Gravity
Director: Alfonso Cuarón
Year: 2013
Time: 19:30
Thursday 23 June, 2016
Venue: Cinema Cottage London, imaFilm studio
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كلبه سينما برگزار مي كند:
نقد و بررسی فيلم سينمایی جاذبه همراه با نمایش فیلم
جاذبه فیلمی سه‌بعدی علمی–تخیلی و درام آمریکایی محصول سال ۲۰۱۳ به کارگردانی آلفونسو کوارون است که برای اولین بار در هفتادمین جشنواره فیلم ونیز در ماه اوت ۲۰۱۳ به نمایش درآمد. ساندرا بولاک و جرج کلونی دو بازیگر اصلی این فیلم هستند. این فیلم در جشنواره اسکار سال ۲۰۱۴ برنده هفت جایزه شد.
پنجشنبه 23 ژوئن 2016
ساعت: 19:30
مكان: كلبه سينما- استودیو ایمافیلم واقع در پارك رويال
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داستان فیلم (برگرفته از ویکی پدیا)
یک مهندس پزشکی ناسا به نام رایان استون (با بازی ساندرا بولاک) در اولین سفر خود به خارج از کره زمین، به همراه فضانورد باتجربه مت کوالسکی (با بازی جرج کلونی)، دو نفر از اعضای یک تیم ۵ نفره از فضانوردان آمریکایی هستند که ماموریت آنها تعمیر تلسکوپ هابل می‌باشد. در حین یکی از راهپیمایی‌های فضایی، پیغام اضطراری مبنی بر انهدام یکی از ماهواره‌های جاسوسی روسیه و پراکنده شدن تکه‌های بدنه آن در فضا و برخورد آنها با سایر ماهواره‌های موجود در جو زمین به آنها مخابره می‌شود. پیغام دستوری مبنی بر دور شدن فضاپیما در اسرع وقت از آن محل است ولی به دلیل سرعت بسیار زیاد ترکش‌های انفجار، زمان زیادی برای فرار از صحنه باقی نمی‌ماند و هجوم ترکش‌ها منجر به انهدام فضاپیمای آمریکایی و کشته‌شدن سه فضانورد دیگر می‌شود. از این تیم تنها رایان استون و مت کوالسکی که زنده مانده‌اند، سعی می‌کنند به هر نحو ممکن جان خود را نجات دهند؛ این در حالی است که ذخیره اکسیژن لباس فضایی استون در حال تمام شدن است…
این فیلم در مراسم اسکار ۲۰۱۴ موفق به دریافت هفت جایزه در رشته‌های بهترین تدوین٬ بهترین تدوین صدا٬ بهترین موسیقی متن، بهترین فیلم‌برداری٬ بهترین جلوه‌های ویژه، بهترین میکس صدا و بهترین کارگردانی شد.
About the film (from Wikipedia)
Gravity is a 2013 British-American science fiction film co-written, co-edited, produced and directed by Alfonso Cuarón. It stars Sandra Bullock and George Clooney as astronauts who are stranded in space after the mid-orbit destruction of their space shuttle, and their subsequent attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Pictures. The rights were sold to Warner Bros. Pictures, where the project eventually found traction. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban (2004), produced the film with him. Gravity was produced entirely in the United Kingdom, where the British visual effects company Framestore spent more than three years creating most of the film’s visual effects, which make up over 80 of its 91 minutes.
Gravity opened the 70th Venice International Film Festival on August 28, 2013 and had its North American premiere three days later at the Telluride Film Festival. Upon its release in both the Telluride Film Festival in August, and its October 4, 2013 release in the United States and Canada, Gravity was met with near-universal critical acclaim, and has been regarded as one of the best films of 2013. Emmanuel Lubezki‘s cinematography, Steven Price‘s musical score, Cuarón’s direction, Bullock’s performance, Framestore‘s visual effects, and its use of 3D were all particularly praised by numerous critics. The film became the eighth-highest-grossing film of 2013 with a worldwide gross of over US$723 million.
At the 86th Academy Awards, Gravity received a leading ten Academy Award nominations (tied with American Hustle) and won seven (the most for the ceremony), including the following: Best Director (for Cuarón), Best Cinematography (for Lubezki), Best Visual Effects, Best Film Editing, Best Sound Mixing, Best Sound Editing, and Best Original Score (for Price). The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, seven Critics’ Choice Movie Awards and a Bradbury Award.[4]
Alfonso Cuarón directs Geroge Clooney and Sandra Bullock on the set of Gravity.
