I'm still taking a wait and see attitude toward this one, but it's sounding more and more like both a good movie and an awards worthy film.
Invoking Anthony Mann and calling it Lee's best film since Sense and Sensibility are high praise indeed. Lee's brought competence to a gay themed film before, the criminally neglected The Wedding Banquet, and with Larry McMurtry (Lonseome Dove, The Last Picture Show, Hud) writing the screenplay, the film seems poised to hit a home run.
The cast, though, seems a bit light-weight. Ledger, Gyllenhaal, Williams and Hathaway are not Wayne, Clift, O'Hara and Taylor, but this could be a breakthrough for all of them.
Brokeback Mountain
Variety's Todd McCarthy likes it, especially singling out Ledger (who has been consistently praised in almost all of the reviews I've seen thus far), though his admiration is more muted.
Brokeback Mountain
A Focus Features release of a Focus Features and River Road presentation. Produced by Diana Ossana, James Schamus. Executive producers, William Pohlad, Larry McMurtry, Michael Costigan, Michael Hausman, Alberta Film Entertainment. Co-producer, Scott Ferguson. Directed by Ang Lee. Screenplay, Larry McMurtry, Diana Ossana, based on the short story by Annie Proulx.
By TODD MCCARTHY
That most chameleonesque of directors, Ang Lee, pulls off yet another surprising left turn in "Brokeback Mountain." An achingly sad tale of two damaged souls whose intimate connection across many years cannot ever be properly resolved, this ostensible gay Western is marked by a heightened degree of sensitivity and tact, as well as by an outstanding performance from Heath Ledger. With critical support, Focus should have little trouble stirring interest among older, sophisticated viewers in urban markets, but trying to cross this risky venture over into wider release reps a marketing challenge for the ages; paradoxically, young women may well constitute the group that will like the film best.
In his uneven Civil War-era drama "Ride with the Devil," Lee revealed a touch for portraying neglected aspects of Western Americana, a talent he applies and readjusts in an updated context here.
Annie Proulx's 1997 short story movingly compressed the long-arc love story of two loner ranch hands into 30 tight pages. Larry McMurtry and Diana Ossana have faithfully and perceptively retained the tone and the particulars of the tale in their screenplay, elaborating mainly in the areas of the separate family lives the men pursue during their long separations.
Precise build-up over the opening half-hour shows the director thoroughly at home with the emotional reserve of his characters and the iconography of the Wyoming setting. It's 1963, and brawny Ennis Del Mar (Ledger) and lean Jack Twist (Jake Gyllenhaal), who have never met, pose, smoke and brood outside a dusty roadside office before taking summer jobs tending a large herd of sheep for a rancher (Randy Quaid); all this is accomplished without the two uttering as much as a word.
Running the sheep through stunning country up to Brokeback Mountain (pic was shot in Alberta), Ennis and Jack begin to relate, mainly thanks to Jack's relative loquaciousness; he's a Texas boy, has done a bit of rodeo riding and is the more easygoing. In his clenched, tight-lipped manner, Ennis alludes as to his parents' death in a car wreck, his patchy upbringing and education, and his engagement to a young lady.
The job they're on is dull, even annoying, as one of them is supposed to spend nights in a distant pup tent to protect the sheep from predators; the only comfort comes from their conversation and liberal supply of whiskey. One cold and liquor-fueled night, Jack insists Ennis get in the tent with him to keep warm. The snuggling quickly, and roughly, turns into something else. Their primal urges take things to where neither of them has gone before, and they can scarcely digest it or talk about it afterward. "You know I ain't queer," Ennis manages, to which Jack concurs, "Me neither."
But it isn't long before they're at it again, establishing an indelible bond they agree no one else can know about or possibly understand. At summer's premature end, they go their separate ways with just a "See ya' around."
Making all this play in a mainstream-style movie represents a real tight-rope walk for the writers, director and especially the actors. All hands manage it through a shrewd balance of understated emotion and explosive physicality. The young men's pent-up sexuality expresses itself most comfortably through boyish horsing around, but this can also slip over into outright violence, as when they hit each other with bloody results.
