|
Post by Ace on May 31, 2013 23:12:14 GMT -5
www.oneguysopinion.com/InterviewsResults.php?ID=508Interviews: TRINE DYRHOLM ON "LOVE IS ALL YOU NEED" Trine Dyrholm, an accomplished and versatile Danish actress with a long career on stage as well as in film and television, impressed international audiences with her performance in Susanne Bier’s Oscar-winning “In a Better World,” and was more recently seen as the imperious dowager Queen Juliana Maria in last year’s Oscar nominee “A Royal Affair.” Now she’s reunited with Bier to co-star with Pierce Brosnan in “Love Is All You Need,” a romantic comedy—or more properly dramedy—in which she plays a hairdresser who’s just completed a course of chemotherapy for breast cancer and separated from her unfaithful husband, and encounters Brosnan, a wealthy widower, on the way to the wedding of his son to her daughter in Italy. Sparks don’t fly between them immediately, but of course they’re inevitable. “The first time I met him,” Dyrholm said of Brosnan in a Dallas interview, “I was very nervous because he’s obviously a very big star. And the chemistry had to be very good—for the story, that’s quite important. And the first time we met was at the first reading, and he was just so generous. He just grabbed my hand—my arm—and said some of the lines into my eyes, and kind of invited me into his space, in a relaxed and very nice way. It was just very easy, and very fun.” That was the case even in a scene in which Ida, her character, has to give Brosnan a trim with the scissors, and the thought of ruining his beautiful head of hair might have been traumatic. “I learned to cut without cutting,” she admitted. Bier is mostly known to international viewers for serious fare, but though this film has a dark side, it’s lighter in mood than most of her films. “She wanted to tell a story about topics like breast cancer, for instance…that usually aren’t in a romantic comedy,” Dryholm explained. “But she wanted to tell a story about that in a light way. That’s why she did this film. “Actually, she did a romantic comedy years ago that was a huge success, called ‘The One and Only.’ So the audience in Denmark also know her as a comedy director. But the international audience don’t know that at all. But I think that after the Oscar, she just wanted to do what she wanted, and she wanted to do this film. “We have a good relationship,” Dyrholm continued. “She’s very bright, fun to work with. Doing ‘In a Better World’ and this film was not much different, though the material is very different. But she has very sarcastic humor on set, in a fun way. So you relax working with her. She is the boss, but at the same time she gives a lot of freedom, maybe because of the hand-held camera. You can just act, and then you can tell what she thinks.” Dyrholm said that she found the style of shooting favored by Bier and her cameraman to be especially helpful: “[Cinematographer Morten Soborg] used a hand-held camera, always. You don’t always know where the camera is, so you have to be acting all the time. It’s more alive—like theatre, in a way. Sometimes you can’t tell it’s hand-held, because he’s so good at it. But you can feel it, I think. There are some crane shots and dollies, but mostly it’s him with the camera.” She also appreciated the Italian location: “It was so beautiful. I’ve been to Italy many times, but never up the Amalfi coast. And I think that it fits the story—it has a glamorous look, almost a postcard look, and at the same time it has this rough, melancholic nature. “ How did Dyrholm prepare for the role? “I did what I always do,” she said. “I prepare a lot, read the script many times, and then I work physically with the character. This time it helped me with the wig, because it was the character, in a way, for me, because I wanted her to be very feminine and alive in hair and body. Suzanne had to help me to stay in character, because this character is new for me, because she’s so open and not aggressive. I’m much more tough and cynical as a person. It could easily be too dark, so she had to help me lighten it up…the openness, the softness.” Was she irritated by Ida’s decision to agree to reunite with her husband, despite his infidelity? “Yes, of course,” she said. “But I understand her very well. It takes a long time before we really realize what is going on in life. And I think that she’s been together with this guy since she’s been sixteen or eighteen—from a young age. And this was just how her life has turned out. And I think she has never questioned a different way. And suddenly all these things happen. And she just thinks, this is how my life should be. She doesn’t question, because she’s not used to questioning things. She’s not a reflective type; she does what she has to do. And she doesn’t think that much about herself—she wants to be a good mother, a good housewife, a good hairdresser. She’s so strong, and yet so inexperienced in many ways. “As an actress it’s very important for me to be on the edge all the time, and to find the opposite feeling. This character, she’s so open, so happy—not happy, but sunny. So where is the dark? The breast cancer, the loneliness, her inner world. I think it’s always interesting to find the other fit for the character.” One of her acting techniques, Dyrholm said, is to develop interior monologues for her characters. “It’s useful as an emotional bank, I call it,” she explained. And then when performing she does what she termed a ‘free jump’: “You have to know a lot of things, and then be brave enough to act as though you didn’t know anything…to show your feelings but not to give them away.” Asked whether she would consider coming to the United States for roles in English-language films, she replied, “When I did ‘The Celebration’ [in 1998], there were a lot of—not offers, but…there were possibilities to go for it. But I was not ready yet. I was too immature, and I wanted to explore my acting. Now it would be a better time for me to explore the world, because I am much more experienced, because when you work in another language, it takes something from your acting. It’s very difficult to work in another language. But it’s also interesting, and I’d love to do it, because it’s challenging in a good way.”
