjamin Esdraffo’s piano-and-strings score), it’s really best not to, given the high level of visual craft on display. Eimer Ni Mhaoldomhnaigh’s lovely costumes and the exquisite furnishings of Anna Rackard’s production design are seen to gorgeous effect in Richard van Oosterhout’s luminous images. Whether he’s following the actors in smooth walking-and-talking tracking shots outdoors or observing the faint play of firelight on their faces indoors, he brings a rich cinematic luster to a project that, whatever the final state of Lady Susan’s fortunes, succeeds in giving Austen and Stillman the union they deserve.

Je suis impatiente de voir le résultat Very Happy

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Margaret C. Sullivan, créatrice d'AustenBlog, a posté un avis très enthousiaste sur le film ici : Arrow
C'est plutôt bon signe à mon avis car elle est en général très exigeante.

Une photo de Xavier Samuel à Sundance, qui joue donc Reginald, notre nouveau héros austenien (cela faisait longtemps que nous n'en avions pas eu un Razz )

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Selon IMDB, le film sortira en France le 27 avril cheers

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Emjy a écrit:
Selon IMDB, le film sortira en France le 27 avril cheers

C'est une super nouvelle, j'avais peur qu'il ne sorte pas en France.
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Les films de Whit Stillman sortent en général en France, même s'ils ne restent pas forcément très longtemps à l'affiche. En plus, certains des producteurs sont français si j'ai bien compris.

On pourrait organiser une rencontre des membres pour l'occasion ? Very Happy

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Emjy a écrit:
On pourrait organiser une rencontre des membres pour l'occasion ? Very Happy

C'est une excellente idée ! cheers
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ah oui excellente idée! et hâte de voir ce film!
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ça dépend où, mais ça me tente aussi Smile
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Il faut se méfier des annonces de sortie d'IMBD pour la France, elles ne sont pas toujours très fiables. Franchement, j'ai un gros doute qu'il sorte, même à Paris.

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Moi, je suis plutôt confiante ! Ce serait bête d'avoir sorti tous les films de Whit Stillman en France jusqu'ici et pas celui-ci. Même ses livres sont traduits en français. A mon avis, la boîte de prod est au taquet !
Les infos d'IMDB sont parfois (souvent ?) erronées mais je pense qu'on peut compter sur une sortie française, même si la date ne sera peut-être pas tout à fait celle indiquée sur le site (avril me semble être un peu tôt).

EDIT : Sur Allociné, ils annoncent le film pour le 22 juin.

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Une interview du réalisateur et des 2 actrices principales :


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La bande-annonce (enfin Love and friendship, le film de Whit Stillman adapté de Lady Susan - Page 3 466465 ) :


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Très, très prometteuse cette bande-annonce ! cheers
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MessageSujet: Re: Love and friendship, le film de Whit Stillman adapté de Lady Susan   Love and friendship, le film de Whit Stillman adapté de Lady Susan - Page 3 Icon_minitimeMer 23 Mar - 18:53

Je trouve aussi ! Elle semble bien mettre en valeur l'ironie de l'auteur Very Happy

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