The men cope with their perplexing feelings by ignoring them. Ennis marries a sweet girl, Alma (Michelle Williams), and they soon have two daughters. But a quick sex scene in which Ennis flips his wife over on her stomach tells us all we need to know about his true preferences.
For his part, Jack drifts around, marries and has a son with cute Texas girl Lureen (Anne Hathaway), whose respectable parents can't abide the no-account cowpoke.
At long last, Jack lets Ennis know he's coming for a visit, sending the latter into a state of barely suppressed anticipation. When they finally see each other after several years, they can't restrain themselves, kissing passionately where the unfortunate Alma can see them. With the excitement of teenagers, the guys check into a motel to reignite things, and Jack sums it up when he observes, "That ol' Brokeback got us good."
The two thereafter arrange to get away for "fishing" trips periodically over the years, their marriages slowly failing while their bond holds fast. While the more impulsive Jack keeps pushing the idea of taking off and setting up a ranch together, Ennis recalls a devastating childhood incident as a means of ruling this out. Although both men are impaired due to their narrow life histories, it is Ennis who is oddly the most damaged and yet the most pragmatic as to how they can continue their relationship, however unsatisfactorily.
Ultimately, it's a sorrowful story of men lucky enough to connect but forlornly unable to fulfill their characters and live according to their true natures. Unfortunately, the film hits this same note far too often in the latter-going; the point is made well before the yarn plays itself out and, like virtually every Lee picture, this one is too long for its own good.
Both young thesps are game, credible as cowboys and unselfconscious with the verbal and physical intimacy. But while Gyllenhaal is engaging as the more free-wheeling of the two, Ledger is powerfully impressive as a frightened, limited man ill-equipped to deal with what life throws at him. Mumbling, looking down, internalizing everything, Ledger's Ennis at times looks as though he's going to explode from his inchoate feelings. Perf could scarcely be more different from his terrific work in the otherwise negligible "Lords of Dogtown," and the combo makes it a dazzling year for Ledger.
Williams gives Alma a quality of slow-burn devastation that is touching, and Hathaway provides an entertaining contrast in wifely disappointment. The numerous small supporting roles are sharply etched, a sign of Lee's sure hand with the material.
The beautiful, rugged locations, which would have roused Anthony Mann, are majestically captured by lenser Rodrigo Prieto. The passing years, from the early '60s to the late '70s, are subtly indicated in the production and costume design, hair styles and gingerly aging makeup, while Gustavo Santaolalla's conventionally supportive score is nicely abetted by a host of period and setting-appropriate tunes.
Brokeback Mountain
A Focus Features release of a Focus Features and River Road presentation. Produced by Diana Ossana, James Schamus. Executive producers, William Pohlad, Larry McMurtry, Michael Costigan, Michael Hausman, Alberta Film Entertainment. Co-producer, Scott Ferguson. Directed by Ang Lee. Screenplay, Larry McMurtry, Diana Ossana, based on the short story by Annie Proulx.
By TODD MCCARTHY
That most chameleonesque of directors, Ang Lee, pulls off yet another surprising left turn in "Brokeback Mountain." An achingly sad tale of two damaged souls whose intimate connection across many years cannot ever be properly resolved, this ostensible gay Western is marked by a heightened degree of sensitivity and tact, as well as by an outstanding performance from Heath Ledger. With critical support, Focus should have little trouble stirring interest among older, sophisticated viewers in urban markets, but trying to cross this risky venture over into wider release reps a marketing challenge for the ages; paradoxically, young women may well constitute the group that will like the film best.
In his uneven Civil War-era drama "Ride with the Devil," Lee revealed a touch for portraying neglected aspects of Western Americana, a talent he applies and readjusts in an updated context here.
Annie Proulx's 1997 short story movingly compressed the long-arc love story of two loner ranch hands into 30 tight pages. Larry McMurtry and Diana Ossana have faithfully and perceptively retained the tone and the particulars of the tale in their screenplay, elaborating mainly in the areas of the separate family lives the men pursue during their long separations.