|
|
|
Post by eaz35173 on Jun 1, 2013 2:45:57 GMT -5
thirdcoastdaily.com/2013/05/love-is-all-you-need-simple-premise-unpredictable-execution/“Love Is All You Need”: Simple premise, unpredictable execution May 30th, 2013 | By Mark Metcalf Alright, I take back everything I ever said about Pierce Brosnan. Well, almost everything. He still looks impossibly good in a suit, way better than anybody ought to look. But he catches me up in Love Is All You Need and takes me with him without a lot of extra effort. The story of Brosnan’s first wife dying a somewhat protracted death from cancer and his loyalty to her memory is fairly well-known and he is playing off of that experience in this film. In the best possible way. The fact that we know that about him makes him much more truly vulnerable than he often is. It also makes him harder, nastier, and blinder to those around him, which also works. The film’s story is this: A woman – the truly magnificent Trine Dyrholm – who has just finished chemo for breast cancer and appears to be cured comes home early and discovers her husband in flagrante delicto with “Thilde from the office” on the couch in the living room. They were supposed to go to their daughter’s wedding in Sorrento, Italy. She goes alone. LoveIsAllYouNeedAt the airport she literally runs into the father of the groom – Brosnan, a widower and lonely owner of a import produce company. It is on the verge of being a Hollywood “meet cute” but it works much better because they are mature people and it is a very real inconvenience to both of them. They end up traveling together all the way to the cliffside villa where the wedding is being held. By the time they get there they like each other even less. A lot of very funny and surprising things happen before they finally get to the wedding so I won’t spoil it. But it is all charming and moving. Especially Brosnan, probably because he is working opposite a woman who is really a wonderful actress and he has the good sense to respect her. In many ways this is one more in a long line of “getting married” movies, but it seems to be a bit more than that, perhaps because the majority of the cast is Danish and subsequently is unknown to me, and I am pleasantly surprised by Brosnan, from whom I expect very little. I find the film unpredictable and honest, really uncomfortable at times and very moving at others – when people see and speak the truth to each other finally after being polite way too long.
|
|
|
Post by eaz35173 on Jun 4, 2013 14:32:59 GMT -5
www.daytoncitypaper.com/a-crazy-little-thing/By T.T. Stern-Enzi Danish director Susanne Bier seems to be incrementally easing off the dramatic gas with each new release. She began attracting attention in the United States with a strong string of recent films (“After the Wedding,” “Things We Lost in the Fire” and “In a Better World”) that mine deep emotional wounds in her troubled characters. Even with “Love Is All You Need,” an impending wedding triggers the gathering of two fractured and fracturing families. But, deep within of each of these films is a desire to discover or define some element of the self that has, somehow, been left blank or obscured by life and divergent experiences. Ida (Trine Dyrholm), the mother of the bride (Molly Blixt Egelind) and a very recent cancer survivor, arrives in Italy alone, having recently discovered that her husband has been carrying on an affair during her treatment, but she puts up a brave front for her daughter’s sake. The groom (Sebastian Jessen) seems far too eager to satisfy his repressed workaholic father (Pierce Brosnan), still in mourning and angry over the loss of his wife many years ago. All of which sets the stage for the wounded parents to meet cute and provide some much needed healing for one another. The premise certainly sounds sitcom-ish and is filled with all the expected bits of misadventures and misdirection, but Bier’s touch is deft and surprisingly true to something that actually resembles real life. For film enthusiasts, “Love Is All You Need” recalls, to a certain extent, Joel Schumacher’s 1989 movie, “Cousins,” with Ted Danson and Isabella Rossellini as cousins who meet at a wedding and take a liking to each other after their spouses fall into a delirious affair. “Cousins” is the U.S. remake of the 1975 Jean-Charles Tacchella film “Cousin, Cousine.” The French version plays a bit more high-minded and serious, despite being a comedy at heart, while Schumacher, in a bit of a groove at that point in his career, displayed a lighter, defter touch with the material. “Cousins” trusts us to go along for an amiable ride and fall in love with Danson and Rossellini’s characters as they discover each other. With “Love,” Bier gets to present an original story, while also offering audiences – especially the subtitle-skeptical ones – a familiar point of reference. Brosnan may no longer be Bond, but he has gracefully aged and moved on with his career. He’s thankfully not singing here, as he did in “Mamma Mia,” and he even gets to play – a bit against type – a hard-driving businessman with nothing else on his mind other than work. Yet, it is painfully obvious that his heart is waiting to rise, phoenix-like, from the ashes. And Dyrholm matches him easily, note for note, as a woman struggling to survive and looking for a reason to go on after discovering her husband’s infidelity. There are scenes with her, either highlighting the wig she wears as a result of chemotherapy or topless with her scars on full display, that stray into uncomfortable territory. Are we to laugh or avert our gaze at such sights? Dyrholm and Brosnan keep us in those moments and allow us to live in them as they are. The comedy here is the stuff of life, where we sometimes aren’t sure if we should laugh or cry. It is not about beats and laugh tracks or being directed to feel a certain way. “Love” allows us to find ourselves, just as its characters search around in the dark for that missing or obscured piece of themselves with more than a little of that thing called love.
