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Post by eaz35173 on May 14, 2013 20:02:16 GMT -5
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Post by Ace on May 14, 2013 21:33:56 GMT -5
The long shots with the hand held cameras that just hold the actor's faces and let you see every minute expression is rather an old fashioned approach that's been superseded / buried in US film by too many cuts and a jumpy camera. It's similar to The Ghost Writer in that way though vastly different in content.
Even in the most outwardly comedic scenes there's something else in play. His seemingly over the top anger over the accident in the parking lot is explained later when we learn how his wife died - and it's done subtlety without anyone spelling it out to the audience. Similarly there's the cringe inducing speech by the outrageous sister in law (the excellent Paprika Stein) where some are trying to keep from laughing and yet Pierce as Philip is trying to be polite but you can see that every dismissive mention of his wife, and delusion by the sis in law is making him sad, hurt and angry. I think this scene more than any of the others where she pushes is the basis for when he finally dresses her down and tells her what he thinks of her.
Remarkably, even though she's mean spirited and petty and oblivious and terrible mother Paprika Stein actually makes her Benedicte character just vulnerable enough that one almost feels sorry for her since her desperation to have Philip and love is palpable. I think only the husband Lief is unable to be taken seriously (even as played by the very talented actor) because the things he does are just so over the top oblivious and immaturely selfish he makes Benedicte look restrained and selfless.
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Post by eaz35173 on May 15, 2013 0:31:30 GMT -5
I absolutely love that scene where Philip dresses down Benedikte! So well played by Pierce and Paprika.
And I didn't even put 2 and 2 together about his reaction to the accident in the parking lot with the explanation on how his wife died - but it makes more sense now that you mention it. Thanx for that insight.
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Post by rosafermu on May 15, 2013 3:20:43 GMT -5
I would highlight two scenes and I were thrilled when Philip down to the beach where she is bathing in the sea, naked. Subtly shows a body maimed by cancer, and a head without hair. The immense tenderness in the face of Philip. And the final scene, in which she receives the result of the tests and both share the verdict. Regarding the husband, do not know if the Danish mentality normally supports those situations. Under the Latino perspective in no time we had admitted. I think the role he and Secretary, is somewhat overreacted.
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Post by eaz35173 on May 15, 2013 9:40:50 GMT -5
From an interview with Susanne Bier - A Different Kind of Cancer Story ... “Love Is All You Need” is being billed as a romantic comedy. But it is a little sad.I don’t think it’s sad, I think it has depth. In America you have a more narrow definition of what is a romantic comedy. In Europe it’s slightly broader. The character [Ida] is based a little on my mom. She had breast cancer twice, but she’s always been a very positive force. Her attitude is that the glass is always at least half full. When she comes into a room, the light becomes a little stronger. Did the [Academy] award help you land Pierce Brosnan?I was actually in touch with him before I won the Academy Award. He really liked the script. because I felt this character would gain a lot from being lonely, in all manner of speaking, [because he was a widower and estranged from his son] and he was also lonely in Denmark, where he felt kind of alienated. For Ida, the main [female] character, who had lost everything, by the end of the movie to have a romance with James Bond.
The rest of the interview can be found here ... blogs.forward.com/the-arty-semite/176187/a-different-kind-of-cancer-story/ ... and talks about her winning the Academy Award, how she finds material, and growing up Jewish in Denmark.
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Post by Ace on May 15, 2013 23:52:05 GMT -5
From Sony release schedule planned up until 6/21 sonyclassics.com/loveisallyouneed/dates.htmlMay 3LINCOLN PLAZA CINEMAS NEW YORK NY SUNSHINE CINEMA NEW YORK NY THE LANDMARK LOS ANGELES CA BETHESDA ROW CINEMA BETHESDA MD May 10EMBARCADERO CENTER CIN. 5 SAN FRANCISCO CA 05/10/2013 LA JOLLA VILLAGE THEATRE LA JOLLA CA 05/10/2013 E-STREET CINEMA WASHINGTON DC 05/10/2013 SHIRLINGTON 7 THEATRES ARLINGTON VA 05/10/2013 ANGELIKA FILM CENTER & CAFE MOSAIC FAIRFAX VA 05/10/2013 CENTURY CENTRE CINEMA CHICAGO IL 05/10/2013 CINEARTS 6 EVANSTON IL 05/10/2013 May 17CAMELVIEW PLAZA 5 SCOTTSDALE AZ 05/17/2013 SUNDANCE SUNSET CINEMA LOS ANGELES CA 05/17/2013 REGENCY SOUTH COAST VILLAGE CIN COSTA MESA CA 05/17/2013 TOWN CENTER 5 ENCINO CA 05/17/2013 LAEMMLE'S PLAYHOUSE 7 PASADENA CA 05/17/2013 SHATTUCK 10 BERKELEY CA 05/17/2013 CINEARTS @ PALO ALTO SQUARE PALO ALTO CA 05/17/2013 CENTURY 16 DOWNTOWN PLEASANT HILL CA 05/17/2013 CINEARTS AT SANTANA ROW SAN JOSE CA 05/17/2013 REGENCY CINEMAS SIX SAN RAFAEL CA 05/17/2013 KENDALL SQUARE CINEMA 9 CAMBRIDGE MA 05/17/2013 WEST NEWTON SIX CINEMAS WEST NEWTON MA 05/17/2013 EDINA CINEMA 4 EDINA MN 05/17/2013 May 24CENTURY 20 HUNTINGTON BEACH HUNTINGTON BEACH CA 05/24/2013 RANCHO NIGUEL 8 LAGUNA NIGUEL CA 05/24/2013 UA MARKETPLACE MOVIES 6 LONG BEACH CA 05/24/2013 CENTURY STADIUM 25 ORANGE CA 05/24/2013 THE CAMELOT THEATRES PALM SPRINGS CA 05/24/2013 PROMENADE STADIUM 13 ROLLING HILLS ESTATES CA 05/24/2013 NICKELODEON FOUR SANTA CRUZ CA 05/24/2013 CENTURY DOWNTOWN 10 VENTURA CA 05/24/2013 ESQUIRE TWIN DENVER CO 05/24/2013 GARDEN CINEMA NORWALK CT 05/24/2013 UA TARA CINEMA 4 ATLANTA GA 05/24/2013 FLICKS FOUR BOISE ID 05/24/2013 CHARLES THEATRE BALTIMORE MD 05/24/2013 PLAZA FRONTENAC CINEMA 6 FRONTENAC MO 05/24/2013 CLAIRIDGE SIXPLEX MONTCLAIR NJ 05/24/2013 MONTGOMERY CINEMAS 6 ROCKY HILL NJ 05/24/2013 CINEMA 100 QUAD GREENBURGH NY 05/24/2013 KEW GARDENS CINEMAS LLC KEW GARDENS NY 05/24/2013 MALVERNE