HOY, A LAS 7: WANDA (1970), DE BARBARA LODEN, EN LA CAYETANO HEREDIA
Elia Kazan hablando de Barbara Loden
Yoko y John con Barbara Loden y al final una presentación de la Plastic Ono Band!
Cineclub de la Cayetano de Heredia.- Lunes. 7 de la noche. Av. Armendáriz 445, Miraflores. Entrada Libre.
Ciclo "La mujer es el futuro del hombre":
http://lacinefilianoespatriota.blogspot.com/2010/05/la-mujer-es-el-futuro-del-hombre-nuevo.html
Links:
http://www.zinema.com/textos/unapelic.htm
http://www.starandshadow.org.uk/on/film/465
http://www.zinema.com/textos/unamujer.htm
http://www.erasingclouds.com/0915wanda.html
http://caminomeseglise.blogspot.com/2006/09/wanda-barbara-loden.html
http://www.dvdclassik.com/Critiques/dvd_wanda.htm
http://home.comcast.net/~flickhead/Wanda.html
http://www.critikat.com/Wanda.html
http://archive.sensesofcinema.com/contents/02/22/wanda.html
http://www.imdb.com/title/tt0067961/usercomments
http://ecrits-vains.com/cinema/raucy30.html
http://www.moviemartyr.com/1971/wanda.htm
http://homepages.sover.net/~ozus/wanda.htm
http://www.filmaffinity.com/es/reviews/1/266179.html
http://horsesthink.com/?p=1652
http://movies.nytimes.com/movie/review?res=9F0DE2D6113FE63ABC4953DFB566838A669EDE
http://chainedandperfumed.wordpress.com/category/wandaloden/
posted by La cinefilia no es patriota @ 1:43 AM
1 Comments:
At 2:02 AM,
La cinefilia no es patriota said…
One of a handful of 1970s women's films directed by a woman, Wanda (1970) is a low-key study of a mining-town housewife who wants a little more out of life. Actress/writer/director Barbara Loden's deceptively passive Wanda seems to be a lost soul, as she wanders through coal yards in her curlers, yet she gets a divorce and strikes out on her own, ending up with Michael Higgins' criminal Dennis. Even as he makes her over and she hits the road with him, her inarticulateness becomes her means of resistance, manifesting the paradox faced by women who want to be more than a wife, in a culture that provides few alternatives. This subtle study of character and situation unstintingly reveals the grim reality of Wanda's existence, free of easy solutions or pat conclusions. Produced independently and shot on 16 mm film blown up to 35 mm for distribution, Wanda received accolades at film festivals and in limited arthouse runs, especially for its thoughtful performances. ~ Lucia Bozzola, All Movie Guide
An overlooked landmark of 70's American cinema, Barbara Loden's WANDA is a radical revisioning of the road movie genre. Writer-director Loden (wife of famed director Elia Kazan) stars as Wanda, a troubled young woman adrift in a modern-day industrial wasteland until she embarks on a crime spree with a small-time crook (Michael Higgins). Bracingly honest and beautifully shot, Loden's unique film deserves to be counted among the most formidable debuts in independent American cinema.
“Wanda” is generally referred as “a forgotten masterpiece”, the only film made by Barbara Loden, Elia Kazan’s second wife. The main character, played by the director herself, and the way the film was shot (without much lighting added, a lot of improvised situations, amateur actors) can be easily subscribed to Lars von Trier’s conception of cinema. The film has a few autobiographical hints in therms of character’s background. It was shot with a hand-held camera and the grainy image is very much the trendy kind that is used these days by the fashion magazines photographers. Just like Woody Allen likes it, “Wanda” passed unnoticed in the States, but the Europeans loved it and acclaimed it at Venice. It was promoted in France by Isabelle Huppert.
For Wanda, Loden was inspired by a newspaper article about a girl named Wanda Goranski who was sentenced to 20 years in prison for her role as an accomplice in a bank robbery. Upon sentencing by the judge, Wanda apparently thanked him.
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