Plot
Dr. Ryan Stone (Sandra Bullock) is a biomedical engineer aboard the NASA space shuttle Explorer for her first space mission, STS-157. Veteran astronaut Matt Kowalski (George Clooney) is commanding his final mission. During a spacewalk to service the Hubble Space Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has inadvertently caused a chain reaction forming a cloud of debris in space. Mission Control orders that the mission be aborted and the crew begin re-entry immediately because the debris is speeding towards the shuttle. Communication with Mission Control is lost shortly thereafter.
High-speed debris from the Russian satellite strikes the Explorer and Hubble, detaching Stone from the shuttle and leaving her tumbling through space. Kowalski, using a Manned Maneuvering Unit (MMU), recovers Stone and they return to the Explorer. They discover that it has suffered catastrophic damage and the rest of the crew is dead. They decide to use the MMU to reach the International Space Station (ISS), which is in orbit about 1,450 km (900 mi) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone’s home life and her daughter, who died young in an accident. As they approach the substantially damaged but still operational ISS, they see that its crew has evacuated in one of its two Soyuz modules. The parachute of the remaining Soyuz has deployed, rendering the capsule useless for returning to Earth. Kowalski suggests using it to travel to the nearby Chinese space station Tiangong, 100 km (60 mi) away, in order to board a Chinese module to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone’s leg gets entangled in the Soyuz’s parachute cords and she grabs a strap on Kowalski’s suit, but it soon becomes clear that the cords will not support them both. Despite Stone’s protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS while Kowalski floats away to certain death. He continues to support her until he is out of communications range.
Stone enters the ISS via an airlock. She cannot re-establish communication with Kowalski and concludes that she is the sole survivor. A fire breaks out, forcing her to rush to the Soyuz. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent it from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers that its engine has no fuel.
After a poignant attempt at radio communication with an Eskimo–Aleut-speaking fisherman on Earth, Stone resigns herself to being stranded and shuts down the cabin’s oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz’s soft landing jets to propel the capsule toward Tiangong. Stone then realizes that Kowalski’s reappearance was not real, but has nonetheless given her the strength of will to continue. She restores the flow of oxygen and uses the landing jets to navigate toward Tiangong on momentum.
Unable to maneuver the Soyuz to dock with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel the final metres to Tiangong, which is rapidly deorbiting. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. Stone radios that she is ready to head back to Earth. After re-entering the atmosphere, Stone hears Mission Control, which is tracking the capsule. But due to a harsh reentry and the premature jettison of the heat shield, a fire is starting inside the capsule.
After speeding through the atmosphere, the capsule lands in a lake, but dense smoke forces Stone to evacuate immediately after splashdown. She opens the capsule hatch, allowing water to enter and sink it, forcing Stone to shed her spacesuit and swim ashore. Ryan then watches the remains of the Tiangong re-enter the atmosphere and takes her first shaky steps on land. Meanwhile, NASA tracks down the crash site of Ryan’s landing capsule, and proceeds to send a rescue team in hopes of finding her.
Cast
- Sandra Bullock as Dr. Ryan Stone,[5] a medical engineer and mission specialist who is on her first space mission.[6]
- George Clooney as Lieutenant Matt Kowalski,[5] the commander of the team. Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with his team, and is determined to protect the lives of his fellow astronauts.[7]
- Ed Harris (voice) as Mission Control in Houston, Texas.[5][8]
- Orto Ignatiussen (voice) as Aningaaq,[5] a Greenlandic Inuit fisherman who intercepts one of Stone’s transmissions. Aningaaq also appears in a self-titled short, written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[9][10]
- Phaldut Sharma (voice) as Shariff Dasari,[5] the flight engineer on board the Explorer.[11]
- Amy Warren (voice) as the captain of Explorer.[5]
- Basher Savage (voice) as the captain of the International Space Station.[5]
Development
Alfonso Cuarón wrote the screenplay with his son Jonás. Cuarón told Wired magazine, “I watched the Gregory Peck movie Marooned (1969) over and over as a kid.”[12] That film is about the first crew of an experimental space station returning to Earth in an Apollo capsule that suffers a thruster malfunction. Cuarón attempted to develop his project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, it began development at Warner Bros. In 2010, Angelina Jolie, who had rejected a sequel to Wanted (2008), was in contact with Warner Bros. to star in the film.[6][13] Scheduling conflicts involving Jolie’s Bosnian war film In the Land of Blood and Honey (2011) and a possible Salt (2009) sequel led Jolie to exit her involvement with Gravity, leaving Warner Bros. with doubts that the film would get made.[6]
In March, Robert Downey, Jr. entered discussions to be cast in the male lead role.[14] In mid-2010, Marion Cotillard attended a screen test for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were potential candidates for the role.[15] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was praised for her performance in Black Swan (2010) at that time.[16] Portman rejected the project because of scheduling conflicts, and Warner Bros. then approached Sandra Bullock for the role.[6] In November 2010, Downey left the project to star in How to Talk to Girls—a project in development with Shawn Levy attached to direct.[17] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[7]
Shooting long scenes in a zero-g environment was a challenge. Eventually, the team decided to use computer-generated imagery for the spacewalk scenes and automotive robots to move Bullock’s character for interior space station scenes.[18] This meant that shots and blocking had to be planned well in advance for the robots to be programmed.[18] It also made the production period much longer than expected. When the script was finalized, Cuarón assumed it would take about a year to complete the film, but it took four and a half years.[19]
Filming
The landing scene was filmed at Lake Powell, Arizona.