CINEMA 5 MALVERNE NY 05/24/2013 MANHASSET TRIPLEX MANHASSET NY 05/24/2013 FOX TOWER 10 PORTLAND OR 05/24/2013 RITZ AT THE BOURSE 5 PHILADELPHIA PA 05/24/2013 RITZ CENTER 16 VOORHEES NJ 05/24/2013 ANGELIKA FILM CENTER & CAFE DALLAS TX 05/24/2013 ANGELIKA FILM CENTER & CAFE PLANO TX 05/24/2013 RIVER OAKS THEATRE 3 HOUSTON TX 05/24/2013 GUILD 45TH TWIN THEATRES SEATTLE WA 05/24/2013 MERIDIAN 16 SEATTLE WA 05/24/2013 May 31OWER ANGELIKA FILM CTR. 3 SACRAMENTO CA 05/31/2013 CINEMA CITY AT THE PALACE HARTFORD CT 05/31/2013 CRITERION CINEMAS NEW HAVEN CT 05/31/2013 PALACE 20 BOCA RATON FL 05/31/2013 SHADOWOOD SQUARE 16 BOCA RATON FL 05/31/2013 BOYNTON BEACH 14 BOYNTON BEACH FL 05/31/2013 PARADISE 24 DAVIE FL 05/31/2013 DELRAY 18 CINEMA DELRAY BEACH FL 05/31/2013 GATEWAY 4 FT LAUDERDALE FL 05/31/2013 SOUTH BEACH 18 MIAMI BEACH FL 05/31/2013 MAPLE THEATER BLOOMFIELD HILLS MI 05/31/2013 ESQUIRE 6 CINCINNATI OH 05/31/2013 CEDAR-LEE CINEMA 6 CLEVELAND HEIGHTS OH 05/31/2013 ORIENTAL 3 MILWAUKEE WI 05/31/2013 June 7DAVIS VARSITY THEATRE DAVIS CA 06/07/2013 VINE CINEMA LIVERMORE CA 06/07/2013 OSIO PLAZA THEATRE MONTEREY CA 06/07/2013 SUMMERFIELD CINEMAS SANTA ROSA CA 06/07/2013 SEBASTOPOL CINEMAS 9 SEBASTOPOL CA 06/07/2013 CENTURY 16 BOULDER CO 06/07/2013 BELL TOWER 20 FT MYERS FL 06/07/2013 HOLLYWOOD 20 NAPLES FL 06/07/2013 INTRACOASTAL 8 NORTH MIAMI BEACH FL 06/07/2013 HOLLYWOOD 20 SARASOTA FL 06/07/2013 WINTER PARK VILLAGE 20 WINTER PARK FL 06/07/2013 KAHALA MALL 8 HONOLULU HI 06/07/2013 KEYSTONE ART CINEMA INDIANAPOLIS IN 06/07/2013 ELMWOOD PALACE 20 HARAHAN LA 06/07/2013 AMHERST CINEMA ARTS CENTER AMHERST MA 06/07/2013 CINEMARK PALACE 14 KANSAS CITY MO 06/07/2013 AMC TOWN CENTER 20 LEAWOOD KS 06/07/2013 MANOR TWIN CHARLOTTE NC 06/07/2013 VILLAGE SQUARE 18 LAS VEGAS NV 06/07/2013 DREXEL EAST 3 COLUMBUS OH 06/07/2013 THE NEON DAYTON OH 06/07/2013 AMC QUAIL SPRINGS 24 OKLAHOMA CITY OK 06/07/2013 DARKSIDE CINEMAS CORVALLIS OR 06/07/2013 BIJOU ART CINEMA EUGENE OR 06/07/2013 MANOR 4 PITTSBURGH PA 06/07/2013 RIDGEWAY QUARTET MEMPHIS TN 06/07/2013 MODERN ART MUSEUM OF FT. WORTH FT WORTH TX 06/07/2013 BROADWAY CENTRE CINEMAS 6 SALT LAKE CITY UT 06/07/2013 VINEGAR HILL CHARLOTTESVILLE VA 06/07/2013 WESTHAMPTON THEATRE 2 RICHMOND VA 06/07/2013 SUNDANCE 608 MADISON WI 06/07/2013 June 14CENTURY 16 ANCHORAGE ANCHORAGE AK 06/14/2013 FIESTA SQUARE 16 FAYETTEVILLE AR 06/14/2013 CENTURY ORO VALLEY MARKETPLACE ORO VALLEY AZ 06/14/2013 CENTURY FOLSOM 14 FOLSOM CA 06/14/2013 GAINESVILLE 14 GAINESVILLE FL 06/14/2013 BEACH BLVD CINEMA 12 JACKSONVILLE FL 06/14/2013 HOLLYWOOD 16 OCALA FL 06/14/2013 WOODLAND SQUARE 20 THEATRES OLDSMAR FL 06/14/2013 MUVICO BAYWALK 20 ST. PETERSBURG FL 06/14/2013 GOVERNOR'S SQUARE 12 TALLAHASSEE FL 06/14/2013 RIALTO THEATRE THE VILLAGES FL 06/14/2013 AMC INDIAN RIVER 24 VERO BEACH FL 06/14/2013 AMC OAKVIEW 24 OMAHA NE 06/14/2013 RIVERSIDE 12 RENO NV 06/14/2013 AMC SOUTHROADS 20 TULSA OK 06/14/2013 PILOT BUTTE 6 PLEX BEND OR 06/14/2013 CHERRYDALE STADIUM 16 GREENVILLE SC 06/14/2013 REGAL DOWNTOWN WEST EIGHT KNOXVILLE TN 06/14/2013 PICKFORD FILM CENTER BELLINGHAM WA 06/14/2013 RIVER PARK SQUARE 20 SPOKANE WA 06/14/2013 GRAND TACOMA 3 TACOMA WA 06/14/2013 CITY CENTER CINEMA 12 VANCOUVER WA 06/14/2013 YAKIMA CINEMAS 10 YAKIMA WA 06/14/2013 June 21SALEM CINEMA SALEM OR 06/21/2013
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Post by eaz35173 on May 17, 2013 6:55:01 GMT -5
bostonherald.com/entertainment/movies/movie_reviews/2013/05/love_will_steal_hearts‘Love’ will steal heartsFriday, May 17, 2013 By: James Verniere “Love Is all you need” Rated R. In English and Danish with subtitles. At Kendall Square and West Newton cinemas. Grade: B+ “Mamma Mia!” without the vocals, Susanne Bier’s lovely, silly, middle-aged romance “Love Is All You Need” gives “Mamma Mia!” leading man Pierce Brosnan a chance to shine again without all that ABBA music (we do however hear several versions of “That’s Amore”). This time, Brosnan is Denmark-based food magnate Philip, a suavely handsome 50-something widower trying to deal with running a vast business involving perishable cucumbers and radishes and still attend the fabulous wedding on the Italian seacoast of his somewhat estranged son Patrick (Sebastian Jessen). At the same time, Ida (the tremendously appealing Trine Dyrholm of “The Celebration”), the beautiful hairdresser mother of the bride, has just been informed that her cancer, which has required a mastectomy, is in remission, although she also catches bearish husband Leif (Kim Bodnia) in flagrante with comely young co-worker Thilde (Christiane Schaumburg-Muller) on the family sofa afterward. What’s a tall, blond beauty wearing a wig and recovering from chemo going to do, except head for Italy on her own, after first meeting Philip “cute” when she crashes her econo-box into his high-end BMW? The wedding is set to take place at Philip’s family villa, where he owns a still-thriving and carefully tended lemon grove. Among the wedding party are Leif and Thilde; Philip’s sister-in-law Benedikte (Paprika Steen), a brassy, controlling hussy who feels she has a proprietary claim on Philip; the gorgeous bride Astrid (Molly Blixt Egelind); Astrid’s soldier brother (Micky Skeel Hansen), who wants to clobber his father; and a young and flirtatious gay cook named Alessandro (Ciro Petrone). Director Bier, who co-wrote the screenplay with regular writing partner Anders Thomas Jensen (they also co-wrote Bier’s Academy Award winner “In a Better World”), is known for powerful, if also at times contrived romantic dramas such as “Brothers” and “Things We Lost in the Fire.” “Love Is All You Need,” which is a production of Lars von Trier’s Zentropa and features repeated shots of Mount Vesuvius looming in the Gulf of Naples, has its contrivances, too, and is as predictable as they come. But you won’t worry if Vesuvius is going to re-erupt, as you might if von Trier were at the helm, and “Love Is All You Need” is also held aloft by its wonderful cast, especially Dyrholm and real-life remarried widower Brosnan, who have a sparkling chemistry and palpable magnetic attraction. (“Love Is All You Need” contains nudity and sexually suggestive scenes and language.)
