©-DR- HANNA de Joe Wright (2011) p16
26/10/2013 16:27 par tellurikwaves
©-DR- HANNA de Joe Wright (2011) p16
26/10/2013 16:27 par tellurikwaves
©-DR- HANNA de Joe Wright (2011) p15b
26/10/2013 16:23 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p15b
26/10/2013 16:23 par tellurikwaves
Les critiques positives des spectateurs(positifs)ImDB
*
*
Beautiful. Don't let the negative reviews repel.
Author: Joseph Stevenson from United Kingdom
30 November 2011
I really wanted to watch this film but I didn't have the time when it was in theatres. So I recently treated myself to the Blu Ray copy. I decided to check the user reviews before watching it and was very surprised by the amount of negative feedback. The reviews were almost hate posts! So, I put the disc in with mixed expectations and afterwards, I sat, glued to the credits thinking "what was their problem?!" Truly a beautiful film. Don't set out expecting an action packed bad-ass picture (I think that was the problem with most of the negative reviewers).
Though not as frequent as your everyday action film, the action scenes are just as exciting as ever. If you liked the fighting techniques in Taken, imagine a teenage girl pulling off moves just as hardcore, if not more. The visuals and sounds of the film are nothing short of artistic. I give it an 8 out of ten. Not the best film of 2011, but definitely not the worst.
©-DR- HANNA de Joe Wright (2011) p15
26/10/2013 07:06 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p15
26/10/2013 07:06 par tellurikwaves
Interview de Saoirse Ronan pour BLACKFILM
While promoting the film in Los Angeles for its April 8 release date,Ronan spoke to Blackfilm com about working on the film, the training she went through, and possibly doing ‘Snow White.’
-When you were approached for this film, how much training did you go into it afterwards?
Saoirse Ronan: Well, I trained for a couple of months before we started shooting. And I did a little bit over in LA. I did a couple of weeks just to get started and so the head stunt coordinator whose name is Jeff Imada and he’s brilliant, would know what my energy is like, my strength. What I was capable of, things like that. And then a member of his team and I went back to Ireland and we would train in the gym for about two hours a day, which I did have to get used to. And we trained in martial arts and stick fighting and weapons training and things like that. Yeah. So I learned quite a few skills. More skills than I’ve ever learned on a film. I don’t necessarily remember them all but still.
-You and Joe have both had interesting paths since you last worked together.
Saoirse Ronan: Yeah.
-Did you notice a big difference in your relationship now as director and actor?
Saoirse Ronan: You know, not really, which is fantastic. We had a great relationship on ‘Atonement’. I mean I was younger. I was about twelve when I did that. But I don’t think there was difference this time because Joe never really treated me like I was a kid. And he used to go- he was a bit freaked out with me. So he never really treated me like a kid. And then when we did ‘Hanna’ together and that relationship just developed even further. And I guess we’ve gotten closer; and it really felt like a collaboration on this film, you know. It felt like, as you said, we were both going in this new direction. And it kind of did feel like a journey. And we were taking a risk by doing it. But the fact that we were doing it together was exciting.
-Did you notice his growth as a director? Did he change? Because that’s a very different film from anything he’s done.
Saoirse Ronan: I think he took more risks on this film. I know I’ve said that already. But I mean when it came to cinematography and even the music he took more risks. I mean just being involved in this film he introduced new layers to the story and brought a fairy tale element to it, as well. Which we never really see with action films. So he’s made this into a sort of mutant film. A collaboration.
-Were you in the hotel room one night and you just decided to bleach your eyebrows and everybody went with that? Or did you contribute to the look of your character?
Saoirse Ronan: That’s not how it works at all. I like my dark eyebrows. And it was Joe’s idea. And Ivana Primorac’s who is hair and makeup, to basically bleach me out and almost disguise me as an animal in a forest. So I think it’s quite interesting that I don’t really leap out when you see me in the forest. I blend in. and we were going for the physicalities similar to a wolf, really. A white wolf. I think it came off pretty well. But, no, I didn’t have the fantastic idea to bleach my eyebrows. But they did. Lovely. And they did bleach them. And they bleached the tips of my eyelashes as well. So it was simply just my eyes, my blue eyes, that popped through. Yeah.
