Cate Blanchett denies dating women

17 May 2015 | Author: | No comments yet »

Carol at Cannes Film Festival.

At one point, during Sunday’s Cannes press conference for the Todd Haynes film Carol, about a lesbian romance in 1952, Cate Blanchett was obliged to clarify a recent quote from Variety, that the married mother of four had plenty of personal experiences to draw on for her character. “From memory, the conversation ran: ‘Have you had relationships with women?’” said Blanchett. “And I said: ’Yes, many times. CANNES, France–Cate Blanchett’s reputation as one of the greatest actresses of her generation is being cemented further at Cannes, where the premiere of her latest movie “Carol” has won rave reviews.CANNES, FRANCE—Forbidden love is the theme of Todd Haynes’ stunning new romantic drama Carol, but nothing’s holding back the affection this picture is receiving—and deserving — at Cannes. Born in Melbourne on May 14, 1969, Blanchett began her career on the Australian stage, building up a string of acclaimed theater performances in the early 1990s before working her way into increasingly high-profile film roles.

Starring Cate Blanchett and Rooney Mara as fugitive lovers in the repressive America of the 1950s, the film screened here Saturday night to international press prior to Sunday’s world premiere at the Palais des Festivals. Call me old fashioned but I thought one’s job as an actor was not to present one’s boring, small, microscopic universe but to make a psychological connection to another character’s experiences.” Haynes’ first feature since 2007’s unorthodox Bob Dylan biography, I’m Not There, is an adaptation of a novel by Patricia Highsmith, the famed psychological mystery writer best known for Stranger on a Train and the Ripley novels. This tale of illicit lesbian longing plays out in locked eyes and glancing touches; in the colour choices — accents of scarlet hint at the passion under the polite taupe and dove grey — and the set design as much as in the words spoken. Blanchett made her breakthrough performance in 1998, playing the 16th-century British monarch in “Elizabeth,” which won her a slew of awards and her first Oscar nomination.

It happened Friday night when Gus Van Sant’s thuddingly melodramatic The Sea of Trees, starring Matthew McConaughey, Naomi Watts and Ken Watanabe, was greeted with a chorus of boos as the final credits rolled. In the film, Blanchett stars as a lonely, upper-crust married woman who forms a relationship with a young shopgirl, Therese (The Girl with the Dragon Tattoo’s Rooney Mara), arguably a young stand-in for the young Highsmith herself. She has been nominated six times at the Academy Awards, winning the supporting actress statuette for another pitch-perfect impression, as Katherine Hepburn in “The Aviator” in 2004. Based on the ecstatic reactions to the film, it looks a serious prospect for the Palme d’Or at the festival’s end, and later Oscar nominations, beginning with Best Picture and including (but not limited to) nods for director, actress and supporting actress. Blanchett has also dabbled in blockbusters, appearing in “Indiana Jones and the Kingdom of the Crystal Skull,” “Robin Hood,” and all of Peter Jackson’s “Lord of the Rings” and “Hobbit” films.

Harris about the Scarsdale Diet doctor murder) was working as a researcher for The New York Times Magazine when she met Highsmith, who had been commissioned to write a walking tour of Brooklyn’s Green-Wood Cemetery. Shot on 16 mm film for authentic colours and textures by cinematographer Ed Lachman, the film is based on Patricia Highsmith’s 1952 lesbian cult-novel The Price of Salt, said to have inspired Nabokov’s Lolita. The two women became long-distance friends – Highsmith spent the latter part of her life in Switzerland – and the author suggested Nagy might like to adapt one of her novels for the screen.

Ripley” to the crusading Irish journalist in “Veronica Guerin” or another heavily accented (and pregnant) reporter in Wes Anderson’s “The Life Aquatic with Steve Zissou.” She has repeatedly returned to the stage, to similar levels of acclaim. Blanchett, 46, and Mara, 30, dress and act like opposing figures from movie lore: Blanchett looks to be a femme-fatale type from film noir and Mara strongly resembles Audrey Hepburn at her most fragile. Yet they make for a love-at-first-sight match so intense that when each of them says at different points “I’m starving,” you know they’re not really talking about food. The pair have three sons together and recently adopted a baby girl.–Eric Randolph Disclaimer: The comments uploaded on this site do not necessarily represent or reflect the views of management and owner of Blanchett is Carol Aird, a middle-aged, affluent and forthright New Jersey housewife and mother who falls for Mara’s Therese Belivet, a young, scrimping and timid salesclerk she meets while Christmas shopping for a doll for her daughter in a Manhattan department store.