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Post by eaz35173 on May 22, 2013 6:08:39 GMT -5
www.seattleweekly.com/home/947009-129/philip-ida-add-bier-brosnan-captionsLove Is All You Need: Pierce Brosnan in a Danish-Italian Midlife RomanceBy Brian Miller Tue., May 21 2013 at 04:57PM Love Is All You Need Opposites attract? Brosnan and Dyrholm. Doane Gregory/Sony Pictures Classics Opens Fri., May 24 at Seven Gables & Meridian. Rated R. 110 minutes. Philip and Ida, who meet cute at their grown children’s wedding in Italy, may not be your ideal couple, but they’re probably the future model of moviegoing couples that Hollywood should woo. Both are well past 40. For their generation, date night means more than Chinese delivery and Netflix. There are proprieties to be observed, important social rituals, basic courtesies. If cancer-survivor Ida’s husband is cheating on her with a much younger woman, she should kick him out. If workaholic produce magnate Philip (Pierce Brosnan) should yell at the Danish Ida (Trine Dyrholm) for hitting his car in the Copenhagen airport garage, he should apologize profusely when he realizes his son and her daughter are to wed. And though a grouch, the widowed Philip does apologize. Good manners still count for something. After that, with kids and kin gathered for a wedding weekend at Philip’s Sorrento estate, Susanne Bier’s romantic comedy runs strictly according to plan. Hairdresser Ida begins to reveal the effects of her chemotherapy, goes swimming in the nude, and Philip politely averts his eyes. Both tolerate their boorish relations; both respond appropriately when their kids (Molly Blixt Egelind and Sebastian Jessen) begin to hesitate before the altar. If one match falters, another can be lit. (Amid this nuptial confusion of three languages, with Danish and Italian being thrown at him, Brosnan invariably answers in English—like he’s got a Google-translate chip in his brain.) Bier (Open Hearts, In a Better World ) is unapologetic about constructing this wishful midlife rom-com. And if her story is entirely predictable, it’s also filled with agreeable characters and genuine emotions. The lemon groves and scenery also give it a travelogue aspect; Bier even films the rehearsal dinner by candlelight, recalling The Celebration, whose Paprika Steen here plays Philip’s amusingly tart, predatory sister-in-law Benedikte. Her reticent opposite is Ida, given a kind of beatific, expectant glow by Dyrholm. If Philip’s the frustrated botanist, Ida is the tulip bulb who just needs some careful tending to bloom.
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Post by eaz35173 on May 23, 2013 13:58:57 GMT -5
A nice interview with Trine ...
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Post by Ace on May 23, 2013 15:11:06 GMT -5
www.680news.com/2013/05/23/brosnan-identifies-with-character-in-love-is-all-you-need-a-widowed-father/Brosnan identifies with character in ‘Love Is All You Need,’ a widowed fatherNick Patch, The Canadian Press May 23, 2013 TORONTO – In the sweet-natured Danish film “Love Is All You Need,” Pierce Brosnan portrays a widowed, emotionally unavailable businessman who bankrolls his son’s wedding in a postcard-perfect chunk of the Italian coast, but struggles to engage as the groom-to-be deals with a pre-marital crisis. And for the debonair Irish actor — a father of five, including four sons — exploring that emotional canyon between father and son was both appealing and challenging. “I have an 11-year-old, a 15-year-old, a 28-year-old and a 39-year-old man who’s as tender as the 11-year-old is. I call him an 11-teen-year-old,” Brosnan said last September as he whisked through the Toronto International Film Festival. “So I have sons. And the complexity of bringing them up and trying to guide them — as a man and somebody who was fatherless to some extent in his own life — that comes with a lot of baggage and a lot of understanding and a lot of heartache. But also, an appreciation of life. So I understood something about this young man’s ambiguity.” Transporting though it is, his breezy romantic drama doesn’t seem bogged down by any baggage, even as it acknowledges heavier themes than escapist love stories typically would. Upon arriving for the wedding festivities, Brosnan’s dour Philip is initially unmoved by his beautiful surroundings until he meets Trine Dyrholm’s mother-of-the-bride, an ebullient woman resolved to positivity despite an ongoing struggle with cancer and the dissolution of her marriage to an unfaithful boor. Their romance unfurls slowly as the wedding that brought everyone together begins to seem in doubt. That the film could address death, disease and sexuality yet remain mostly as light as a panna cotta is something Brosnan credits to director Susanne Bier, who helmed 2010′s Oscar-winning “In a Better World.” “I think that’s the gift and the talent of Susanne Bier,” said Brosnan, looking typically dapper in a blue suit. “She really goes deep into these areas and … she seems to have a courage and humanity to her and also a complexity of storytelling which … really just brings this level of filmmaking like you haven’t seen before. “And that’s why I said yes to it. Because of these films that she had done. And it came to me under the title of ‘The Bald-Headed Hairdresser,’ which I thought was rather fascinating. And as I turned each page, I got more and more pulled in by the humour and the tenderness of it, and the frailty of these people.” And Bier said handling heavy themes with a light tough was pretty much “the premise of the whole film.” “I think in a way, in North America, there are two types of romantic comedies at the moment,” she said last September. “One is more quirky — and they have a hard time being romantic. They’re often very comical and less romantic. And I think there’s a cynicism where you don’t dare be truly romantic. And then I think there’s a kind where everybody’s great looking, where there’s no issues, and I find those ones slightly disengaging. I don’t really care. I have to be invested in the characters, and they have to have some real things that make me feel for them.” In addition to the extensive experience as a father that he shares with his character, Brosnan, like Philip, also experienced the loss of a spouse. The actor’s first wife, Cassandra Harris, died of ovarian cancer in December 1991. And Bier acknowledged that Brosnan’s real-life experiences contributed to his being the right fit for the role. “Having lost a wife to cancer … definitely it was part of me wanting (him) to do it,” she said. “But also, I think he wanted to do that because it was light. Because it wasn’t self-indulgent, swimming around in the pain.” In fact, it was an uncommonly joyous experience onset for actor and director alike. Shooting in Italy with mostly Danish cast and crew, Brosnan nonetheless fit right in and was lavished with attention by his collaborators — or so says Biers. “He was surrounded by any number of beautiful, blond actresses who didn’t want anything but (to be) near him,” she said with a smile. “So I think he had a pretty good time.” One scene finds the cast dancing and partying in advance of the nuptials — and the boozy, loose sequence more or less captured the genuinely jovial atmosphere around the shoot. “We all kept stealing champagne,” Brosnan recalled. “A little gin and tonic here and there. No acting required…. I just had the time of my life. It will be forever cherished. Films like this don’t come around that often.” Even if “Love Is All You Need” was atypically pleasant, Brosnan — who has roles in the upcoming comedies “Love Punch” and “A Long Way Down” — says he usually does find a way to enjoy himself, whatever the film he’s working on. Really, the 60-year-old — who’s forthright but gives the impression he wouldn’t suffer fools for long — insists upon it. “Every job is stressful and you want to be good, but I just always have a great time,” he said. “And if there’s toxic people on it, then you just win ‘em over with love. You win ‘em over, you let them just do their thing. And they get found out one way or another, if they’re stupid and silly and misbehaving. “You just pull them aside and give ‘em a dig in the jaw,” he adds with a chuckle. “I’ve never done that. Only once did I ever feel like throttling someone.” “Love Is All You Need” opens Friday in Toronto, Montreal and Vancouver. It’s expected to expand to more cities in the coming months.