|
|
|
Post by Ace on Jun 7, 2013 1:35:38 GMT -5
Detroit News: Pierce Brosnan still knows how to dreamTom Long Detroit News Film Critic June 7, 2013 at 1:00 am Pierce Brosnan says he would welcome more dramatic roles. Toronto To hear him tell it, Pierce Brosnan’s life has in many ways been a dream come true. That dream started when he was very young. He had just moved to London from Ireland when he went to his first movie. “To go to London when I was 11 and see ‘Goldfinger’ one weekend and ‘Lawrence of Arabia’ the next,” he says with a look of wonder in his eyes. “I didn’t want to be Bond, I wanted to be Odd Job and have a hat. Actor after actor pulled him to the silver screen. “Then I wanted to be Warren Beatty. Then Steve McQueen. Then Clint Eastwood. I wanted to be up there on that magical screen,” he says. “A daydream! A daydream! Somehow it happened.” Did it ever. Brosnan’s total box-office earnings in North America total more than $1.3 billion (add nearly another $1 billion to that total worldwide from his James Bond films alone). Much of that has come from playing the world’s most famous spy, but there have been numerous other hits — “Mrs. Doubtfire,” “Mamma Mia!,” “Dante’s Peak,” “The Thomas Crown Affair” — along the way, as well as many key roles in prestige and indie films (“The Tailor of Panama,” “The Ghost Writer,” “The Matador”). “It has been an embarrassment of riches. I’ve worked really hard. It’s always a struggle to find the work and stay alive in the work creatively, emotionally,” he says, sitting in a hotel room last September at the Toronto International Film Festival. “When I discovered acting at the age of 18 it was the most wonderful experience. I can still taste it and see it and feel it,” says Brosnan, now 60. “The exhilaration and the liberation of it was just fantastic.” His latest act of liberation is “Love Is All You Need,” opening today, a wonderfully indescribable work from the brilliant Danish director Susanne Bier, whose previous film, “In a Better World,” won the Oscar for best foreign language film in 2011. “Love” is a very international film in which Brosnan plays a widowed British businessman who falls for a Danish hairdresser (Trine Dyrholm) who’s recovering from cancer while attending the wedding of their children in Italy. Brosnan himself lost actress-wife Cassandra Harris to cancer in 1991, so the film’s focus on cancer and grieving inform his performance, although they never overwhelm it. “I’ve dealt with both in my own life. So the piece lent itself to my own tapestry of life and emotions of life, which I thought was worth exploring and being part of,” he says. “And yet the writing was so pitch perfect in tonality that it allowed me to be really in his world, the world of my character.” It’s the sort of role that has kept Brosnan growing as an actor. And he intends to continue to grow. “There’s work to be done, constant work to be done, I’ve tried to get better,” he says. “There’s a few other colors on the palette which I haven’t really hit. It’s been light, very light. I just have to get something a bit heavier maybe,” he says. “A bit more dramatic. A bit broader, a bit fuller. They’re just instincts. “I can carry on doing this and I might just carry on doing this … but something in the classical vein ...” And he waves his hand upward, gazing off. Still dreaming. ================================ Born: May 16, 1953, in Navan, County Meath, Ireland; moved to England at age 11 Family: Married Cassandra Harris in 1980. She died of cancer in 1991; married Keeley Shaye Smith in 2001; father of five children Early days: Gained fame in the U.S. playing detective/scam artist “Remington Steele” on TV Next up: Stars alongside Emma Thompson in “Love Punch”; with Aaron Paul and Rosamund Pike in “A Long Way Down”; and alongside Jessica Alba and Kristin Scott Thomas in “How to Make Love Like an Englishman” tlong@detroitnews.com twitter.com/toomuchTomLong
|
|
|
Post by Ace on Jun 7, 2013 5:58:10 GMT -5
