Scenes From A Marriage starring Oscar Isaac & Jessica Chastain (Bergman family approved) is on Sky Atlantic tonight - here's my preview on @RTEArena. They make one very controversial change to it... www.rte.ie/radio/radio1/clips/22015855/
Well! I still don’t know if Scenes From a Marriage was good (leaning towards maybe to no) but I do know I enjoyed watching it! And that Jessica Chastain should receive the inaugural Emmy Award for best cheekbones in a limited series.
Man look, Jessica Chastain about to win awards for her performance in Scenes from a Marriage. She's always been real underrated, but this is some of her best work.
Comparing Bergman's "Scenes from a Marriage" (1974) w the HBO remake and I am perhaps most struck by the maturity gap: Liv Ullman's character is in her mid-30s & she's indisputably an adult. Jessica Chastain's character is in her early 40s but child-like & far more solipsistic.
When is the last episode of Scenes from a Marriage?
“Scenes From a Marriage” airs its finale episode Sunday, October 10 at 9 p.m. ET on HBO. All episodes will be available to stream on HBO Max. IndieWire‘Scenes From a Marriage’ Director on Big Changes, Fourth-Wall Breaks, and the Series’ Future
Chalamet shared the image on Twitter of his character behind a camera on set of the film that is set to open on March 17, 2023.
This first look arrives shortly after Warner Bros. revealed the cast for the film and announced that filming on the project had begun. Alongside Chalamet, the cast includes Rowan Atkinson, Keegan Michael-Key, Jim Carter, Mathew Baynton, Olivia Colman, Tom Davis, Simon Farnaby, Rich Fulcher, Sally Hawkins, Kobna Holdbrook-Smith, Paterson Joseph, Calah Lane, Matt Lucas, Colin O’Brien, Natasha Rothwell, Rakhee Thakrar, and Ellie White.
The film will be directed by Paddington director Paul King, and many of the actors, including Davis, Farnaby, Hawking, Lucas, and Holdbrook-Smith, have all appeared in at least one Paddington film.
Wonky will serve as a prequel to Roald Dahl's 1964 novel Charlie and the Chocolate Factory, and Chalamet will be the third actor to take on the legendary role following both Gene Wilder and Johnny Depp.
Read full article at TVLine
11 October, 2021 - 11:17pm
The scene was set, and the set was seen — rather prominently, in fact, throughout writer/director Hagai Levi’s remake of Ingmar Bergman’s “Scenes From a Marriage.” Each of the first four episodes began with behind-the-scenes shots of Jessica Chastain or Oscar Isaac as they prepared for the (primary) cameras to roll. Then, for the finale, we got to see the pair walk off the soundstage, holding hands, at the very end of the episode — a choice in direct contrast to how most episodes end, with detailed exterior shots of Jonathan and Mira’s house as it exists in reality, rather than how it’s been reconstructed for all those passionate, devastating, and thoughtful interior scenes
Among those moving domestic moments were plenty of further changes from Bergman’s 1973 miniseries-turned-movie. Levi saddled Jonathan (Oscar Isaac) with a similar narrative arc to what Marianne (Liv Ullmann) goes through in the original, while Mira (Jessica Chastain) follows in Johan’s (Erland Josephson) footsteps. Their child plays a prominent role in the new limited series, and their backgrounds are tweaked to fit an American setting. All of this and more was done so a remake would “make sense” to Levi, who dwelt with the “challenge” for more than eight years. With his 2021 edition of “Scenes From a Marriage” now complete, IndieWire looks back with Levi on the story, what’s been changed, and where it may go from here. The following conversation has been lightly edited for concision and clarity.
Actually, I think that was one of my obstacles when adapting it — because you could be illiterate or you could be unaware in the ’70s about the option of divorce, separation, or whatever. You cannot be innocent about that in 2020. That was one of the challenges in the adaptation: how people talk about all these things that are talked to death in our age. They are totally aware of the possibility of divorce, of breakup, of everything, and [we] still maintain some drama in it and still maintain some blind spots. So I wouldn’t say they’re illiterate. There is an episode called “The Illiterates,” when Mira says that they’re illiterate about breakups, not about divorce, not about marriage. So maybe that’s the difference.