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Post by Ace on May 24, 2013 7:13:52 GMT -5
TORONTO STAR: Love is All You Need a grown-up rom-com: Pierce Brosnan and Denmark’s Trine Dyrholm make an intriguing pair in love-after-sadness comedy Love is All You Need.Trine Dyrholm and Pierce Brosnan make an appealing pair in Love Is All You Need.By: Peter Howell Movie Critic, Published on Thu May 23 2013 3 stars Starring Pierce Brosnan and Trine Dyrholm. Directed by Susanne Bier. 116 minutes. Opens May 24 at the Varsity. 14A Denmark’s Oscar-winning Susanne Bier (In a Better World) turns Woody Allen for Love Is All You Need, an Italy-set romantic comedy of love after rejection. Obviously relishing a change of pace from her usual seriously dramatic mode, Bier paints the frame with candy colours that would do Pedro Almodóvarproud and brightens up the soundtrack with such eye-rolling tunes as Dean Martin’s “That’s Amore.” Nobody bats an eye as the languages flow from Danish to English to Italian (there are subtitles). But there’s some real grit mixed with the treacle, and commanding lead performances by Pierce Brosnan as a workaholic and grumpy businessman, and Trine Dyrholm (In a Better World) as the hairdresser who may just tame this lion’s mane. This is a mature rom-com, if that’s not a contradiction in terms. Brosnan’s Philip is a bitter man, a widower through a fluke car accident, who has given up on love: “I’ve danced all the tangos I’m ever gonna dance.” He’s now devoting all his time and energy to his profitable fruit-and-vegetable business, based in Copenhagen. Fate dealt a different bad hand to Trine Dyrholm’s guileless Ida, who looks saucer-eyed even when she’s unhappy. Just out of chemotherapy for breast cancer, but not yet out of the woods, she catches her oafish husband Leif (Kim Bodnia) in mid-tryst with a young airhead from his company’s accounting department. He announces he prefers the airhead, and could Ida really blame him? He’s had trouble coping with her cancer: “I’ve lost eight pounds over this.” But before one marriage is pulled asunder, another must be put together: Ida and Leif are obliged to travel to Italy, separately now, for the wedding of their carefree blond daughter Astrid (Molly Blixt Egelind). She’s getting hitched to the stressed-out Patrick (Sebastian Jessen). The nuptials are to be at the Amalfi Coast vacation home of Patrick’s wealthy father, a widower who happens to be in the fruit-and-vegetables business. No guesses are needed as to where this is headed. It’s a rom-com, after all, but it’s also a Susanne Bier film, and she’s not out to waste our time with empty stereotypes. On the contrary, Brosnan and Dyrholm make for a most interesting and credible pair, drawing us in with their mutual curiosity as they both weigh the chances of love after sadness. They may meet cute — an airport parking imbroglio in which she pronounces him “awful and stupid and not nice” — but the path to swoons and sunsets has a few curves in it. And as for those sunsets, a big part of the film’s appeal is the gorgeous photography of its sun-drenched Sorrento locale. Co-writing once again with Anders Thomas Jensen, who also worked with her on In a Better World and her earlier Brothers, Bier doesn’t hide the ravages of Ida’s cancer treatment (the movie is called The Bald Hairdresser in Denmark) or pretend that weddings aren’t fraught with real emotional turmoil. A scene where Philip spots Ida swimming in the nude, and he catches a glimpse of her surgical scars, is handled tastefully and intelligently: Philip nervous but also admiring; Ida embarrassed but also defiant. Bier film regular Paprika Steen adds stimulating heat as Philip’s strident sister-in-law Benedikte, who figures it’s time to make good on the opportunity she missed out on years ago. Anxious Patrick, on the other hand, may have moved too swiftly in agreeing to tie the knot. The only false note in Love Is All You Need is the speed of Philip’s conversion from bitter widower to eager Romeo. It’s a tad rushed, but as the song says, that’s amore.
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Post by Ace on May 24, 2013 7:16:12 GMT -5
Globe & Mail: Love Is All You Need: A wonderfully likeable character, a superlative actressRICK GROEN The Globe and Mail Published Friday, May. 24 2013, 12:00 AM EDT Danish director Susanne Bier is Euro in her instincts and Hollywood in her endings. She has a knack for scraping the rust off old morality tales – the good/bad sibling narrative in Brothers, the eye-for-an-eye syndrome in the Oscar-winning In a Better World – and finding the modern complexities beneath, only to resolve the complications on a grace note of concluding optimism. Typically, her taste runs to ethical dramas but here she’s tackled the rustiest and most Tinseltown genre of all – the romcom. As the title more than hints, Love Is All You Need is no stranger to formulaic clichés, but it’s still a Bier film. There’s a sprinkling of vinegar in the treacle, a bit of ballast in fancy’s lightweight flight, and, of course, the triumph of optimism that can seem unearned in her dramas is made to measure in a comedy. The reason can be traced to a wonderfully likeable character and to the superlative actor who plays her. The opening sequence speaks volumes about both. Postmastectomy, postchemo, middle-aged Ida (Trine Dyrholm) is in her doctor’s office receiving the conventional wisdom ladled out on such occasions – think we caught it all but no guarantee, group therapy might be useful, relations with hubby could be affected. Ida listens politely, shakes her head at the therapy offer and, turning to the husband front, cracks the opening joke: “I doubt that he’s even noticed one of them is missing.” Yet Dyrholm delivers the line without a trace of self-pity. Indeed, there’s an unfeigned breeziness in her manner that immediately establishes Ida’s essential nature. She’s the rarest of characters on or off screen: an intrinsic optimist, not the blind but the brave variety. Her impulse is always to move ahead, to get on with it. Even when Ida returns home to discover that husband in bed with a young blonde, her anger is real but so is her commitment to the future. After all, her daughter is set to be married in Italy, and the mother of the bride must be there. Alone that night before a mirror, she removes her wig and confronts the bald truth with an acceptant shrug. By contrast, the father of the groom is mired in the past. A Brit who owns a Danish company, Philip (Pierce Brosnan) remains in perpetual mourning for his late wife and, consequently, has grown estranged from his only son. Cut to his villa on the Amalfi Coast, where the wedding party gathers along with the set-piece tropes. Trouble in paradise? You bet, especially when the groom starts casting lusty glances at some hovering Italian hunk. Rehearsal dinner complete with clumsy speeches? No doubt. Boisterous, buxom, lascivious aunt who’s impervious to insult or embarrassment? For sure. Uninvited guest, antic punch-up, ensuing chaos? Yes, yes, yes. Nevertheless, as the ostensible romance withers and the actual one blooms – between Ida and Philip, natch – there’s real delight in watching a pair of veterans ply their trade. Brosnan is terrific at conveying the unexpectedness of love, at incipient feelings that don’t so much crack his hard shell as randomly dent it, leaving him to sift through the surprise. And Dyrholm is better still at capturing the inevitability of love, at least in those special persons who possess it as a gift and a given. Watch her in the scenes with Ida’s grown children, especially her son. She doesn’t dote on him but simply and transparently enjoys him, radiating a pure pleasure in his company. Not since Mike Leigh’s Happy-Go-Lucky have we seen a film, and a performance, do what fiction (if not fact) is so seldom capable of doing – making a truly good character also seem truly interesting. Perhaps it’s no coincidence that, on both occasions, the characters have something glorious in common – they’re women.