Precise build-up over the opening half-hour shows the director thoroughly at home with the emotional reserve of his characters and the iconography of the Wyoming setting. It's 1963, and brawny Ennis Del Mar (Ledger) and lean Jack Twist (Jake Gyllenhaal), who have never met, pose, smoke and brood outside a dusty roadside office before taking summer jobs tending a large herd of sheep for a rancher (Randy Quaid); all this is accomplished without the two uttering as much as a word.
Running the sheep through stunning country up to Brokeback Mountain (pic was shot in Alberta), Ennis and Jack begin to relate, mainly thanks to Jack's relative loquaciousness; he's a Texas boy, has done a bit of rodeo riding and is the more easygoing. In his clenched, tight-lipped manner, Ennis alludes as to his parents' death in a car wreck, his patchy upbringing and education, and his engagement to a young lady.
The job they're on is dull, even annoying, as one of them is supposed to spend nights in a distant pup tent to protect the sheep from predators; the only comfort comes from their conversation and liberal supply of whiskey. One cold and liquor-fueled night, Jack insists Ennis get in the tent with him to keep warm. The snuggling quickly, and roughly, turns into something else. Their primal urges take things to where neither of them has gone before, and they can scarcely digest it or talk about it afterward. "You know I ain't queer," Ennis manages, to which Jack concurs, "Me neither."
But it isn't long before they're at it again, establishing an indelible bond they agree no one else can know about or possibly understand. At summer's premature end, they go their separate ways with just a "See ya' around."
Making all this play in a mainstream-style movie represents a real tight-rope walk for the writers, director and especially the actors. All hands manage it through a shrewd balance of understated emotion and explosive physicality. The young men's pent-up sexuality expresses itself most comfortably through boyish horsing around, but this can also slip over into outright violence, as when they hit each other with bloody results.
The men cope with their perplexing feelings by ignoring them. Ennis marries a sweet girl, Alma (Michelle Williams), and they soon have two daughters. But a quick sex scene in which Ennis flips his wife over on her stomach tells us all we need to know about his true preferences.
For his part, Jack drifts around, marries and has a son with cute Texas girl Lureen (Anne Hathaway), whose respectable parents can't abide the no-account cowpoke.
At long last, Jack lets Ennis know he's coming for a visit, sending the latter into a state of barely suppressed anticipation. When they finally see each other after several years, they can't restrain themselves, kissing passionately where the unfortunate Alma can see them. With the excitement of teenagers, the guys check into a motel to reignite things, and Jack sums it up when he observes, "That ol' Brokeback got us good."
The two thereafter arrange to get away for "fishing" trips periodically over the years, their marriages slowly failing while their bond holds fast. While the more impulsive Jack keeps pushing the idea of taking off and setting up a ranch together, Ennis recalls a devastating childhood incident as a means of ruling this out. Although both men are impaired due to their narrow life histories, it is Ennis who is oddly the most damaged and yet the most pragmatic as to how they can continue their relationship, however unsatisfactorily.
Ultimately, it's a sorrowful story of men lucky enough to connect but forlornly unable to fulfill their characters and live according to their true natures. Unfortunately, the film hits this same note far too often in the latter-going; the point is made well before the yarn plays itself out and, like virtually every Lee picture, this one is too long for its own good.
Both young thesps are game, credible as cowboys and unselfconscious with the verbal and physical intimacy. But while Gyllenhaal is engaging as the more free-wheeling of the two, Ledger is powerfully impressive as a frightened, limited man ill-equipped to deal with what life throws at him. Mumbling, looking down, internalizing everything, Ledger's Ennis at times looks as though he's going to explode from his inchoate feelings. Perf could scarcely be more different from his terrific work in the otherwise negligible "Lords of Dogtown," and the combo makes it a dazzling year for Ledger.
Williams gives Alma a quality of slow-burn devastation that is touching, and Hathaway provides an entertaining contrast in wifely disappointment. The numerous small supporting roles are sharply etched, a sign of Lee's sure hand with the material.