-You’re young. You’re a teenager. What is it about your intense roles? I can’t see my sixteen year old going, ‘Hey, I want to play this.’ So what appeals to you? You don’t seem to take light roles?They’re quite serious.
Saoirse Ronan: Well, I haven’t done so far just because these are the ones that have really interested me. And it’s sort of- it’s a bit impulsive when I read a script and decide that I would like to play this character. I mean, of course, the director has to want you to be involved, as well, and whatever else. But I like characters that interest me that I’m thinking about for ages and ages after I finish the script. And usually ones that are different from me in some way or maybe something that I’m not or wish I was. Or maybe a piece of me that I haven’t brought out yet and I want to explore a little bit.
-Did Joe actually approach you on this? Or did you read the script and then- was he involved in the process with that?
Saoirse Ronan: He wasn’t involved when I got involved. They didn’t have a director when they sent me the script. And I really liked it and I really responded to it. And I went to meet (Sounds Like: John Lines) from Focus. And he was saying that he didn’t have a director yet. And the first person that popped into my head was Joe. So I wasn’t actually confirmed to play the part yet. We were just kind of talking about it. We were in the no man’s land. And so I couldn’t just go, ‘Oh, I can’t wait to do this movie. It’s going to be wonderful.’ Because they hadn’t actually offered it to me yet.
And so we were talking about it. And he said, ‘Well, we don’t have a director.’ And I said, ‘Well, why don’t you send it to Joe Wright? I’m sure he’d be interested in it.’ and they said, ‘Yeah, we were thinking of that.’ and then I said, ‘Well, just tell him I’m doing it.’ I had never been so cheeky before. It just kind of came out. And then after that I thought, ‘Oh, God. I’m not going to get the part now that I said that.’ but Joe rang me a few days later and told me to get my butt in the gym and get training.
-Can you talk about filming in Finland?
Saoirse Ronan: It was cold. It was cold. It was cold. It was cold. One day it was minus thirty degrees. Fantastic. So you think you’re bad here with the rain. No it was very, very cold. And everyone had their puffer jackets on and their snow boots and their hats and their gloves. And Eric and I, for the whole week or two that we were there, we were wrapped in a bit of deer fur. And we had cloth around our hands but they were fingerless. So we could feel the cold. And we had to fight in this. And I mean I don’t know what it was like for him, but for me it was tough. It was cold and my muscles wouldn’t work properly or anything. I mean we fought on a frozen lake on the third day. But it’s beautiful there and one of the most beautiful places that I’ve ever been to. And I don’t know if any of you guys have ever been there but it’s like a winter wonderland. It’s so enchanting. And just beautiful. It really is.
-In one of the scenes, I’m assuming you didn’t really have your arm inside a dead reindeer?
Saoirse Ronan: Oh, I did. Yeah. That was me.
-Oh, no. So how did that all happen?
Saoirse Ronan: I think it was a real deer. I don’t know whether I should tell you guys that. But I think it was a real deer. It wasn’t killed for the film or anything as far as I know. Don’t put that in. but anyway it was a real deer. And they put fake intestines and guts and stuff into it. And put fake blood over it. And they had this machine. Like the camera’s there and then there was the deer. And then they had a machine right here that would let out steam so it looked like the deer was dying. It was very interesting to see. But my hands were in goo the whole time and it was cold on my fingers and then we went straight into a fight.
-After training for the film, how do you think you would do in a real fight?
Saoirse Ronan: I think with my friend Christopher who I’ve grown up with my whole life. Well, obviously, and I think I could perform quite well. But in an actual fight? I don’t think so. No. I think maybe eight months ago I would have been all right. But I haven’t done it in awhile. I think once I got back into it and I trained and maybe I could perform in a proper fight but not at the moment.
-Can you tell me a little bit about working with Jessica Barden, because you guys have a great chemistry? That friendship seems very real.
Saoirse Ronan: Yeah, it was actually. Jess and I got on really well. And from the off really. I mean she’s a very easy person to get on with. She’s absolutely mad. And talks like that all the time. She never shuts up. But I really liked her. And she’s not quite as bad as Sophie but she’s quite similar to Sophie. So it was an absolute joy just to observe the way this girl is. There’s no pretense or anything, you know, she’s just real. And we bonded over Gaga and stuff. I mean if I’m working with an actor that likes Gaga we’ve bonded straight away.
-Without giving away any spoilers, what do you think happens to Hanna at the end of all this?
Saoirse Ronan: That’s a question I keep asking myself actually. Hmm. I don’t know. I really, really don’t know. I mean the most realistic thing is that she went back to the forest. She probably killed everyone that came into the forest anyways so no one would know she was there. But I’m not sure. I mean a few journalists have said, ‘Oh, well, what about a sequel?’ and I don’t know what they’d do in a sequel. I don’t know what they’d do with her character. But I’m not sure she’d go back to the family, though. I think, because we’re not sure what happens to the family. We’re not really sure what happens to anyone.
-Did you take what you learned from here to your next film ‘Violet & Daisy’?
Saoirse Ronan: The handling of a gun, yes. But I didn’t actually fight in ‘Violet & Daisy.’ And everyone thinks it’s going to be quite similar to ‘Hanna’ but it’s not at all. So that’s good. And I learned how to use a gun. And that was probably the only thing I took from ‘Hanna’. I also felt like on ‘Hanna’, I felt more comfortable and had a bit more confidence to suggest things more and share ideas that I had. Whereas I hadn’t really done that up to that point. And so I certainly carried that onto ‘Violet & Daisy’ as well. And I’m glad I did. Because you get more out of it, I think. And it’s more satisfactory then.
-Are people listening to you?
Saoirse Ronan: Yeah. They actually were. Yeah.
-You mentioned fairy tales earlier and I just read recently that you’re in talks to do ‘The Brothers Grimm: Snow White‘. After two assassin films, what would be the appeal?
Saoirse Ronan: It’s ‘Snow White’. I mean I’m not confirmed to do it or anything but I’d imagine if people were going to get involved in a film like that like they have been with fairy tales, it’s because it’s an exciting thing to do; especially if the director’s going to do something different with it, as well. The director who is attached is very talented. There are a lot of things that I have to consider before I would make a decision.
©-DR- HANNA de Joe Wright (2011) p14
26/10/2013 06:58 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p14
26/10/2013 06:58 par tellurikwaves
La critique de James Berardinelli (fin)
The supporting cast includes two highly respected actors - Eric Bana and Cate Blanchett - both of whom have a few nice scenes.If there's an unfortunate aspect of their performances it's that they have distracting accents (Bana's is German, Blanchett's is American). Olivia Williams and Jason Flemyng have small but important roles.
The thumping score by the Chemical Brothers is as important as Alwin Kuchler's camerawork to setting the mood and escalating the level of tension. With Hanna constantly pursued andsometimes seemingly trapped with no escape, there are opportunities for edge-of-the-seat moments.
Wright doesn't let any of these pass. Hanna is not non-stop, wall-to-wall action, but the pace is fast and the exposition, which is dropped like Hansel and Gretel's crumbs, never gets in the way of the narrative pushing violently forward. This is an excellent thriller and one of the best movies of 2011's first half.
©-DR- HANNA de Joe Wright (2011) p13
26/10/2013 06:50 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p13
26/10/2013 06:50 par tellurikwaves
©-DR- HANNA de Joe Wright (2011) p12
26/10/2013 06:47 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p12
26/10/2013 06:47 par tellurikwaves
La critique de James Berardinelli (3)
The fairy tale motifs are at times obvious - it's impossible to miss the wolf's head at the climax - and they are littered throughout the movie. There are parallels to Mary Shelley's Frankenstein. It would be spoiler-ish to go into much detail, but Hanna is shaped by her father and sent into the world with no knowledge of who she is or what she was created to do. There's a scene in which she spies upon a family engaged in normal, happy activities that recalls a moment from the novel. The David Lynch/Clockwork Orange shadows fall most strikingly over the character of Isaacs (played by Tom Hollander), whose gleeful sadism is at times darkly comedic.
Saoirse Ronan, the gifted young actress who received an Oscar nomination for her work in Atonement, is brilliant as Hanna. The portrayal is mostly cold and icy, as befits someone shaped as a killer in a frigid wilderness, but there are instances when she thaws. On one occasion, she is bombarded by the "wonders" of modern technology (fluorescent lighting and a television) and the panic is evident. On another, she befriends a girl of about her age and has difficulty separating platonic feelings from romantic ones. Hanna could easily come across as an automaton; Ronan humanizes her.
©-DR- HANNA de Joe Wright (2011) p11
26/10/2013 06:42 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p11
26/10/2013 06:42 par tellurikwaves
©-DR- HANNA de Joe Wright (2011) p10
26/10/2013 06:39 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p10
26/10/2013 06:39 par tellurikwaves
La critique de James Berardinelli (2)
Hanna has spent most of her life in the inhospitable wilds of Finland, learning from her father how to become an elite assassin. His teaching methods are unforgiving and Hanna's training has been harsh. Now, however, with half her teen years behind her, she decides that she is ready to enter society. Her first mission is to infiltrate a secure U.S. government installation in Europe and kill Marissa Wiegler (Cate Blanchett), the woman responsible for Hanna's mother's death. Meanwhile, Eric heads south so he can reunite with Hanna in Berlin once "the witch is dead." The plan goes much as expected, except the "Marissa" Hanna encounters is an imposter. After escaping the secure location where she is taken for interrogation, Hanna becomes the prey in a cat-and-mouse game with the real Marissa, who is stalking (and being stalked by) Erik.
Wright's visual mastery is in evidence throughout Hanna. Although he limits his flourishes (there are no long tracking shots to match the one in Atonement, which some viewers and critics found to be self-indulgent), the film looks great. Shots are carefully composed and never haphazard. Some of the early scenes in the snow are breathtaking and the clarity with which the action scenes are framed (especially the ones in which Hanna escapes from her captors and Erik faces off against four opponents in a columned "arena") remind the viewer of the value of a stable (rather than spastic) camera.
©-DR- HANNA de Joe Wright (2011) p9
26/10/2013 06:35 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p9
26/10/2013 06:35 par tellurikwaves
©-DR- HANNA de Joe Wright (2011) p8
26/10/2013 06:33 par tellurikwaves
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©-DR- HANNA de Joe Wright (2011) p8
26/10/2013 06:33 par tellurikwaves
La critique de James Berardinelli (1)
Dark, visceral, and brimming with suspense, Hanna is not the follow-up to Pride & Prejudice and Atonement one might expect from director Joe Wright. Nevertheless, here it is: an intriguing,original thriller that owes as much of a debt to the likes of Frankenstein, the Brothers Grimm, David Lynch, and A Clockwork Orange as to The Professional and The Bourne Identity. Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery. And it also has the advantage of a "clean" ending, meaning that it provides unambiguous answers to the many questions it raises.
Wright prefers that Hanna be known as a drama with action sequences, but such a description shifts the focus away from the restless, relentless pacing. Yes, there are dramatic elements to the story - these are necessary to character development and narrative progression - but the real hook is the mystery surrounding the nature of the title character and the suspense that accompanies her journey from isolation to modern reality. The movie divides its storyline, following the parallel treks of Hanna (Saoirse Ronan) and her father, Erik (Eric Bana), as they infiltrate society separately on their way to a reunion.