Made on a production budget of $100 million, Gravity was filmed digitally on multiple Arri Alexa cameras. Principal photography began in late May 2011.[20] CG elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[21] The landing scene was filmed at Lake Powell, Arizona—where the astronauts’ landing scene in Planet of the Apes (1968) was also filmed.[22] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore, which was responsible for creating most of the film’s visual effects—except for 17 shots. Framestore was also heavily involved in the art direction and, along with The Third Floor, the previsualization. Tim Webber stated that 80 percent of the movie consisted of CG—compared to James Cameron’s Avatar (2009), which was 60 percent CG.[23] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[24] The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CG at Framestore. The remaining footage was converted into 3D in post-production—principally at Prime Focus, London, with additional conversion work by Framestore. Prime Focus’s supervisor was Richard Baker.
Filming began in London in May 2011.[25] The film contains 156 shots with an average length of 45 seconds—fewer and longer shots than in most films of its length.[26] Although the first trailer had audible explosions and other sounds, these scenes are silent in the finished film. Cuarón said, “They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don’t do that.”[27] The soundtrack in the film’s space scenes consists of the musical score and sounds astronauts would hear in their suits or in the space vehicles.[28]
For most of Bullock’s shots, she was placed inside a giant, mechanical rig.[18] Getting into the rig took a significant amount of time, so Bullock chose to stay in it for up to 10 hours a day, communicating with others through a headset.[18] Costume Designer Jany Temime said the spacesuits were fictitious – “no space suit opens up at the front – but we had to do that in order for her to get out. So I had to redesign it and readapt all the functions of the suit for front opening.”[29]
Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a celebration each day when Bullock arrived. They nicknamed the rig “Sandy’s cage” and gave it a lighted sign.[18] Most of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. The final scene, which takes place on Earth, was shot on an Arri 765 camera using 65mm film to provide the sequence with a visual contrast to the rest of the film.[30]
Themes
Although Gravity is often referred to in the media as a science fiction film,[31] Cuarón told BBC that he sees the film rather as “a drama of a woman in space”.[32]
Despite being set in space, the film uses motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of a catastrophe.[33][34][35][36] Cuarón uses the character, Stone, to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the consequences of a relentless Murphy’s law.[31] The film incorporates spiritual or existential themes, in the facts of Stone’s daughter’s accidental and meaningless death, and in the necessity of summoning the will to survive in the face of overwhelming odds, without future certainties, and with the impossibility of rescue from personal dissolution without finding this willpower.[34] Calamities occur but only the surviving astronauts see them.[37]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the Earth and the depths of dark space, the chaos and unpredictability of the debris field, and silence in the vacuum of space with the background score giving the desired effect.[36][38] The film uses very long, uninterrupted shots throughout to draw the audience into the action, but contrasts these with claustrophobic shots within space suits and capsules.[34][39]
Some commentators have noted religious themes in the film.[40][41][42][43] For instance, Fr. Robert Barron in The Catholic Register summarizes the tension between Gravity’s technology and religious symbolism. He said, “The technology which this film legitimately celebrates… can’t save us, and it can’t provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access … the reality of God”.[43]
The film also suggests themes of humanity’s ubiquitous strategy of existential resilience; that, across cultures, individuals must postulate meaning, beyond material existence, wherever none can be perceived. Human evolution and the resilience of life may also be seen as key themes of Gravity.[44][45][46][47] The film opens with the exploration of space—the climax of human civilization—and ends with an allegory of the dawn of mankind when Dr. Ryan Stone fights her way out of the water after the crash-landing, passing a frog, grabs the soil, and slowly regains her capacity to stand upright and walk. Director Cuarón said, “She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot”.[45] Other imagery depicting the formation of life includes a scene in which Stone rests in an embryonic position, surrounded by a rope strongly resembling an umbilical cord. Stone’s return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on Earth may have come from outer space in the form of meteorites.[48]
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