The beautiful, rugged locations, which would have roused Anthony Mann, are majestically captured by lenser Rodrigo Prieto. The passing years, from the early '60s to the late '70s, are subtly indicated in the production and costume design, hair styles and gingerly aging makeup, while Gustavo Santaolalla's conventionally supportive score is nicely abetted by a host of period and setting-appropriate tunes.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
Got it, Sonic, thanks. And, dude, I love sappy romantic epics: I went to see Titanic 11 times in the theater. So if Brokeback is sappy, I'm so there.
But Ang has never struck me as sappy, and I trust him to find the right balance. Yeah, maybe I've just become a fanboy with this movie, but it really means a lot to me, possibly more than any other movie I've ever anticipated in my life.
But Ang has never struck me as sappy, and I trust him to find the right balance. Yeah, maybe I've just become a fanboy with this movie, but it really means a lot to me, possibly more than any other movie I've ever anticipated in my life.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
-
Sonic Youth
- Tenured Laureate
- Posts: 8005
- Joined: Wed Jan 01, 2003 8:35 pm
- Location: USA
Ray Bennett's in fine Hollywood Reporter form. A rave review as if written by android.
Sorry to rain on your parade, Penelope, but for such a controversial film, the trailer makes the film looks as conventional and sappy as a hetero Hollywood film. I guess that's progress, though.
Penelope, here's how you hide a spoiler. Follow these instructions BACKWARDS. If I post them normally, I'll end up blanking out the instructions and hiding the IB code altogether.
2. Close the passage you wish to hide by typing at the end.
1. At the begninng of the passage, type .
Sorry to rain on your parade, Penelope, but for such a controversial film, the trailer makes the film looks as conventional and sappy as a hetero Hollywood film. I guess that's progress, though.
Penelope, here's how you hide a spoiler. Follow these instructions BACKWARDS. If I post them normally, I'll end up blanking out the instructions and hiding the IB code altogether.
2. Close the passage you wish to hide by typing at the end.
1. At the begninng of the passage, type .
"What the hell?"
Win Butler
Win Butler
Sorry, I don't know how to do the blank thing to avoid spoilers...
Film review: Brokeback Mountain
Fri Sep 2, 2005 7:28 PM ET
Brokeback Mountain
By Ray Bennett
VENICE, Italy (Hollywood Reporter) - Everything you ever imagined about the characters of John Wayne and Montgomery Clift in "Red River" or Joel McCrea and Randolph Scott in "Ride the High Country" is revealed candidly in Ang Lee's "Brokeback Mountain," an epic Western about forbidden love.
Anne Proulx's 1997 short story in the New Yorker has been masterfully expanded by screenwriters Larry McMurtry and Diana Ossana to provide director Lee with his best movie since "Sense and Sensibility" in 1995.
Featuring scenes filmed in the fabulous Canadian Rockies of Alberta and boasting a fine cast topped by Heath Ledger and Jake Gyllenhaal, "Brokeback Mountain" will appeal to moviegoers who enjoy grand filmmaking and poignant love stories, whether gay, hetero or otherwise.
The film, which screened in competition at the Venice International Film Festival, follows two men, Ennis Del Mar (Ledger) and Jack Twist (Gyllenhaal), and their love for each other that in the hide-bound and traditional world of the American West they must keep hidden, fearful not only of scandal but also for their lives.
Ennis and Jack meet in 1963 when they each show up looking for a summer's work herding sheep on Brokeback Mountain, Wyoming, on land owned by no-nonsense rancher Joe Aguirre (Randy Quaid). In order to keep his herd safe, Aguirre is happy to break regulations by requiring one of his men to roam high in the mountains, sleeping rough with no fire, while the other maintains a base camp with a one-man tent throughout the summer and into the fall.
There's nothing romantic about herding huge numbers of four-legged beasts left to range far and wide, and cowboys pretty much have cornered whatever romance there is in rugged outdoor animal husbandry. Riding herd on sheep guaranteed a horseman a hard time in old Westerns, but Ennis and Jack make the most of it, even if their diet is mostly beans.
