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Official THE BEGUILED Thread

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  • Atypical
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    #1202006809

    Since we’re on the subject of remakes, here is another major one premiering in the summer (June 23, 2017). Directed by Sofia Coppola and starring Nicole Kidman, Colin Farrell, Elle Fanning, & Kirsten Dunst.

    Trailer is out, and it’s everything! #VengefulBitches.

    http://youtu.be/GRKXyeoWfco

    Looks like the single POC from the book and original film isn’t in this, which will certainly become a topic of contention in this current political climate.

    Discuss.

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    kaziz
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    #1202006840

    It looks amazing. It’s set to be released in June, which probably means it’ll premiere at Cannes. From the trailer it looks like Kidman and Dunst are likely giving Oscar-worthy performances.

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    jasonface
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    #1202006921

    I love Sofia Coppola, everyone in the cast, and the trailer looks even more amazing than I could have imagined so I’m VERY excited for this

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    M
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    #1202006926

    Sofia Coppola shies away from nonwhite and ethnic white persons in her narratives. If I could describe her aesthetic it’d be blench.

    Looks like the single POC from the book and original film isn’t in this, which will certainly become a topic of contention in this current political climate.

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    Aint2Proud2Beg
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    #1202006973

    Not every movie needs affirmative action. And in the current environment if a POC was cast in Collin Farrell’s role, it would’ve been deemed as the appropriation of the POC male body. And if one of the students was a POC then the narrative would’ve been the exploitation of a POC by a white man.

    There is just no winning in this current environment.

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    M
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    #1202006982

    Not every movie needs affirmative action. And in the current environment if a POC was cast in Collin Farrell’s role, it would’ve been deemed as the appropriation of the POC male body. And if one of the students was a POC then the narrative would’ve been the exploitation of a POC by a white man.

    There is just no winning in this current environment.

    The lack of color is a Sofia Coppola aesthetic choice.

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    Aint2Proud2Beg
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    #1202006985

    The lack of color is a Sofia Coppola aesthetic choice.

    Well i cant argue with that.

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    Filmatelist
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    #1202012680

    Well, it’s probably Don Siegel’s best film, which is saying something, so the bar is already set pretty high.  I’ll see it (just like I see all of Sofia’s work) but color me disappointed at another remake of a film that didn’t need one, especially since, looking at the trailer, there doesn’t seem to be anything new in the approach.  But we’ll see…

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    Atypical
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    #1202146440

    Just watched this last night, so some initial thoughts. Beautiful film aesthetically. Phillipe Le Sourd’s cinematography is exquisite here, almost painterly. He was nodded for “The Grandmaster” a few years ago and would be wholly deserving of Oscar recognition again for this work. I wish I’d seen the original film to get a better exploration of these characters’ backstories and motivations. I think that’s where the remake’s gutting was to its detriment. It’s bad enough that the film excises the black slave maid in four lame offhanded words, but there were times where even the main characters felt too truncated for comfort. I will say that Nicole Kidman was just divine here in such a complex role that lesser actressses would have bungled horribly. Her mixture of Christian austerity and budding desire was thrilling to watch. We are truly living in the “Age of Kidman” right now, and I’m all here for it! This was also one of the rare occasions where I was impressed with anything Kirsten Dunst did. I think I’d be okay with a supporting actress nomination for her? Might need to think about that one some more. Colin Farrell, as I mentioned before, is someone I always root for in some way, and even though his role was the most telegraphed, I wholly bought into it and was engaged with the Corporal throughout. In the end, I’d say the film rallied despite its severe ornateness. I wanted a Southern Gothic summer romp after years of television feasting on “American Horror Story” and “True Blood” (RIP Nelsan Ellis), and in the back of my mind, I knew that Sofia Coppola was the last person on Earth to provide that for me lol. My suspicions were indeed confirmed. I’d still recommend the film mainly for the story itself, the heavenly cinematography, and renewed interest in the original Siegel film. Somewhat surprised with Coppola’s Cannes directing win. I don’t see the Academy returning the compliment, unfortunately, unless it somehow becomes a major hit, which it won’t. Historic achievement regardless, so credit where credit is due.

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    kaziz
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    #1202146535

    I think there’s genuine merit to the criticism Coppola has received for omitting the Hallie character. I loved her remake, but she could have made it even more subversive and layered if she had included the Hallie character and turned the narrative on its head.

