The Truth About Charlie (2002)



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Titolo originale: The Truth About Charlie–>
Genere: Mystery, Thriller–>
Durata: 104–>
Nazione: USA, Germany–>
Regia:

  • Jonathan Demme

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Scritto da:

  • Peter Stone (based on the motion picture "Charade" sceneggiatura by)
  • Jonathan Demme (sceneggiatura)
  • Steve Schmidt (sceneggiatura)
  • Peter Stone (sceneggiatura – nel ruolo di Peter Joshua)
  • Jessica Bendinger (sceneggiatura)

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Produzione:

  • Neda Armian (co-produttore)
  • Michel Cheyko (co-regista – nel ruolo di Mishka Cheyko)
  • Jonathan Demme (regista)
  • Ilona Herzberg (produttore esecutivo)
  • Peter Saraf (regista)
  • Edward Saxon (regista)

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Musiche:

  • Rachel Portman

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Trama del film:

A young woman in Paris is about to divorce her husband when she discovers… he's dead; and all their money is gone. She meets a mysterious man, who tells her that the money was really his, and he wants it back, seemingly convinced that she's hiding the cash. Meanwhile, more people end up dead… Written by Anonymous

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1 Comment

  1.  

    John DeSando ([email protected]) said

    February 27 2012 @ 18:43

    So Cary grant and Audrey Hepburn are unfortunately dead. That means
    director Jonathan Demme (`Silence of the Lambs’) must find suitable
    replacements for his remake of `Charade’ called `The Truth about Charlie.’
    Will Smith was his first choice-Mark Wahlberg (`Planet of the Apes’) took
    the Grant role. Thandi Newton (`Mission Impossible 2′) plays Hepburn’s
    role. Neither carries the film, which requires a certain amount of
    international sophistication and charm.

    Set in Paris, `The Truth about Charlie’ starts with a murder and the
    victim’s money, which everyone seems to want. It has touches of the old
    American love of Paris, e.g., the tower appears regularly. But it is a more
    modern Paris than the original film’s: Cinematographer Tak Fujimoto (`Signs’
    `The Silence of the Lambs’) said, `We wanted to make the city feel
    mysterious and scary. We wanted it overcast and gray-different from the
    traditional view of Paris, more realistic, more paranoid.’

    A Ferris-wheel scene with Wahlberg and Tim Robbins, who reprises the Walter
    Matthau role, evokes the mystery and danger of Sir Carol Reed’s `Third Man.’
    That most American of images, the incarcerated Hannibal Lecter, ends the
    film with a fitting tribute to his invulnerability.

    Back to Wahlberg and Newton. The success of the film, then and now, rests
    with the leads, and they failed. Wahlberg is flat, expressionless, 2
    dimensional. Newton lacks the acting chops to navigate the aftershocks of a
    husband’s murder and the barrage of interest in his money, hidden somewhere
    in plain sight. Robbins comes closest to a screen presence, part
    mountebank, part protector, and part enigma.

    The original title `Charade’ better expresses the delicious ambiguity of
    European intrigue where nothing is as it seems, and people are not what they
    appear. In this regard, `Charlie’ fulfills the promise. For a modern look,
    it also succeeds.

    But in an overall comparison between the 2 films, `Charlie’ is the
    imposter-no ambiguity intended.

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