They don't talk much, but Ennis speaks of being raised by his brother and sister after their parents died in a car crash, and of a woman named Alma he plans to marry. Jack tells of stern parents and working the Texas rodeo circuit. The scenery is breathtakingly gorgeous but their days are hard, with bears and coyotes threatening, and the biting mountain cold, and the two men soon come to rely on each other totally.
One night, Ennis decides to sleep by the fire rather than head off to his lonely post, but in the wee small hours, with the fire dead, he's freezing. Jack yells at him to join him in his tent. A simple human gesture in sleep prompts a frantic coupling that in the cold light of morning each man is quick to dismiss.
The summer ends, and as time goes by Ennis marries Alma (Michelle Williams) and Jack weds Lureen (Anne Hathaway), and they each have kids. The men's shared passion keeps its fire, however, and their affection and need for each other grows. Over the years, they contrive to spend time together back on Brokeback Mountain. Always there is the threat of exposure and the fear it breeds.
Pulitzer Prize-winner McMurtry ("Lonesome Dove") and his recent writing partner Ossana use a large canvas for what is really an intimate story. They develop the secondary characters with great insight and compassion. The women in the lives of Ennis and Jack are given full attention, and the acting, especially by Williams, Hathaway and Kate Mara, as Ennis' daughter Alma at age 19, is deeply affecting.
The fine details of the West are as precise as you would expect from a McMurtry piece, and Lee's adroitness with the excellent cast is on full display, particularly in the brave and moving performances of Ledger and Gyllenhaal.
The dusty towns of Wyoming and Texas are contrasted with the spectacular Canadian Rockies, splendidly filmed by Rodrigo Prieto, and the film benefits enormously from composer Gustavo Santaolalla's melodic and plangent score.
Cast: Ennis Del Mar: Heath Ledger; Jack Twist: Jake Gyllenhaal; Joe Aguirre: Randy Quaid; Alma: Michelle Williams; Lureen Newsome: Anne Hathaway; Alma Jr., age 19: Kate Mara; Alma Jr., age 13: Cheyenne Hill; Cassie: Linda Cardellini; Monroe: Scott Michael Campbell; Fayette Newsome: Mary Liboiron; L.B. Newsome: Graham Beckel; Randall Malone: David Harbour; Lashawn Malone: Anna Faris; Jack's mother: Roberta Maxwell; John Twist: Peter McRobbie.
Director: Ang Lee; Screenplay: Larry McMurtry & Diana Ossana; Based on the short story by: Annie Proulx; Producers: Diana Ossana, James Schamus; Executive producers: William Pohlad, Larry McMurtry, Michael Costigan, Michael Hausman, Alberta Film Entertainment; Director of photography: Rodrigo Prieto; Production designer: Judy Becker; Editors: Geraldine Peroni, Dylan Tichenor; Music: Gustavo Santaolalla.
Reuters/Hollywood Reporter
Film review: Brokeback Mountain
Fri Sep 2, 2005 7:28 PM ET
Brokeback Mountain
By Ray Bennett
VENICE, Italy (Hollywood Reporter) - Everything you ever imagined about the characters of John Wayne and Montgomery Clift in "Red River" or Joel McCrea and Randolph Scott in "Ride the High Country" is revealed candidly in Ang Lee's "Brokeback Mountain," an epic Western about forbidden love.
Anne Proulx's 1997 short story in the New Yorker has been masterfully expanded by screenwriters Larry McMurtry and Diana Ossana to provide director Lee with his best movie since "Sense and Sensibility" in 1995.
Featuring scenes filmed in the fabulous Canadian Rockies of Alberta and boasting a fine cast topped by Heath Ledger and Jake Gyllenhaal, "Brokeback Mountain" will appeal to moviegoers who enjoy grand filmmaking and poignant love stories, whether gay, hetero or otherwise.
The film, which screened in competition at the Venice International Film Festival, follows two men, Ennis Del Mar (Ledger) and Jack Twist (Gyllenhaal), and their love for each other that in the hide-bound and traditional world of the American West they must keep hidden, fearful not only of scandal but also for their lives.