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Post by Ace on May 24, 2013 7:17:58 GMT -5
Seattle Times: ‘Love Is All You Need’: Grown-up romantic comedy delivers“Love Is All You Need,” the latest film by Oscar winner Susanne Bier (”In a Better World”), stars Pierce Brosnan and Trine Dyrholm as different kinds of survivors forging an unlikely bond. By Tom Keogh Special to The Seattle Times No romantic comedy would be complete without its protagonists (and destined partners) burdened by personal baggage. In co-writer and director Susanne Bier’s “Love Is All You Need,” that burden is particularly harsh for midlife characters who have been around the block a few times and barely survived. Philip (Pierce Brosnan, alternately raw and charming) is a driven businessman who won’t fully face his rage over the death of his wife. Ida (the appealingly enigmatic Trine Dyrholm, star of Bier’s Oscar-winning “In a Better World”), a Copenhagen hairdresser, is recovering from breast cancer when she discovers her husband, Leif (Kim Bodnia), is cheating on her. Philip and Ida meet as strangers in a whirl of tirade and humiliation, followed by the realization they have something in common: Their grown children are marrying one another on Italy’s Amalfi Coast. Cut to a gorgeous Mediterranean backdrop, where Philip and Ida weave in and out of each other’s days, their relationship an eye in the storm of family dramas threatening the pending nuptials. Bier gives herself plenty of light dramedy to play with, including Leif showing up with his new girlfriend; an annoyed Philip hit on (and on and on) by his crass sister-in-law (Paprika Steen); and an engaged couple (Molly Blixt Egelind and Sebastian Jessen) imploding over emerging secrets. But the real movie is in the behavior of its two leads, the unspoken way Brosnan and Dyrholm visibly size up their unlikely yet growing bond while walking through a lemon grove or sharing quiet talks. The best scene finds their characters on a shore, where Philip has rushed to warn a nude Ida — one of her breasts visibly altered by surgery — about some sort of danger. Forget modesty. A complete understanding of the moment passes between them: something about loss and change, real and metaphorical scars, boldness and honesty. Such adult sophistication is Bier’s aim, and she delivers. Tom Keogh: tomwkeogh@gmail.com
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Post by Ace on May 24, 2013 7:20:44 GMT -5
Vancouver Sun: Love Is All You Need offers romance for grown-ups, how refreshing Filmmaker creates romantic comedy with emotional depth By Katherine Monk, Postmedia News May 23, 2013 Romance for grown-ups is a rare thing these days. Besieged by Twilight lust and ravenous Hunger Games, the multiplex has become a temple of teen desire – a place where feature-length prayers about losing one’s virginity are given prominence, while the magical madrigals about committed, adult love are tossed from the stained window without ceremony. It’s a somewhat tragic development considering some of the most memorable movies ever made revolved around adult concerns and worldly characters, whether it was Ingrid Bergman abandoning Humphrey Bogart for a noble cause in Casablanca or Burt Lancaster and Deborah Kerr crossing the moral boundaries in From Here to Eternity. Grown-ups may not have the dewy dermis of a 20-something, but they have something the movie camera loves even more than an even flesh tone and widely spaced eyes: emotional depth. Because it’s one of those cinematic abstracts that can’t be measured with any definitive metric, emotional weight is usually the first casualty of the modern entertainment business as studio executives seek ever-fluffier stuff to soothe the flattened masses. That said, Susanne Bier doesn’t work within the studio system. The Oscar-winning Danish director of In A Better World and Brothers makes handcrafted films in the old style. She co-writes the scripts, pulls the creative pieces together and goes to camera with a firm concept that explores a real, human issue. In Brothers, she took on the idea of self-preservation in battle and in In A Better World, she examined the dimensions of personal responsibility that go into caregiving. These movies had broad and powerful messages beneath their rugged frames that addressed nothing less than war itself, which makes Love Is All You Need look downright trite by comparison. A romantic comedy starring Pierce Brosnan as a sour-faced lemon trader who blames the world for the premature death of his wife, Love Is All You Need would have been an episode of Love Boat in the hands of Hollywood. But in Bier’s film can, this fizzy romance has real punch because it doesn’t operate in a parallel universe. The real world seeps into the mix from the opening scene as we watch Ida (Trine Dyrholm) come home to find her husband shagging the young, ambitious office bimbo. Ida doesn’t pick up the frying pan, and she doesn’t fly into a Silver Linings Playbook brand of cuckold’s rage. She simply stares at the man she’s lived with for more than 20 years and absorbs the different layers of betrayal in silence. It’s a good scene on its own, but it gains extra oomph when her flustered hubby says: “Hey! I thought you were at chemo!” Flagrant infidelity will always make us sympathetic, but make the victim a breast cancer survivor at the same time, and you have a character halfway to sainthood. Indeed, Ida is almost too lovable when we first meet her because she’s not only sweet, kind and altogether goofy, she’s grown-up enough to pull herself together for her daughter’s forthcoming wedding in Italy. Putting her own sorrow in a suitcase, Ida heads off to hold her daughter Astrid’s hand as she weds Patrick (Sebastian Jessen), a young man who is still sorting things out. Bier was clever to offer us the young couple first because we’re immediately up to speed on what’s happening, thanks to the endless parade of marriage comedies. Patrick and Astrid have to get the villa ready for their friends and family, but the stress causes a few cracks. Meanwhile, the old folks are stirring up all kinds of steamy trouble on their own as Philip (Brosnan) and Ida start taking long walks in the lemon groves and an interloping in-law lunges into the frame like a hungry cougar. Bier seems to be going for a blend of Golden Age screwball romance in the tradition of Hepburn and Tracy, as well the kitchen sink. It’s a clunky assembly, but it works as a result of the vibrant Scandinavian palette and its ability to absorb the absurd. The same way bright purple can look completely appropriate in an Ikea showroom, Bier finds a way of making farce look slice-of-life. At times, the technique only serves to make the film weaker because it removes all the bold-faced dramatic punctuation and the punch lines. Yet, overall, the more subtle turns succeed at bringing us back to the characters and their emotional core. The big, definitive moments never actually arrive. They slide by, the way they do in real life, without high school histrionics or the elegance of a grand design. As a result, the movie seems to drift instead of sail. But when you’re a grown-up, you realize it’s not about the destination, but the journey. CAPSULE REVIEW: Love Is All You Need – Oscar-winning director Susanne Bier (In a Better World) takes on a grown-up romance starring Trine Dyrholm and Pierce Brosnan as an unlikely couple who take the lemons of life and turn them into love lemonade. Despite the familiar moments, Bier’s focus on the adults makes this romantic comedy a refreshing dip in the cool waters of experience.