    That said, we can still discuss the movie on its artistic merits, which are manifold. I’m a huge Kirsten Dunst-stan so it comes as no surprise that I absolutely loved her performance in this movie. Immensely subtle and heartbreaking, and if Woodshock isn’t it then I hope this movie gets her her first Oscar nod.

    I didn’t quite like Nicole Kidman the first time I watched it—This coming from someone who fell over myself to praise her sublime work in Big Little Lies—but for some reason I thought she leaned a little too much to camp and it fell to Dunst to give humanity to the movie, and to be fair she was the most relatable of the characters—the fear of being a loveless spinster was so palpable. But on a second watch, I totally see where Kidman was coming from. She’s supposed to have this dark humor and conflicted authority, and I think that contrast was very well-done. So yes, I agree that she was quite wonderful.

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    Teridax
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    #1202146542

    Sofia Coppola shies away from nonwhite and ethnic white persons in her narratives. If I could describe her aesthetic it’d be blench.

    Looks like the single POC from the book and original film isn’t in this, which will certainly become a topic of contention in this current political climate.

    Exactly, at least in Wes Anderson’s movies, the Production Design and Costumes are vibrant and colorful (though especially in the Oscar-winning Grand Budapest Hotel), to make up for the (with the exception of Danny Glover in Royal Tenenbaums) colorful actors! Get it? Waaait for it…

    null

    LOL Sorry if I trigger anyone there, couldn’t resist the pun, no matter how PC it obviously wasn’t. I think YOU would appreciate this article here @m: http://www.mtv.com/news/3021638/lost-in-translation-is-an-insufferable-racist-mess-why-would-we-expect-the-beguiled-to-be-any-different/

    For the record, I really enjoyed The Beguiled, of not simply for the fact that unlike Lost In Translation or Marie Antoinette, or EVERY MOVIE Sofia Coppola has ever made, The Beguiled had actual characters, with actual personalities I could care about. The Cinematography was simply beautiful, and I would not argue with an Oscar nod for it.

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    babypook
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    #1202148205

    I wouldn’t watch this again. Very ‘memee’ for my taste.
    Gorgeous visuals, great cast. Fairly typical Sofia, which isn’t necessarily a bad thing.

    B+

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    Atypical
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    #1202149167

    Let’s expand this discussion. How does the remake of “The Beguiled” compare with the original Don Siegel film, for those who have seen that film? It offers a clearly hyper-masculine perspective to the story versus Sofia Coppola’s feminine aesthetic. The former also tied in more the race/slavery narrative of the novel that the remake completely eliminated.

    For those who read the novel and its deeper examination of race than either film attempted, what do you think about Edwina’s character being mixed-race? That’s a pretty shocking revelation that the original film sidestepped with Elizabeth Hartman’s casting and the remake with Kirsten Dunst’s casting?

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    ClareHen
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    #1202149262

    Having read the book and seen both movies, I think the omission of Hallie is the important exclusion to critique.

    Edwina as she is in both movies is actually a hybrid character of Miss Martha’s sister (a teacher) and a mixed-race student named Edwina. I’m not sure why both movies chose to name her Edwina, but having a teacher be mixed-race would have been both unrealistic and complicated.

    I especially think that this character had more than enough complications for one character—not that race could not have been dealt with satisfactorily in a longer movie—but both Elizabeth Hartman and Kirsten Dunst’s performances were complex enough as it is. Better to have included the Hallie character who was a force of nature in the original novel (and had her own POV chapter as well).

    For what it’s worth, I loved Coppola’s version. I thought Dunst was beyond incredible and I applaud her for leaning in to her age and world-weariness (a review said she ‘sags’ and that is not something we’re accustomed to seeing Dunst who we’ve seen grow up onscreen do and she did it to perfection). Kidman was also sublime, very subtle, very technical performance. I think the first movie was misogynist as hell–Clint Eastwood was sleazy and the women were hoary cliches. The only character they did any service to was ironically the Hallie character which is why it does legitimately bother me that Coppola didn’t include that character. I don’t think she needed to, but I think she could have made a more innovative movie if she grappled with the character and played with the dynamics of white female complicity in slavery (what kaziz3 said).

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    ClareHen
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    #1202149263

    Hallie was actually Mattie in the novel if I recall correctly.

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