I mean, that was exactly how I felt a couple of years ago, when everyone around me was working on their marriage and doing anything [to improve their relationship]. And I asked myself, “What’s going on?” This is not a goal. How can you spend your whole life and dedicate your life to working on your marriage? It should be a platform for something else. So that was actually totally my monologue. But yes, in the way he said it, it’s like it was to say he’s over-intellectualizing everything about their relationship and ignoring some emotional needs that his wife has — and that he has too, but he isn’t yet aware of that fact.
I think of what Mira said in the finale about the monogamy gene. [Mira’s mother once told her their family doesn’t have the “marriage gene,” while warning her daughter not to wed Jonathan.] I feel it’s not for everyone. It’s like, you have a psychological structure where it either works for you or not. And I think people talk about monogamy, yes or no, in a very general manner. Some people say, “Monogamy is over,” and some people say, “Yeah, you have to work on monogamy and your marriage.” I just feel that it’s very personal — it’s one option. How much can you maintain a long-term relationship? So this is kind of the bottom line I feel, by the end: It’s not for everyone.
It would never cross my mind to do that unless I would have been approached by the Bergman family. Around eight years ago, Ingmar Bergman’s son approached me after watching “In Treatment,” and he wanted to remake “Scenes From a Marriage.” His motive, I think, was to bring back the children into the picture; [that he] wanted to reclaim the experience he had as a child. In the original series, it’s totally neglected. You don’t even know that they have children. But for me, it was the most influential thing on my work. When I was approached by Bergman, it was like a combination of excitement and fear. What am I going to do with it? It was a kind of personal challenge — can I do that? Why? How?
I dealt with that for eight years. It’s a classic text, and it actually calls for a remake. It’s very simple. Unlike any other Bergman movie, it has no style almost. It’s very simple, very straightforward, and it’s totally realistic. There are no symbols, no religion, nothing that you know from Bergman’s films. And they are remaking it in theater every given minute. So it made sense [to remake it], I just needed a good reason to crack it in a way that I will have an answer for Bergman’s fans when they ask me, “Why did you do that?” And I felt that by swapping the genders, I had this answer.
So one of the things that I couldn’t overcome is that I didn’t like the original characters anymore. I never liked [Johan]. He wasn’t supposed to be liked. He was an asshole, a chauvinist. In a way, it made it easier for Bergman because he was caring only about one character, which is her. Him, he’s just a villain. I found that re-watching it, I couldn’t relate to her anymore. She was so weak and dependent. So it aged in that sense. I couldn’t put a woman like that on screen.
It [became] two questions: How can I relate to both of them and keep the same story? And how can I attach to them personally? So I read the original script, flipping the gender while reading it, and suddenly something happened that I could not ignore. Suddenly I felt that she deserves [to do] what she’s doing. She cannot help what she’s doing. When he’s doing it, I felt that he’s such a cruel person. When she did exactly the same and said the exact same words, I felt, ‘Wow — yeah, yeah. I feel for her.” And that was so interesting. I felt that this experiment in gender has to be done.
The easy answer is if you watch it until the end, you can see [this is] actually totally the opposite of what Bergman did. If Bergman wanted to say something about marriage is hell, marriage kills love, marriage is awful, this [version] is basically: Breakups are so traumatic. Separation is an awful thing. People don’t talk enough about how traumatic it is to break away from each other, and mainly talk about the possibility to do it all the time. Just leave, just go — like for the new model of iPhone; just go look for a new model of a new partner. So if anything, I would say, [this version of “Scenes From a Marriage”] will say something about the horrible outcome of breakups — how it affects your life so much. All these consumer societies promise [to] fulfill you; [they encourage you to] have the freedom, to go find yourself. But there is another side of it.
Ultimately, it’s an instinct that you have — and that was a very late instinct. It wasn’t in the script. I worked all these months on the script. It was never there. It happened when I started walking on the stage and felt something stagey. We started working with the actors, and suddenly I felt that I wanted to say to the audience, “This is not totally realistic in a way that these two people from Boston live there and have their jobs like that. It’s much more generic. It’s much more abstract than this specific couple.” So in a way, when I’m alienating you a little bit, when I’m distancing you a little bit from the drama, I kind of want you to think about it in a more abstract way and in a way be able to project it on yourself.