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Post by Ace on May 24, 2013 18:11:26 GMT -5
www.chron.com/entertainment/movies/article/Pierce-Brosnan-bonds-with-Love-4547348.phpPierce Brosnan bonds with 'Love'By Pam Grady | May 24, 2013 "The film deals with a kind of faith and hope and new beginnings. You draw on yourself constantly," Pierce Brosnan says of Susanne Bier's "Love Is All You Need." Photo: MJ Kim, Staff / 2005 Getty Images Pierce Brosnan doodles as he talks about his latest romantic movie, Susanne Bier's "Love Is All You Need," but a comment about his drawing inspires a moment of memory. "My scripts used to be full of notes," he says. "Now, they're full of drawings and doodles. I take some of those and turn them into paintings. I like to draw. "Thank God for acting," Brosnan adds. "I dropped out of school with just a cardboard folder of artwork; that was all. I got a job in a little studio in Putney. I was talking to a guy one day about movies, and he said, 'You should come along to the Oval House Theatre, they're doing workshops.' I had no idea what a workshop was. I went there on a winter's evening. I had to lie down on the floor, hum, get up, wander around, explore people's faces - experimental theater. That's how it started." The 59-year-old actor moved from his native Ireland to England when he was 11 and describes himself as a shy, almost retiring youth. Acting was not a dream or even something he considered. "I was an accidental actor in some respects," he says. "Somehow that night at the Oval House, that time was just a great exploration of self and excitement about the possibility of being an actor." Brosnan spent two years with the Oval House Theatre before enrolling at the Drama Centre in London in 1973. On the West End, he appeared in Tennessee Williams' "The Red Devil Battery Sign" and Franco Zeffirelli's "Filumena." On screen, he had small roles in two 1980 movies, "The Long Good Friday" and "The Mirror Crack'd" before making an impact in two TV miniseries, 1981's "The Manions of America" and 1982's "Nancy Astor." "Then 'Remington Steele,' then a bit of movie stardom," says the man who parlayed his television success into a big-screen career that includes a four-film stint as James Bond. "Then a bit of change of life and try to redefine and how to grow as an actor and go back to your roots." Since leaving the Bond franchise, Brosnan has appeared in studio films, such as "After the Sunset" and "Mamma Mia!," but has made a greater impact in smaller films including "The Matador" (which he also produced and for which he received a Golden Globe nomination for best actor in a comedy or musical) and Roman Polanski's "The Ghost Writer" (for which he won an Irish Film and Television Award for best supporting actor in a feature film). It was against this backdrop that he received Bier and Anders Thomas Jensen's screenplay for a film then called "The Bald-Headed Hairdresser." "I knew Susanne's work," Brosnan says. "She hadn't gotten the Oscar yet, but I'd seen this film called 'In a Better World,' which was just bedazzling and worked on so many levels of complexity of storytelling. (The film won the Oscar for best foreign-language film in 2011.) And I looked at the rest of her work. "Between that and an identification with this man who was simpatico with all of the emblems that were in there - of fatherhood and disconnect with his son, loss of a wife, a woman dealing with cancer, families and the hurly-burly of family life - all wrapped up in a beautiful wedding. The writing was so good, so potent." In "Love Is All You Need," which opened Friday, Brosnan plays Philip, a brusque British businessman based in Copenhagen, who travels to Italy to the villa he owns but has not visited in the many years since his wife died. His son Patrick (Sebastian Jessen) insists on marrying there, bringing Philip reluctantly back. There he gets to know Ida (Trine Dyrholm), the bride's mother. Philip finds her relentless cheerfulness - her coping mechanism as she deals with breast cancer and marriage troubles - off-putting until he looks past it and sees the woman for who she really is. In addition to loving Bier's work, Brosnan is a fan of other Danish films, including Lars von Trier's "Breaking the Waves" and Thomas Vinterberg's "The Celebration." He was excited at the prospect of starring in one, but he had reservations about taking a role in which his co-stars would all be Danes when he doesn't speak a word of the language. Bier reassured him that it wouldn't be a problem. "So I just leaped," he says. "Love Is All You Need" and a character wrestling with cancer also hit home in a profoundly personal way for Brosnan. He lost his first wife, actress Cassandra Harris, to ovarian cancer in 1991. That part of the story resonated, although the actor notes the film's situation is different than his experience. "That memory and that grief is long past," he says. "The film deals with a kind of faith and hope and new beginnings. You draw on yourself constantly. In this case, it was fairly close to home. "Susanne was aware of this, too. She is a very sophisticated director and writer. … I have a strong understanding why she came to me. The juxtaposition of Trine, who is such a powerful presence on screen and the two of us colliding physically, emotionally and every other which way, just seems to make sense." Brosnan saw "Love Is All You Need" for the first time at a screening in Paris on a rainy Sunday. He walked in wondering if ultimately the film would work and walked out with a smile on his face. "Oh, it was so delightful! I held my breath from my entrance in … and I thought, 'OK, this is all right. Looks like I could get away with this.' Then before I knew it, I was just entranced by it all. It's shamelessly romantic, but it also has a nice bite to it, which is certainly the joy and chemistry of Susanne's work. "It was the perfect Italian movie made with Danes with an Irishman in the middle." Pam Grady is a freelance writer.
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Post by eaz35173 on May 26, 2013 9:55:02 GMT -5
www.unnomdeguerre.com/films/pierce-brosnan-and-trine-dyrholm-show-us-that-love-is-all-you-needPierce Brosnan and Trine Dyrholm Show Us That “Love Is All You Need”POSTED BY Jordan Mounteer on May 24th, 2013 When I see Pierce Brosnan playing the protagonist in another romantic film, I usually try to avoid it lest my image of him as the dashing 007 agent soften into a soap opera dramaturgist. I should probably grow up and shed my conviction of keeping him in one character – in the new film from Danish writer/director Susanne Bier, he demonstrates a particular vigilance in his portrayal of Philip, a middle-aged widower who goes to Italy for his son’s wedding and ends up falling for the bride’s cancer-survivor mother, Ida. The film manages to maneuver between Danish and English without ever becoming truly one or the other, and for some reason I really liked this choice – although Brosnan necessarily has most of his lines in English, the moments we get between Ida and her son or daughter, in which we’re hearing their native tongue, ends up conveying a real kind of intimacy that brings all the characters into the foreground. I have to admire Bier’s ability to make the story not just about Philip and Ida (played by the lovely and endearing Trine Dyrholm) – if this were an American romance, the focus of our attention would be just on these two as they stumble over their mid-life crises and carefully concealed wounds. We never entirely leave them, but Bier is careful to flesh out the characters of Philip’s son Patrick and his fiancée, Ida’s daughter Astrid, and it never feels like we’re trying to keep track of too many personalities. I chalk this up to the reticent, and at the same time curiously brave, performances by Brosnan and Dyrholm. They’re both accomplished actors, and it almost feels like they unintentionally absorb their character’s reserved natures. Both are hurt, and neither wants to invade the spotlight on their children getting engaged. Which makes the scenes between them feel all the more genuine, like we’re spying on moments that may be shouldn’t be – when Philip is explaining the botany of lemons, when he catches her swimming naked (after a mastectomy) in the Aegean, or when Ida manages to open him up about the passing of his wife while they drink cappuccinos on a café patio. I also really enjoyed the straightforwardness of the script – Ida’s character, although always tip-toeing a terminal prognosis, is perpetually (sometimes stubbornly) vivacious. But it’s the kind of personality we need to shake Philip out of his self-loathing. I think sometimes coyness is the single greatest evil we can inflict on ourselves, and Ida’s character (whether because of her brush with cancer, or coming face to face with her choices in life) burns away this modesty with a kind of naïve innocence. She asks questions and makes statements that are almost too forward – and at the same time, she’s inclined to secrecy when the stakes become personal. As a story about trying to learn how to really live again (or for the first time), you can’t help but feel that rise in your chest by the end of the film. And although the third act becomes a little sluggish, and has that “tacked on” feel to it, I think we arrive where we need to – at the source of both of their vulnerabilities. If you can hold off letting your characters have their first kiss until the very end, and we’re just as excited as if it had happened in the first five minutes, then you’re doing something right.
