Confessions of a Dangerous Mind (2002)



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Titolo originale: Confessions of a Dangerous Mind–>
Genere: Biografico, Commedia, Poliziesco–>
Durata: 113–>
Nazione: USA, UK, Germany–>
Regia:

  • George Clooney

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Scritto da:

  • Chuck Barris (libro)
  • Charlie Kaufman (sceneggiatura)

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Produzione:

  • Amy Minda Cohen (produttore associato)
  • Stephen Evans (produttore esecutivo)
  • Jonathan Gordon (produttore esecutivo)
  • Gym Hinderer (produttore associato)
  • Andrew Lazar (regista)
  • Rand Ravich (produttore esecutivo)
  • Far Shariat (co-produttore esecutivo)
  • Steven Soderbergh (produttore esecutivo)
  • Jeffrey Sudzin (co-produttore)
  • Bob Weinstein (produttore esecutivo)
  • Harvey Weinstein (produttore esecutivo)

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Musiche:

  • Alex Wurman

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Trama del film:

Television made him famous, but his biggest hits happened off screen. "Confessions of a Dangerous Mind" is the story of a legendary showman's double life – television regista by day, CIA assassin by night. At the height of his TV career, Chuck Barris was recruited by the CIA and trained to become a covert operative. Or so Barris said. Written by Anonymous

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1 Comment

  1.  

    The-Kissable-Writer ([email protected]) said

    February 27 2012 @ 19:24

    "Confessions of a Dangerous Mind", George Clooney's tongue in cheek
    directorial debut, is an adaptation of Gong Show creator Chuck Barris'
    memoir in which he claims to have murdered dozens as a secret agent.
    Clooney did well in casting Matchstick Men's Sam Rockwell as the lead.

    "I wanted to be a writer once.I wanted to write something that someday
    some lesser person would quote but I never did because I'm the lesser
    person"

    Rockwell's the go-to guy if you need to cast a tragicomic role. He's
    the stranger you meet in a shabby bar who tells you jokes all night
    long, laughing along with them, and gets "Frank Sinatra, she shot me
    down, give me a cigarette, King of Sad" when he's drunk (that's a
    Vanilla Sky quote). He's the corporate yuppie whose eyes will always be
    too big for his stomach, the kind who buys a new type of Porsche every
    year just because the new one has leather seats, the insatiable writer
    who wants to capture every little life truth in 2D. That is, the
    characters he portrays send those signals. He also seems like the kind
    of actor who loves his job, as his grins and glee seem sincere.

    "I intend to be very important"

    Barris is the kind of man who has no clue as to where his ambitions
    lie, just that they're huge. He strives for a career in television
    because "it's an industry with a future", in other words a quick way to
    make a fortune. It's just like a man with money in his eyes to fall in
    love with a girl named "Penny" (Drew Barrymore), the endearing hippie
    antidote for Barris' obnoxiousness. He loves her "in his own way" –
    meaning not the way she deserved to be – while she loves him almost
    unconditionally. She keeps giving him second chances after he cheats on
    her countless times. She also gives him the idea for his first pilot,
    the Dating Show, with which he eventually gains access to some of his
    dreams. It's at this juncture in his life, a government agent (Clooney)
    approaches him with a strange proposal.

    "I can teach you at least 30 different ways to kill a man with a single
    blow, Mr.Barris. It might help in future bar fights."

    Barris' alternate universe where he works freelance for the government
    as an "assassination enthusiast", as a way to relax his mind through
    the rush of danger, most likely's a figment of his decaying mind. In
    real life that is, in the script Charlie Kaufman (Adaptation, Eternal
    Sunshine) takes the "hitman" double entendre as a given, though he
    winks at the audience about the implausible double life too. At one
    point, Barris stands in front of a theater background, an alley very
    much like the one he murdered someone in, and it gets wheeled out of
    frame. In another scene, Barris and another assassin (Rutger Hauer)
    fraternize and they're the only ones in Technicolor, the background is
    almost completely drained from pigment. Meanwhile music composed for
    noirs and detectives can be heard (exciting trumpets, dawdling drums
    and bas).

    "Helsinki is wonderful this time of year. Especially the snow. It
    affords one solitude even in a city full of people."

    It's as if the game show producer literally stepped into an old movie
    and his whole other identity has all the details of a child's fantasy.
    Meeting with mysterious, attractive fellow spies (Julia Robert's
    portrayal of Patricia is very sensual), encountering philosophizing old
    killers who share their experiences with you ("Killing my first man was
    like making love to my first woman"), having to find a mole in your own
    ranks before you find yourself staring down the barrel of his/her gun.

    Clooney's in search of an identity as a director, he lacks uniformity
    in style. We'll sweep it under the rug as a sin of youth. First act
    scenes (the dates in the theater) are fuzzy yellow. While outside
    scenes are sober (natural colors and in focus), the heavily stylized
    yellow scenes of his first hit in Mexico could be taken directly out of
    Soderbergh's Traffic. The inside bar scenes bathe in pools of red (like
    indirect light from a neon bulb) and the montages are paired with some
    of Clooney's jukebox favorites of the decade. This, and the tone of the
    narration are very Scorsese. For instance: 'I don't know what was worse
    – that I was duped by that fat bachelor, or that it took seven of us to
    replace him'.

    JIM: Over here, strawberry dick. CHUCK: How do you know those things?
    JIM: We know what she actually thought it tasted like. CHUCK: Really? I
    could never find that out. JIM: That's on a need-to-know basis.

    Though some serious thriller and drama elements arise near the end of
    the movie, Confessions is an ink black comedy, excelling in dry humor.
    There are no real jokes but the fun lies in slanted looks, insane
    dialog delivered dryly, accidental killings and loveless sex. It's the
    kind of movie where mentioning you wrote a pop song gets you laid all
    the time, girls start to cry when you make a move on them (that's how
    horrified they are by the thought of you and her together) and you
    insult the biggest, most short-fused guy in the bar knowing you're
    going to get it on the chin but you're unable to stop yourself. Barris'
    drill instructor demonstrates a killing technique (hitting someone in
    the Adam's apple) on a volunteer, then – realizing what he's done – he
    mutters "Shit! I need another volunteer!". At this point Rockwell
    delivers this 'okay then, moving on' look. It takes a man with a sense
    of subtlety to pull these jokes off. Luckily, both Rockwell and Clooney
    possess such skills.

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