When I did that, I looked at an example from the past, and I watched again “The French Lieutenant’s Woman.” Do you remember that film with Meryl Streep and Jeremy Irons? It begins like that. It begins when Meryl Streep is in the middle of set, crew around her, and suddenly she walks into the ocean. It’s the same shot, the music is on, and in two seconds, you forget what you just saw. The power of the suspension of disbelief is so crazy, that by itself it was worth it.
There is this idea — which is like– I’m not sure tempting is the word, but it’s there — of taking other couples, gay couples, old couples, other couples, and having the same journey with them. It’s a weird idea. I don’t know yet. Another idea could be to keep following them, because I think you are invested in this couple, and you’re very curious what’s going to happen to them. So it could be a sequel, not 30 years later, but just a couple of years later. Yeah. It is tempting.
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11 October, 2021 - 11:17pm
Chastain walked the red carpet in Stella McCartney‘s black “Elina” gown featuring a rhinestone-embellished halter neckline and daring low back. Both symmetrical cutout details highlight just below Chastain’s chest with the inner lining of the dress lined in a bold fuchsia. The pop of color was present with every step through the thigh splits on each leg. The award-winning actress towered in strappy, satin black platforms. The gown was allowed to shine since Chastain wore no jewelry other than her wedding ring.
Keeping the look with the style of effortless beauty, the Academy Award nominee opted for a loose curled hairstyle that cascaded down her back. The actress is often seen on red carpets with her hair down in beachy waves and this is not the first time Chastain has shown allure in a low-back, black gown. This could be a signature look from the star.
The television series is available for streaming on HBO Max and Hulu.
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11 October, 2021 - 11:17pm
KANYE West listed his Wyoming estate for about $11million after the sprawling property had "broken up his marriage to Kim Kardashian."
Back in 2019, the Donda rapper reportedly bought the 9,000 acres under the asking price, which was originally listed at about $14million.
The new asking price for the Wyoming estate happened to be about $3million less than what it was originally listed as.
The Wyoming ranch has been listed with DBW Realty.
Back in June, the Flashing Lights rapper had moved to the ranch while he hashed out the details of his divorce.
Kanye had originally planned to make his Wyoming ranch and the Atlanta church as his main homes after Kim Kardashian, 40, filed for divorce back in February after six years of marriage.
While speaking to Us Weekly, a source close to the music star said: “Wyoming is also a great place for Kanye’s mental health.
“He became obsessed with starting an artists’ getaway in Wyoming where he could focus on his music, fashion, and art."
The insider continued: “Kanye loves his kids and they come to visit, but Kanye felt he couldn’t create as well in L.A., the expansive nature and the privacy helped him to be inspired.
"Kanye also loves that everyone who comes out to the ranch is there for business or for art.”
The 44-year-old singer originally moved out to the ranch after his breakdown in 2020 and made the property his base during his failed presidential campaign.
Kim and Kanye are the parents of North, eight, Saint, five, Chicago, three, and Psalm, two.
Back in August, the reality star looked sensational in a tiny black bikini for her SKIMS collection .
The KUWTK star posted a series of snaps that showcased her incredible abs.
While sitting in a golf buggy, she wore a twisted crop top with a pair of matching black bikini bottoms.
While many fans have expressed their desire for the pair to rekindle their romance, Kim recently decided to roast her ex-hubby during her Saturday Night Live debut as host.
Yeezy fans jumped onto Twitter and posted memes of Kanye losing Kim's affections.
Do you have a story for The US Sun team?
11 October, 2021 - 11:17pm
While Jessica’s onscreen marriage is explored over the course of the five-part miniseries, less is known about her real-life relationship.
Jessica is married to Gian Luca Passi de Preposulo, whom she started dating in 2012.
Gian Luca works in high-fashion and is an executive for the Italian lifestyle brand Moncler, which specialises in skiwear. Prior to that he was the director of public relations at Armani. With Gian Luca’s career background and Jessica’s impeccable style, the pair make quite the fashion power couple!