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Post by eaz35173 on May 28, 2013 6:39:54 GMT -5
www.dispatch.com/content/stories/life_and_entertainment/2013/05/27/doleful-widower-a-familiar-role.htmlPierce Brosnan: Doleful widower a familiar roleSuave actor seems perfect for romance By Nancy Mills NEW YORK TIMES SYNDICATE Monday May 27, 2013 7:18 AM In search of someone suave and sophisticated to star in the romantic comedy Love Is All You Need, Danish director Susanne Bier landed — perhaps inevitably — on the doorstep of actor Pierce Brosnan. Having spent much of his career in that sort of role, the former James Bond seemed the perfect fit to play the lonely, aging English widower who’s charmed by a Danish hairdresser (Trine Dyrholm). It’s the type of role that, a half-century or so ago, might have been played by Cary Grant — whose work, it turns out, Brosnan studied.“When I won the role in Remington Steele (1982-87), I watched Cary Grant over and over again and tried to emulate him,” he said. “It kind of stuck.” The Irish-born actor spoke recently by phone from his vacation home in Hawaii, where he was with his wife, Keely Shaye Smith, and their sons, 16-year-old Dylan and 12-year-old Paris. “I didn’t grow up in a sophisticated background, but a man becomes what he dreams sometimes,” Brosnan said. “I wanted it, wished it and got it — and I painted myself into a corner. All my characters have one thing in common: sophistication.” In Love Is All You Need — opening Friday in theaters nationwide — Philip (Brosnan) starts on the sour side. Living in Denmark, he has never really recovered from the accidental death of his wife many years earlier. On his way to his son’s wedding in Sorrento, Italy, Philip meets Ida (Dyrholm), the mother of the bride, when she backs into his car at Copenhagen Airport. He is grumpy; she is distracted. Not only has she discovered that her husband has a mistress, but she is also recovering from breast-cancer treatment. Cancer might seem ill- fitting for a romantic comedy, but Brosnan credited Bier with finding the right tone. “You have to look at the humor of it all,” he said. “Ida is a woman who has cancer but is strong. Already the audience is simpatico with her, because she’s been dealt so many blows. She has a good sense of who she is, even though she’s somewhat adrift in life. “A good romantic comedy starts with the reality of life,” he said, “and then you tweak it.” Brosnan wasn’t surprised to be offered the role. “Intellectually, I understood why. Having lost a wife to cancer many years ago, I found this film to have deep poignancy for me.” Brosnan’s first wife, Cassandra Harris, was 43 when she died of ovarian cancer in 1991. After her death, he struggled to raise their son, Sean, who was 8, and her other children, Charlotte and Christopher, whom he had adopted when their father, Dermot Harris, died in 1986. Unlike his character in Love Is All You Need, though, Brosnan eventually moved ahead with his life, fell in love again and remarried. The actor, who turned 60 this month, has spent time lately reflecting on his life. “Sixty is big,” he said. “It comes with a mild kind of regret: ‘Did I waste my time?’ ‘Should I have done more?’ ‘Could I have done more?’ ” He isn’t one to surrender to second thoughts, though.“When I look in the mirror, I see a man who has lived a good life and has been fortunate to be in the right place at the right time. Now I’m trying to stay relevant and connected while dealing with looks and body parts fading. “You have to have a sense of grace and humor about it and not worry.” After years as one of Hollywood’s most charming leading men, Brosnan now searches for unconventional roles. “It’s great to be a leading man,” he said. “However, I have to find work that’s stimulating. Remington Steele took me into American homes, and I had the glory of James Bond — which put me on the map. “It was a magnificent chapter in my life, but I don’t miss it. Daniel (Craig) does his James Bond with the greatest of ease and athleticism. It’s another man’s job.”
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Post by eaz35173 on May 30, 2013 6:12:47 GMT -5
www.independent.com/news/2013/may/30/emlove-all-you-needem/Thursday, May 30, 2013 By Josef Woodard (Contact) Just beyond sundown, in an Italian lagoon, a woman takes a languishing swim in the nude. She’s unusually nude, in fact, by movie-world standards, from her post-chemo bald head, past her post-mastectomy breast, to her toes. How could emotionally chilly business mogul Pierce Brosnan, who urges her out of the water, warning of riptides, not begin to fall in love with her? It’s a beautiful, pivotal, and also slightly startling scene in the midst of the Danish film Love Is All You Need, writer-director Susanne Bier’s refreshingly different take on the wedding gone wrong — or sideways — setup. It’s not that Bier is willfully packing art-house tactics or deconstructing the rules of the romantic-comedy genre here. Take the smarmy English title (the Danish title is the more fitting but less marketable The Bald Hairdresser), or the kitschy touch of featuring Dean Martin oozing “That’s Amore,” among other sentimental maneuvers. Clichés line the route, as things go awry in a wedding of young Danes on a ravishing Mediterranean property in Italy. (It was shot in Sorrento: Sign me up, Orbitz.) But warm gusts of more sincere emotionality also show up, and the anchoring romantic narrative, ebbing and flowing throughout the film, involves Brosnan’s cool, business-headed character, a widower who has lost touch with his heart, and a working-class breast-cancer and cheating-husband survivor (the wonderful and subtle actress Trine Dyrholm), who challenges his haughtiness and begins to chip away at his armor. Echoes of films past inevitably sneak into the picture. Brosnan is surprisingly good here, a different kind of character wallowing in Mediterranean climes compared to his unfortunate role in Mamma Mia! We also get some of that culture-envy sensation from the wonderful Danish film Italian for Beginners, in which reserved Danes nursed dreams of warm, histrionic Italy. Where Bier’s film gains some distinction is from another narrative anomaly in the realm of movie archetypes, the one about the middle-aged cancer victim gaining an upper hand on not only her health but her sense of empowerment and deeper well-being. Sure, the fairy-tale factor runs a bit thick, but the sentiment works out to be a nice one in this agreeable lark of a film.