www.detroitnews.com/article/20130607/ENT02/306070026Review: 'Love Is All You Need' dives beneath the surfaceTom Long Detroit News Film Critic June 7, 2013 at 1:00 am Danish director Susanne Bier (“In a Better World”) does not make simple movies. “Love Is All You Need” is no exception. On the surface — and it has a lovely surface, infused for some reason with the color blue — the film is a romantic travelogue with touches of farce. A British businessman named Philip (Pierce Brosnan) falls for a Danish hairdresser named Ida (the luminous Trine Dyrholm), who’s recovering from cancer treatments, as they await the wedding of their respective children at an Italian villa. There are the expected gorgeous shots of the Mediterranean, lots of peasants happily picking fruit in idyllic groves, much hiking down old-world trails ... everything you expect from a European romance. Philip and Ida even meet cute and then initially find one another grating — classic romantic comedy fare. Except ... Philip is a longtime grieving widow. And Ida — who’s lost all her hair during treatments — fears her body is still poisoned. Her lunk of a husband has just dumped her for a young airhead (who he brings to the wedding). And Philip’s harpy of a sister-in-law (a deliciously awful Paprika Steen) keeps making completely unsought advances. And the young bride and groom ... something’s off there. Bier is daring to deal with both familial dysfunction and mature romance without painting either in the standard broad strokes. There are moments of comic awkwardness here, more moments of awkward drama, and the romance comes in fits and starts, as romance might. When Brosnan, never better, describes how his wife died while sitting in a cafe, it’s neither melodramatic or hollow; it’s simply strong, and true. So is this fascinating, full film. GRADE: B+
|
|
|
Post by eaz35173 on Jun 7, 2013 8:52:39 GMT -5
www.okgazette.com/oklahoma/article-18475-love-is-all-you-need.htmlLove Is All You NeedWhen brokenhearted, middle-aged people assemble for a wedding in Italy, that’s amore.Rod Lott June 6th, 2013 On paper — or computer screen — Love Is All You Need sounds like an overdose of saccharine. Even swallowing just a few plot keywords could trigger symptoms: “widower,” “wedding” and “breast cancer.” Luckily, the film is smarter than the average adult-oriented romantic dramedy, and not just because it speaks in three tongues. The main reason for its ultimate (if unspectacular) success is its director and co-writer, Susanne Bier, who won an Academy Award for the Danish drama In a Better World, deservedly named 2010’s Best Foreign Language Film. Love represents Bier’s follow-up and, at least by comparison, her lightening up. Whereas World was all business, Love works in plenty of pleasure. Not to overpraise the piece, but catch it while you can; it begins an exclusive run Friday at AMC Quail Springs Mall 24, 2501 W. Memorial. Denmark’s Trine Dyrholm is front-and-center as Ida, a comfortably (versus happily) married hairdresser who has reason to celebrate life: She’s nearing the end of chemo treatments for breast cancer and her daughter, Astrid (Molly Blixt Egelind), is about to marry Patrick (Sebastian Jessen), in a well-to-do ceremony in Italy. Too bad Ida comes home to find her husband of 23 years humping some pretty young thing on their couch. En route to the big nuptials without her spouse, Ida literally crashes into Philip (Pierce Brosnan, our former James Bond 007) in a parking garage. Not only is Philip a still-grieving widower ripe for the plucking, but also the father of Patrick. What are the odds? Such contrivances are what many a minor movie have been built upon ... and why do so many of them — Under the Tuscan Sun, Letters to Juliet — take place in Italy? But then, Bier pulls back the reins in order to juggle multiple storylines, many yet to take seed, all while keeping a keen eye on developing the relationship between Ida and Philip. You already know how that part will end, but it is a joy to watch Dyrholm and Brosnan go through those motions. Dyrholm demonstrates a bravery few American actresses would dare bare, while a gracefully graying Brosnan infuses his personal experience into the role. When Ida asks Philip about his wife’s death, and he answers slowly, “She was just ... unfortunate,” one assumes Brosnan must have been thinking of his own real-life tragedy: losing his first wife to cancer in 1991, when she was just 43. He delivers the line with palpable weight, yet little effort. Bier makes the whole of Love seem as easy. She excels at these multicharacter pieces, even if some of its edges strike one as too on-the-nose. —Rod Lott
|
|
|
Post by Ace on Jun 14, 2013 16:06:48 GMT -5
www.filmcomment.com/entry/review-love-is-all-you-need-susanne-bierFILM COMMENT Review: Love Is All You Need By Meredith Slifkin on 5.3.2013 Danish director Susanne Bier and writing partner Anders Thomas Jensen have made successful careers as purveyors of melodrama, collaborating on the critically acclaimed Brothers, After the Wedding, and In a Better World. Their work pays homage to the excesses of silent era Hollywood, with an unfettered employ of coincidence, destiny, Manichean dichotomies, and frustration with the modern world. If Bier’s preceding films sometimes ended with body counts as high as the Bard's darker plays, then her latest film can accurately be described as a Shakespearean comedy. Love Is All You Need features a great deal of verbal sparring, screwball antics, and round robin romantic couplings leading up to the main calamitous event, a wedding in Italy. The film introduces us to young lovers Astrid and Patrick as they begin readying Patrick’s family’s run-down coastal Italian villa to host their nuptuals. A montage of humorous renovation blunders, interspersed with much kissing and general gooey-eyedness, ensues before returning to cold, bleak Denmark where we meet Philip (Pierce Brosnan) and Ida (Trine Dyrholm). Philip is a widower who runs a large corporation that sells fruits and vegetables (we hear Philip snipe over the phone to an employee “I want total focus on radishes!”), and Ida is a quietly sad but perpetually sunny hairdresser who wears a wig, as she has just completed her final round of chemotherapy. While Philip is aggravated at work (particularly at the needling of his incorrigible sister-in-law, the shrewish Benedikte) and isolated as a perpetual stranger in a strange land, Ida returns home from therapy to find her husband in the thralls of illicit passion with a much younger woman. Both Ida and Philip are separately at the end of their respective ropes, but their two stories will collide, when, in the proper melodramatic tradition of coincidence, Ida backs her car into Philip’s as they are both in a rush to get to the airport—to Italy—where each of their children is getting married—to each other. The second act of the film brings all of the characters together in the now beautifully restored villa settled picturesquely between the Mediterranean and the family’s old lemon grove. The luxurious visuals of sunsets and sparkling water soothe characters and viewers alike into a temporary calm before the conflict that is fated to escalate whenever characters with skeleton-filled closets are placed together in one house. Ida and Philip bicker and tease before not-so-slowly warming to each other, while tensions rise around them: Ida’s husband brings his new girlfriend to the wedding, Benedikte attempts to seduce Philip, and Astrid worries that Patrick is not sexually attracted to her (though he spends increasing amounts of time in the company of one of the Italian men helping with the renovation). The events leading up to the wedding are disastrous (perhaps as a nod to Bier’s After the Wedding, in which the melodramatic excess abounds after the nuptials rather than before), but the audience need not worry whether everything will work out for the best in the end. This is certainly not a spoiler—Love Is All You Need embraces convention. In the hands of a lesser director or writer this rom com might be dismissed as fluff, but helmed by Bier and Jensen, the film is self-aware enough to avoid the hokey-ness associated with the genre. Buffeted by languorous Italian vistas and the emotional depth of the characters, the film falls more into the Nancy Meyers camp of rom com, in which relatable late-in-life romances are played out against sumptuous settings. Pierce Brosnan’s Philip is a more vulnerable and damaged character than the actor typically plays, and Trine Dyrholm as Ida (who also appears in Bier’s In a Better World) strikes the perfect balance between doe-eyed optimist and shrewd observer of human nature. The two have an easy chemistry, adding to the impression that is a generally easy film to watch and enjoy. Those familiar with Bier might criticize Love Is All You Need as slight or minor as compared to her previous work; perhaps it is. But this film is merely another side of the same melodramatic coin that comprises her oeuvre. Where films like Open Hearts are shot with Dogme 95 aesthetics, focused on sacrifice, choice, and tragedy—typical of the “almost” and “too late” nature of (melo)dramatic irony—her latest film is stylistically expressive and focused more on the “what if” than the “if only.” It’s a film about vulnerability and hope, with a pervasive visual and narrative motif of lemons, begging the characters and viewers to make some lemonade. And for the most part we do, forgiving or perhaps accepting the conventions of the genre because the appeal of the film does not lie in the predictable ending, but in the pleasure of getting there.
|
|
|
Post by rosafermu on Jun 14, 2013 16:28:32 GMT -5
In Spain has gone on sale DVD Love is all you need
|
|
|
Post by eaz35173 on Jun 15, 2013 2:09:06 GMT -5
www.tulsaworld.com/article.aspx/Review_Love_is_All_You_Need/20130614_281_D3_ULNSir284738Review: 'Love is All You Need' By NOUR HABIB World Scene Writer on Jun 14, 2013 An exchange between Pierce Brosnan and Trine Dyrholm near the end of "Love is All You Need" pretty much sums up my feelings about the film. "I'm sorry, we're such a crazy family," says Dyrholm's character, Ida. "Oh, don't be, don't be. It's great," responds Philip, played by Brosnan. And it is great. The string of awkwardly hilarious family moments threaded through the film will provide plenty of laughs while also endearing the characters to viewers of this Danish romantic comedy. But it's not just the dysfunctionality of the families that's appealing. The more serious moments - the moments where we see characters dealing with things like disease, infidelity and the general uncertainty of life - make for a film that's also surprisingly poignant, in a way that's not overwhelming. Overall, it's the naturalness of the film - particularly the acting - that makes it so successful. Ida is a middle-aged hairdresser who's fighting cancer. From the first scene of the film, where we watch her reaction to the news from her doctor that she may have not beaten the disease yet, we get a sense for who Ida is. There's fear in her eyes, but she rebuffs the doctor's suggestion for breast reconstruction surgery, saying that her husband won't care about her appearance, and that it's the inside that counts. Shortly afterward, she walks in on her husband, Leif (Kim Bodnia), cheating on her. "Sorry," he says, apologizing for being caught. "I thought you were at your chemo appointment." Ouch. From there, they head separately to Italy for their daughter Astrid's wedding, and Ida meets Philip, who turns out to be the father of her daughter's fiancé, Patrick. The development of their relationship, which began with nervous chattiness on Ida's part and ill-disguised impatience on Philip's, is fun to watch. In a movie that at times seems to ask us to follow too many relationships - Astrid and Patrick, Leif and Ida, Leif and his mistress ... you get the picture - the relationship between Ida and Philip is enjoyable, as viewers watch the angry widower let down his guard as Ida's charm seeps through his defenses. And there's no denying that, though everyone's acting in this film is superb, it is Dyrholm who shines in "Love is All You Need." Her smile is infectious. Her banter with her children is a perfect model of a mother who's caring and fun-loving. Her scenes in front of the mirror, staring at her bald head and feeling for lumps in her neck, require no words. Director Susanne Bier, who also helped write the screenplay, has created a movie that is poignant yet light-hearted. And setting the film on a lemon plantation in beautiful Italy, with Dean Martin's "That's Amore" playing in the background, helps put viewers in the perfect place and mood to take it all in.
|
|
|
Post by eaz35173 on Jun 15, 2013 2:10:27 GMT -5
www.femalefirst.co.uk/dvd/love-is-all-you-need-296867.htmlDVD release in the UK ... The sun-kissed shores of the southern coast of Italy play host to the romantic comedy of the year as Love Is All You Need arrives, full of languid charm, on Blu-ray and DVD on 9th September 2013 courtesy of Arrow Films.
|
|
|
Post by juljustik on Jun 18, 2013 3:51:37 GMT -5
|
|
|
Post by rosafermu on Jun 18, 2013 5:14:17 GMT -5
The final scene. That romantic... Thanks juljustick
|
|
|
Post by eaz35173 on Jun 18, 2013 13:21:48 GMT -5
|
|
|
Post by Ace on Jun 23, 2013 21:58:58 GMT -5
www.movie-wave.net/?p=3725By James Southall Saturday June 22, 2013 Love Is All You Need Composed by Johan Söderqvist MovieScore Media / 2013 / 43m A romantic comedy starring Pierce Brosnan and Trine Dyrholm, Danish director Susanne Bier’s Love Is All You Need sees the two of them meet in Sorrento. Dyrholm has cancer and just found out her husband cheated on her. Her daughter is about to marry Brosnan’s son. They take an instant dislike to each other. You can guess what happens next. If truth be told, if you superimposed Meryl Streep’s head onto Dyrholm’s body on the CD cover, you’d swear you were looking at a still from Mamma Mia – but there’s no Abba to be found here. The score – by Swedish composer Johan Söderqvist – does open with a very familiar tune. ”Amore” is an instrumental version of Harry Warren and Jack Brooks’s song “That’s Amore”, made famous by Dean Martin sixty years ago. It’s a charming arrangement of a lovely tune and that charm continues throughout the score. A succession of themes is presented in the following tracks. ”The House” is a wistful piece, elegant and classy; “Philip’s Breakfast” sunnier, happier, full of joy really. ”Moving In” is an energetic rumba (is there any other kind of rumba?) with another great tune. ”The Wig” has a sadness to it, but even that quickly gives way to a brighter sound. Later, “No Wedding” is one of my favourite pieces in the score, a touching melody led by a piano solo with accompaniment from the strings, even though the music clearly signifies that all is not well, it somehow still remains incredibly attractive. There is so much charm here and so much joy. This is music with the feel of a warm Mediterranean summer, the sound of the sun beating down on people walking arm-in-arm along a beach. It often reminds me of Luis Bacalov’s Il Postino – perhaps the main theme isn’t quite so memorable here, but the tone is very similar. It’s one of those scores that doesn’t feel all that substantial, but is simply a great pleasure to sit and listen to – there are darker moments, but its main mission is to provide joy and happiness. Love Is All You Need is not a long score, so there is also a suite on the album from an earlier collaboration between the same director and composer, 1994′s Family Matters. The orchestration is slightly more “standard” but otherwise it would be easy to think it was still part of the same score – there’s still the same lovely sound, the same pleasant style. I particularly love “The Adoption”, a gorgeous fantasy on the score’s main theme. This is a really nice album, thoroughly recommended as an extremely nice way to pass 45 minutes. It’s nothing deep nor even perhaps particularly original, but Söderqvist executes the style very well indeed; and sometimes we all just need a little more love in our lives.
|
|
|
Post by eaz35173 on Jul 16, 2013 12:07:57 GMT -5
I don't know if this was posted here already, and apologize if it was. An interview (looks like it was done at TIFF) with Susanne Bier, writer, Anders Thomas and actor, Pierce Brosnan... www.abc.net.au/atthemovies/txt/s3637781.htm
|
|
|
Post by kikituna on Jul 16, 2013 13:31:19 GMT -5
I don't know if this was posted here already, and apologize if it was. An interview (looks like it was done at TIFF) with Susanne Bier, writer, Anders Thomas and actor, Pierce Brosnan... www.abc.net.au/atthemovies/txt/s3637781.htmI admire so much this man. I suppose that this interview was before his daughter's death and he speaks about cancer, his late wife but no word about Charlotte. Very impressive, his serenity and his great heart. He is amazing.
|
|
|
Post by eaz35173 on Jul 16, 2013 15:18:17 GMT -5
I don't know if this was posted here already, and apologize if it was. An interview (looks like it was done at TIFF) with Susanne Bier, writer, Anders Thomas and actor, Pierce Brosnan... www.abc.net.au/atthemovies/txt/s3637781.htmI admire so much this man. I suppose that this interview was before his daughter's death and he speaks about cancer, his late wife but no word about Charlotte. Very impressive, his serenity and his great heart. He is amazing. Yes, this interview was probably done in 2012 at either the Venice Film Festival or the Toronto Film Festival
|
|
|
Post by Ace on Jul 22, 2013 8:01:36 GMT -5
The 10 best screen holiday romances – in pictures
The finest summer lovers, from Daniel Day-Lewis in A Room With a View to Olivia Newton-John in Grease Liz Hoggard The Observer, Saturday 20 July 2013 Love is All You Need A middle-aged romcom where the lead character is in recovery from breast cancer is pretty daring. But former Dogme director Susanne Bier wanted to make a film where the central character isn’t just defined by her illness. Danish hairdresser Ida (Trine Dyrholm) flies out to Italy for her daughter’s wedding, desperate to avoid her estranged husband and his younger mistress. Cue a holiday romance with tetchy widower Pierce Brosnan (reprising his Mama Mia! role). Yes it’s feelgood and often sentimental, but the scene where Brosnan encounters Dyrholm, naked on the beach without her wig, is a radical moment for Hollywood ================= Great to see a mention for the film but "Pierce Brosnan (reprising his Mama Mia! role)"... Oy vey. The roles are nothing alike.
|
|
|
Post by Ace on Jul 27, 2013 0:32:41 GMT -5
www.slantmagazine.com/house/comments/15-best-performances-of-2013-so-far15 Best Performances of 2013 So FarBy R. Kurt Osenlund on July 26, 2013 8. Pierce Brosnan in Love Is All You Need. Susanne Bier isn't exactly subtle with Love Is All You Need, her uneven, Sorrento-set screwball rom-com that milks (err, squeezes) the life-gives-you-lemons metaphor for all its worth. It spreads to widower Philip (Pierce Brosnan), the film's sour, fruit-selling, Denmark-based curmudgeon, who's familiarly tamed when he falls for Ida (Trine Dyrholm) the cancer-fighting mother of his son's fiancée. But Brosnan isn't bound by a single cliché of his archetype, and having gracefully left the machismo of Bond and Remington Steele behind him, the Irishman proves ready to embrace roles of great emotional maturity. Like Philip, Brosnan lost a wife in the past, and in a scene that sees Philip recall for Ida key things about his spouse, Brosnan summons up true emotion that transcends any Method-y artifice. It's his finest moment ever as an actor.
|
|
|
Post by Ace on Jul 27, 2013 0:38:13 GMT -5
www.salinaartcenter.org/cinema/view/love_is_all_you_need/Love Is All You Need Rated R for sexual content, brief nudity, and profanity. In English, and Danish and Italian with English subtitles; 116 minutes. The so-called “rom-com” has become a staple of modern movie theaters; it’s a derisive term for romantic comedies that share certain characteristics: male and female leads seemingly picked at random from the current pool of young, gorgeous, somewhat likable performers who happen to be hot at that moment; generic storytelling which brings these equally-perfect specimens together while trying to convince viewers how “different” they are; willful ignorance that any genuine chemistry exists between them; and contrived obstacles tossed in to approximate conflict and suspense about whether or not the two will stay together (unfortunately, they usually do). How refreshing and delightful (not to mention rare) it is these days to find a truly, unashamedly romantic film where the leads are not only interesting characters separately, but generate real heat when they become a couple. It’s especially nice when the leads are older characters, with depth, intelligence, self-awareness, and wisdom. Older movies used to feature these kinds of heroes and heroines often: lovers who had enough life experience to convince moviegoers that they knew what love really was—and what kind of work it takes to make a relationship last. For those who remember what movie romances used to be like, Danish director Susanne Bier offers this wonderfully smart, sensitive, subtle film that’s charming without being cloying. The English title is not totally ironic, but neither does it really suggest the complexity of the relationship between Ida (Trine Dyrholm) and Philip (Pierce Brosnan). A brief synopsis might also make potential viewers think they’ve seen this material before: shortly after discovering her husband in bed with a co-worker, Ida flies from Copenhagen to a southern Italian villa for the wedding of her daughter Astrid (Molly Blixt Egelind) and Philip’s son Patrick (Sebastian Jessen). Her husband comes, too, bringing his vacuous new girlfriend; another unwelcome guest is Benedikte (Paprika Steen), sister of Philip’s late wife, who intends to make a sexual conquest of Philip despite his aversion to this obnoxious predator. Philip himself seems to be that time-worn figure of romantic fiction: the outwardly gruff, angry man who’s cut himself off from the world (including his son) because he’s still grieving for the loss of his wife—a fellow who needs a positive, life-affirming woman to withstand his grouchiness and melt his icy heart (and Ida, having survived cancer—she wears a wig to cover her chemotherapy-induced baldness—is surely the type of woman who can convince a would-be misanthrope to enjoy life again). And of course, when Ida and Philip initially meet one another, they both make the worst first impressions possible—their cars collide in an airport parking garage. How can this relationship possibly recover, especially when their kids start to experience pre-nuptial jitters that make an already drama-laden weekend even more tense? It all sounds like a mishmash of clichés and corny sentiment; even the gorgeous Sorrento scenery seems like calculated “magic” (dreamy boat rides in the impossibly blue Mediterranean and moonlit walks through the lemon groves around Philip’s estate are enough to make even rational grown-ups lose their heads). But remarkably, the movie works. The key is the relationship between Ida and Philip, and the unforced chemistry that slowly simmers between the two actors. Brosnan, in his post-James Bond years, has become a more relaxed performer, with an undercurrent of humor lurking beneath his Scrooge-like exterior; and for many American viewers, Trine Dyrholm will be a delightful “discovery.” (For those who saw her performance as the villainous Dowager Queen in A Royal Affair, her role here will be an even more surprising revelation). Dyrholm is instantly sympathetic and likable, without pushing the “vulnerability” that most romantic comedies force upon their female protagonists. Dyrholm has the right mixture of toughness and approachability, making her attempts to reach out to Philip both courageous and compassionate. It’s an extraordinary, “star-making” performance, one that should (in a just world) earn an Oscar nomination. She and Brosnan make a great match: in many films, two lively, interesting characters suddenly become dull (and rather dumb) when they become a couple; here, Dyrholm and Brosnan both play intriguing people who become more magnetic, fascinating, and enjoyable to watch when they do connect. That’s real movie magic—and it’s the quality that older romantic films had, where being in love actually made characters more interesting (Spencer Tracy and Katherine Hepburn were fine actors separately, but when they got together they were transcendent). Filled with great dramatic moments, excellent acting, and smart humor, Love Is All You Need is “summer fare” that’s audience-pleasing without the guilt: like the Beatles song suggested by the title (which, never fear, is not used in the movie), Bier’s film is catchy, emotional, smart, and unapologetically upbeat.
|
|