Gian Luca is also an Italian count of the Passi de Preposulo noble family, a family name that dates all the way back to 973!
His family owns a stunning 17th-century Villa Veneta called Villa Tiepolo Passi, which is located just outside of Treviso, Italy.
The couple married in June 10, 2017 at his family's estate in Carbonera, Italy, and hosted a number of stars including Anne Hathaway, Emily Blunt and Edgar Ramirez.
But marriage wasn’t always on the cards for Jessica. She told the Wall Street Journal in 2018: "When I first met my husband, he knew that marriage wasn’t something I was interested in,
"And then as we got to know each other, the idea of marriage shifted for me. There are some things worth celebrating — and he’s worth celebrating."
The happy couple now reside together in New York with their two children, born in 2018 and 2020.
The five-part series is a remake of the Swedish original from the 70s and stars both Jessica and Oscar Isaac as husband and wife Jonathan and Mira. The show follows the couple as their marriage begins to fall apart.
Directed by Hagai Levi, co-creator of The Affair, the series explores the "depiction of love, hatred, desire, monogamy, marriage and divorce through the lens of a contemporary American couple", according to the synopsis.
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11 October, 2021 - 11:17pm
Bergman’s version starred Erland Josephson and Liv Ullmann as Johan and Marianne, the couple who seemingly have it all but whose outward contentment belies irreconcilable problems. Here, the writer-director Hagai Levi, who created The Affair and In Treatment – the man loves conversation – casts Oscar Isaac and Jessica Chastain as Jonathan and Mira, with the setting transplanted to affluent Boston.
From the start, the update works hard, possibly too hard for some, to justify itself. Bergman began with his couple being interviewed for a magazine article. In Levi’s lengthy opening scene, Jonathan and Mira submit to questioning from a doctoral student researching longevity in a marriage: a kind of couples therapy. We learn about them through their answers.
The roles have been reversed, to bring things up to 21st-century speed. She is the main breadwinner, a senior executive at a tech company, but feels guilty about not spending more time with their daughter. He is an academic, who does more of the childcare. Jonathan’s easy-liberal charm suppresses more conservative leanings, perhaps the legacy of his orthodox Jewish upbringing, which he has trouble admitting. Mira feels the pressure of having it all, but struggles to articulate her frustrations. She knows she is not meant to be unhappy when Jonathan is such an ostentatiously good guy, but that’s a problem in itself.
Both characters are smart enough to interrogate their own thoughts in the way of people who are familiar with therapy. They endlessly second-guess their instincts to the point where they talk themselves out of what they really believe, if “what they really believe” isn’t also an invention. In this world, everything is a performance, a conceit reinforced by the framing device, which breaks the fourth wall to show the set, with Covid-masked crew milling around. It’s a rebuke and a challenge to the audience, and to marriages: this may all be make-believe, but if it’s believable enough that you can forget that, what’s the difference?
In the first episode, Jonathan and Mira’s difficulties, still below the surface, are set in contrast to those of their friends Kate (Nicole Beharie) and Peter (Corey Stoll), who have an open marriage. It causes at least as many problems as it solves.
There are benefits to sticking faithfully to a formula that’s nearly 50 years old. HBO’s update, over five hour-long episodes, has a drawn-out intensity and unhurried pace that’s unusual in modern TV. Were it not for the original series, it would be hard to pitch for something so indulgent of its leads. Jonathan and Mira fight and make up and fight again, without much relief. It is not easy to watch, and you won’t want to do more than one episode at a time.
The stars, who are real-life pals and have played a couple before, in A Most Violent Year, have such incendiary chemistry that you are desperate for them to get on. Or at least get it on. (Spoiler: they do.) Their red-carpet display at the Venice Festival, in which Isaac kissed his co-star’s upper arm while staring at her intensely, the only way Isaac knows how to stare, provoked such agitation online that it risked overshadowing the series itself. Their performances earn Scenes from a Marriage its place at the table. Breaking up is hard to do this well. But if you’ve been with your partner for a while and are looking for something comforting to settle down with on a Saturday night, be warned.