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Post by eaz35173 on May 30, 2013 23:37:28 GMT -5
www.freep.com/article/20130531/ENT01/305310010/love-is-all-you-need-pierce-brosnan'Love Is All You Need' avoids Hollywood clichesMay 31, 2013 By Claudia Puig USA Today It’s the rare love story that avoids treacly sentimentality. Even rarer is a believable romantic comedy featuring middle-aged people that avoids jokes about sagging flesh and waning libidos. “Love Is All You Need” dodges all the usual Hollywood romance bullets. Perhaps that’s because it was made by Danish director Susanne Bier, who won a foreign-language Oscar in 2010 for her moving and thought-provoking “In a Better World.” Though this is a light film, it’s not flimsy. Characters are developed thoughtfully, and clichés are averted. Set mostly in a scenic Italian coastal town, it’s a romance that builds slowly and believably, and its stars (Pierce Brosnan and Danish actress Trine Dyrholm) are ideally cast. Brosnan plays Philip, a wealthy widower who has buried grief over his wife’s death by plunging into workaholism at his Copenhagen company. A strapping fellow, he is lusted after by his employees and sundry Danish women, but he has eyes only for the bottom line. It’s a wonderful role for Brosnan, who invests his character with depth and dignity. Ida is beautifully played by Dyrholm. Still recovering from breast cancer, she walks in on her lout of a husband, Leif (Kim Bodnia), as he’s dallying with a younger woman. Shaken but in denial, she heads off to the airport en route to Italy, where her daughter, Astrid (Molly Blixt Egelind), is getting married to Patrick (Sebastian Jessen). In the airport parking lot, Ida crashes her subcompact into Philip’s luxury sedan. It’s not a happy first encounter, and only later do they realize it’s her daughter and his son who are getting married in Italy. Though the premise sounds formulaic, the events that transpire once they arrive in Italy are unpredictable. The best scenes are those between Ida and Philip, both wounded souls. The clueless Leif shows up at his daughter’s wedding with Tilde (Christiane Schaumburg-Muller), the bimbo he was romancing back in Denmark, but there are bigger complications afoot than insensitive family members. The soulful Ida draws out Philip’s vulnerability as the two progress from casual conversations to a deeper connection. A particularly touching scene involves Ida, bald from chemotherapy treatments and minus her blond wig, swimming in a cove. Had this been made by a Hollywood studio, it might have been played for laughs and then possibly tears. But in Bier’s hands, the scene’s quiet straightforwardness lends it poignancy. Brosnan and Dyrholm are irresistible, communicating volumes with mere glances as well as sharp dialogue. It’s a sweetly enchanting experience watching this mature romance unfold.
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Post by Ace on May 31, 2013 15:47:10 GMT -5
Dates and locations have been updated - those further away are of course more subject to change (you can already see more theaters have been added since the first time I posted these) sonyclassics.com/loveisallyouneed/dates.htmlMay 31DAVIS VARSITY THEATRE DAVIS CA TOWER ANGELIKA FILM CTR. 3 SACRAMENTO CA GARDEN CINEMA NORWALK CT PALACE 20 BOCA RATON FL SHADOWOOD SQUARE 16 BOCA RATON FL PARADISE 24 DAVIE FL DELRAY 18 CINEMA DELRAY BEACH FL GATEWAY 4 FT LAUDERDALE FL SOUTH BEACH 18 MIAMI BEACH FL CHELSEA THEATRE CHAPEL HILL NC RALEIGH GRANDE 16 RALEIGH NC TOWNE STADIUM 16 EGG HARBOR TOWNSHIP NJ MAPLEWOOD 6 MAPLEWOOD NJ RITZ AT THE BOURSE 5 PHILADELPHIA PA ARBOR CINEMAS @ GREAT HILLS AUSTIN TX WESTHAMPTON THEATRE 2 RICHMOND VA ORIENTAL 3 MILWAUKEE WI June 7MARKET STREET CINEMA LITTLE ROCK AR BLVD CINEMAS LANCASTER CA VINE CINEMA LIVERMORE CA OSIO PLAZA THEATRE MONTEREY CA CINEARTS AT SANTANA ROW SAN JOSE CA SUMMERFIELD CINEMAS SANTA ROSA CA SEBASTOPOL CINEMAS 9 SEBASTOPOL CA CENTURY 16 BOULDER CO BELL TOWER 20 FT MYERS FL HOLLYWOOD 20 NAPLES FL SILVERSPOT 11 CINEMAS NAPLES FL INTRACOASTAL 8 NORTH MIAMI BEACH FL HOLLYWOOD 20 SARASOTA FL WINTER PARK VILLAGE 20 WINTER PARK FL KAHALA MALL 8 HONOLULU HI KEYSTONE ART CINEMA INDIANAPOLIS IN ELMWOOD PALACE 20 HARAHAN LA AMHERST CINEMA ARTS CENTER AMHERST MA MAPLE THEATER BLOOMFIELD HILLS MI CINEMARK PALACE 14 KANSAS CITY MO GLENWOOD AT RED BRIDGE KANSAS CITY MO AMC TOWN CENTER 20 LEAWOOD KS MANOR TWIN CHARLOTTE NC RED BANK ARTS CINEMA RED BANK NJ CENTURY 14 ALBUQUERQUE NM UA HIGHRIDGE 8 ALBUQUERQUE NM UA DEVARGAS CENTER 6 SANTA FE NM VILLAGE SQUARE 18 LAS VEGAS NV SPECTRUM CINEMA 7 ALBANY NY AMHERST 3 THEATRES BUFFALO NY ESQUIRE 6 CINCINNATI OH CEDAR-LEE CINEMA 6 CLEVELAND HEIGHTS OH DREXEL EAST 3 COLUMBUS OH THE NEON DAYTON OH AMC QUAIL SPRINGS 24 OKLAHOMA CITY OK DARKSIDE CINEMAS CORVALLIS OR BIJOU ART CINEMA EUGENE OR MANOR 4 PITTSBURGH PA RIDGEWAY QUARTET MEMPHIS TN MODERN ART MUSEUM OF FT. WORTH FT WORTH TX BROADWAY CENTRE CINEMAS 6 SALT LAKE CITY UT VINEGAR HILL CHARLOTTESVILLE VA SUNDANCE 608 MADISON WI June 14, 2013CENTURY 16 ANCHORAGE ANCHORAGE AK FIESTA SQUARE 16 FAYETTEVILLE AR CENTURY ORO VALLEY MARKETPLACE ORO VALLEY AZ PAGEANT CHICO CA CENTURY FOLSOM 14 FOLSOM CA GAINESVILLE 14 GAINESVILLE FL BEACH BLVD CINEMA 12 JACKSONVILLE FL HOLLYWOOD 16 OCALA FL WOODLAND SQUARE 20 THEATRES OLDSMAR FL GOVERNOR'S SQUARE 12 TALLAHASSEE FL RIALTO THEATRE THE VILLAGES FL AMC INDIAN RIVER 24 VERO BEACH FL FLICKS FOUR BOISE ID AMC OAKVIEW 24 OMAHA NE RIVERSIDE 12 RENO NV AMC SOUTHROADS 20 TULSA OK PILOT BUTTE 6 PLEX BEND OR CABLE CAR CINEMA PROVIDENCE RI CHERRYDALE STADIUM 16 GREENVILLE SC REGAL DOWNTOWN WEST EIGHT KNOXVILLE TN BIJOU SAN ANTONIO TX PICKFORD FILM CENTER BELLINGHAM WA RIVER PARK SQUARE 20 SPOKANE WA CITY CENTER CINEMA 12 VANCOUVER WA June 21 MUVICO BAYWALK 20 ST. PETERSBURG FL FLEUR 4 THEATRES DES MOINES IA SALEM CINEMA SALEM OR YAKIMA CINEMAS 10 YAKIMA WA June 28MICHIGAN ANN ARBOR MI GRAND TACOMA 3 TACOMA WA July 12FOUNTAIN THEATRE LAS CRUCES NM
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