To subscribe to the Philippine Daily Inquirer newspaper in the Philippines, call +63 2 896-6000 for Metro Manila and Metro Cebu or email your subscription request here. The immediate and mutual spark between them is a surprise to both women, especially Therese, but both have bothersome men in their lives: Carol is in the midst of divorcing her husband (Kyle Chandler) and Therese is uncertain of her love for her boyfriend (Jack Lacy). But consider the punitive early 1950s America that Carol and Therese live in: homosexuality is considered a crime and a legally invoked “morality clause” could deny Carol access to her daughter. As cinematographer Edward Lachman put it, “we were trying to further the work of Mildred Pierce, a kind of soiled naturalistic look using mid-century world of photographers like Vivian Meier.” “The most affecting stories about love are always rooted in point of view,” said Haynes. “In Phyllis’ screenplay, you’re always in the point of view of the more amatory, and thus, less powerful, character. Carol is set in the distant past, but the film clearly speaks to current times, where advances in homosexual rights are still being fought for on a place-by-place and law-by-law basis.

But that changes over the course of the film.” One film he cites is Brief Encounter, David Lean’s drama about a more conventional illicit relationship, and, similarly, more interested in the glowing coals than the actual flame. This point was driven home in the press conference Sunday afternoon, where Blanchett noted that more than 70 countries around the world still ban homosexuality. Most striking, and what makes you want to watch Carol again after a first viewing, is the beautifully lit and photographed faces of the two actresses, with their classic Hollywood sculptural looks. It’s also still a difficult time for filmmakers and actors who want to make female-filmed movies, she added, elaborating on her call for greater gender equity made during the 2014 Academy Awards telecast, after winning Best Actress for her role in Woody Allen’s Blue Jasmine. But she expressed the hope that the progress “is not just some fashionable moment for women.” The tastefully rendered sex and nudity in Carol could run afoul of censors in the U.S. and conservatives in the Academy of Motion Picture Arts & Sciences, the latter being the group believed to have denied Brokeback Mountain a Best Picture prize in 2005 because of its frank depiction of gay romance.

But Haynes, who previously explored societal taboos with Far From Heaven and TV’s Mildred Pierce mini-series, said he’s confident that Carol will be released this fall without cuts to the version screened at Cannes. She clarified the situation by saying that while she’s had multiple relationships with women, none of them were sexual, “but in 2015, the answer should be, ‘Who cares?’” MUSICAL TRAGEDY: Few musical rise-and-fall stories match the tragedy of Amy Winehouse, the British jazz songbird who rose to prominence early this century, won six Grammys, and then succumbed to alcohol poisoning in July 2011, at the fateful age of 27. He expertly stitches together much previously unseen footage of Winehouse and her own words — in voice and via on-screen handwritten lyrics — to show just how much songs like “Rehab” and “You Know I’m No Good” mirrored her life and emotions.

The film begins with a 15-year-old Amy joyfully singing “Happy Birthday” at a family event in 1998, and follows along on her roller-coaster ride to fame, fortune and infamy, when alcohol, heroin and other drugs increasingly became her crutch for coping with fame. I would probably go mad.” There are many sad moments in Amy, not least of which is her visible deterioration from a striking siren of beehive hair and cat’s-eye makeup into a skeletal figure of pity. But the worst moments of all have to be watching all the men who used her for personal gain: her manoeuvring father Mitch Winehouse, her heroin-enabling husband Blake Fielder-Civil and even guys like Jay Leno, who first welcomed her to perform on The Tonight Show and then started using her for cheap laughs in his monologue. As Winehouse sings in her song “What Is It About Men”: My destructive side has grown a mile wide / And I question myself again: what is it ‘bout men?”

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