Ennis and Jack meet in 1963 when they each show up looking for a summer's work herding sheep on Brokeback Mountain, Wyoming, on land owned by no-nonsense rancher Joe Aguirre (Randy Quaid). In order to keep his herd safe, Aguirre is happy to break regulations by requiring one of his men to roam high in the mountains, sleeping rough with no fire, while the other maintains a base camp with a one-man tent throughout the summer and into the fall.
There's nothing romantic about herding huge numbers of four-legged beasts left to range far and wide, and cowboys pretty much have cornered whatever romance there is in rugged outdoor animal husbandry. Riding herd on sheep guaranteed a horseman a hard time in old Westerns, but Ennis and Jack make the most of it, even if their diet is mostly beans.
They don't talk much, but Ennis speaks of being raised by his brother and sister after their parents died in a car crash, and of a woman named Alma he plans to marry. Jack tells of stern parents and working the Texas rodeo circuit. The scenery is breathtakingly gorgeous but their days are hard, with bears and coyotes threatening, and the biting mountain cold, and the two men soon come to rely on each other totally.
One night, Ennis decides to sleep by the fire rather than head off to his lonely post, but in the wee small hours, with the fire dead, he's freezing. Jack yells at him to join him in his tent. A simple human gesture in sleep prompts a frantic coupling that in the cold light of morning each man is quick to dismiss.
The summer ends, and as time goes by Ennis marries Alma (Michelle Williams) and Jack weds Lureen (Anne Hathaway), and they each have kids. The men's shared passion keeps its fire, however, and their affection and need for each other grows. Over the years, they contrive to spend time together back on Brokeback Mountain. Always there is the threat of exposure and the fear it breeds.
Pulitzer Prize-winner McMurtry ("Lonesome Dove") and his recent writing partner Ossana use a large canvas for what is really an intimate story. They develop the secondary characters with great insight and compassion. The women in the lives of Ennis and Jack are given full attention, and the acting, especially by Williams, Hathaway and Kate Mara, as Ennis' daughter Alma at age 19, is deeply affecting.
The fine details of the West are as precise as you would expect from a McMurtry piece, and Lee's adroitness with the excellent cast is on full display, particularly in the brave and moving performances of Ledger and Gyllenhaal.
The dusty towns of Wyoming and Texas are contrasted with the spectacular Canadian Rockies, splendidly filmed by Rodrigo Prieto, and the film benefits enormously from composer Gustavo Santaolalla's melodic and plangent score.
Cast: Ennis Del Mar: Heath Ledger; Jack Twist: Jake Gyllenhaal; Joe Aguirre: Randy Quaid; Alma: Michelle Williams; Lureen Newsome: Anne Hathaway; Alma Jr., age 19: Kate Mara; Alma Jr., age 13: Cheyenne Hill; Cassie: Linda Cardellini; Monroe: Scott Michael Campbell; Fayette Newsome: Mary Liboiron; L.B. Newsome: Graham Beckel; Randall Malone: David Harbour; Lashawn Malone: Anna Faris; Jack's mother: Roberta Maxwell; John Twist: Peter McRobbie.
Director: Ang Lee; Screenplay: Larry McMurtry & Diana Ossana; Based on the short story by: Annie Proulx; Producers: Diana Ossana, James Schamus; Executive producers: William Pohlad, Larry McMurtry, Michael Costigan, Michael Hausman, Alberta Film Entertainment; Director of photography: Rodrigo Prieto; Production designer: Judy Becker; Editors: Geraldine Peroni, Dylan Tichenor; Music: Gustavo Santaolalla.
Reuters/Hollywood Reporter
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
Or, here's a link directly to the Windows Media file.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
For some reason, CNN is the first to have the full trailer for Brokeback Mountain. At this link, click on "more entertainment video."
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
I thought we had a thread on this already, but I couldn't find, so I guess I'll start it here....
Anyway, I don't know if anybody got to see Entertainment Tonight last night, but they showed clips from the trailer, which you can watch here; the trailer itself will premiere in front of The Constant Gardener.
Anyway, I don't know if anybody got to see Entertainment Tonight last night, but they showed clips from the trailer, which you can watch here; the trailer itself will premiere in front of The Constant Gardener.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster