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> Aladdin (Live-Action), Walt Disney Pictures
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messaggio 20/5/2019, 0:11
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Intervista a Naomi Scott:

Dal sito The Indipendent:

Aladdin star Naomi Scott: ‘For women, a lot of the time we have to work twice as hard’

I don’t have time to worry about what labels people are going to put on me,” says Naomi Scott. Her words could very well serve as a manifesto for her generation. The 26-year-old, like so many of her peers, refuses to be pinned down: she’s an actress, singer, music producer, and director. She’s the pink Power Ranger, from the 2017 film, and one of Charlie’s Angels, with a new reboot opening in cinemas later this year. Most, however, will soon know her best as Princess Jasmine, at the forefront of Disney’s live-action remake of Aladdin. And, just like Scott, this new Jasmine won’t be easily defined. She’s got a lot more on her plate than waiting around for her prince to come.

“She’s so many different things at so many different points,” Scott explains. “What I love is that you can be strong and you can cry. You can be strong and feel weak.” The actor says the word “sassy” has come up a lot when describing the character, but she finds the word a little reductive. “Yeah, she’s sassy, but what’s more important is that she’s actually fighting for the freedom of choice for her people,” she says. “That’s feminism, it’s not just a witty comment.”

For an actor on the brink of stardom, Scott doesn’t seem overly fussed about cultivating an image. She’s happy just to be herself. We’re in a luxurious London hotel room – perched at either end of the kind of sofa that threatens to swallow you whole – but it doesn’t take long for the enforced formality of our surroundings to disperse. We’re soon just two twenty-something women, excitedly discussing 1998’s Mulan (another Disney film set for a live-action remake). In particular, the moment when the eponymous heroine overcomes failure, proves herself to her fellow soldiers, and climbs to the top of a wooden pole that no one else could conquer. “It’s the perfect metaphor of a woman in a man’s world,” she says. “Because for women, a lot of the time, there’s that sense that we have to work twice as hard.”

Scott also credits Mulan with helping her see past the limitations girls are taught to place on themselves, and the assumption that they have no right to compete with the boys. “I don’t know where that comes from,” she says. “It’s very subconscious and can be very subtle, you know? I grew up around a wonderful family.” Scott was born in Hounslow, London, though her family later moved east, across the city, to Woodford. Her mother, who is of Gujarati Indian descent, was born in Uganda, while her father is English. “I wasn’t shut down in any way, but it’s just society in general, right?” Scott continues. “It seems so simple, but for some reason, there has always been that thing of: ‘No, you can’t.’”

Yet, while the Disney princesses of the 1990s may have felt empowering to one generation, times change. “I loved that character,” Scott says of Princess Jasmine. “She was my favourite Disney princess and she made me feel empowered. She spoke up, she wanted to fight for the choice to marry. But in our movie, she’s way more active.”

Sure, she still has to choose a husband from the endless parade of gaudy suitors turning up at her door (including Prince Ali, who’s actually Aladdin the “street rat”, fitted out with a new identity after using one of Genie’s three wishes), but she now gets a much greater hand in the rule of Agrabah. She comes to blows with her father’s trusted advisor, the villainous Jafar, who has his own plans to turn the kingdom into a vast empire. And at no point does she have to put on a sexy red outfit and seduce him, as the 15-year-old Jasmine does in the original. “She’s studied everything,” Scott says. “She’s a politician. I wanted her to have tact and to be strong, because she’s not just saying she wants to lead for the sake of saying. She’s showcasing skills of leadership.” This Jasmine is also more mature than her predecessor, since Scott didn’t want to play her “too young and whimsical”. She adds: “There’s a sense that she knows the situation she’s in. She understands why her dad is overprotective, she clocks Jafar. She sees everything.”

Jasmine’s 21st-century makeover gets its own musical showcase in “Speechless”, a brand new number with music by Alan Menken, who scored the original film, and lyrics by La La Land duo Benj Pasek and Justin Paul. Music, in fact, was Scott’s first love. She’d perform in the youth band at the Bridge Church in Woodford, where both her parents were pastors. A pivotal moment arrived when she sang Aretha Franklin’s “Say a Little Prayer” at a local summer camp. “I remember being like: ‘I don’t think I’m being delusional here, I think I’ve got a really good voice,’” she says. From that point on, the only future she saw for herself was as a performer. Her first break came courtesy of the House of Mouse, with roles in the Disney Channel UK series Life Bites and the 2011 film Lemonade Mouth. She’s also released two EPs and a string of singles.

Scott was raised on gospel music and it’s informed her style ever since, meaning Aladdin marked a major departure for her – she’s never had singing lessons, and certainly hasn’t been classically trained. But it was important to her that Jasmine kept that rawness. (To demonstrate the opposite, Scott starts vocalising like Snow White and I half expect a bird to fly through the window and land on her finger.) The actor sang many of her numbers live. “I wanted it to feel as natural as possible, you know?” she explains.

“Speechless”, in particular, works as a power anthem, in line with Frozen’s “Let it Go”. Jasmine has had to grin and bear one too many put-downs from Jafar, a man who thinks she’d be better off staying silent and compliant. As Scott notes, it’s a moment that a lot of women can relate to. For her, it represents Jasmine’s realisation that “I may lose this battle, but it’s worth me saying something, because I do have a voice”. The actor doesn’t just perform the song, she unleashes it like a roar, as the tears stream down her face and the veins in her forehead pop. “I wanted her to have that fire in her belly,” she says.

Beyond Jasmine, the new Aladdin also carried the responsibility of tackling the original’s legacy of cultural representation: for some, it meant a lot to grow up with characters that actually looked like them, while others have argued the stereotypes it presented ended up doing more damage than good. The lyric “where they cut off your ear if they don’t like your face”, for example, was removed from the opening number “Arabian Nights” after protests from the American-Arab Anti-Discrimination Committee and academic Jack Shaheen.

While the animation used a cast of white voice actors, the new remake has placed an emphasis on the diversity of its leads. Alongside Scott, Mena Massoud, who plays Aladdin, was born in Cairo to Coptic Egyptian parents and emigrated to Canada when he was young. Marwan Kenzari, who plays Jafar, is Dutch, born to Tunisian parents. “I’m so proud of how diverse our cast is,” says Scott. “For me growing up, Jasmine was my princess, probably because I saw myself in her. She was someone that I could play.”

Perhaps as a nod to the story’s source material, One Thousand and One Nights, a collection of folktales with roots across the Middle East and Asia, the original Aladdin drew on a mix of cultures to create the fictional city of Agrabah. Scott, certainly, picked up on the South Asian elements as a child. “It sounds silly, but even something like Rajah [Jasmine’s tiger], I remember that was such a symbolic thing in Indian culture.”

It’s an approach that’s been even more enthusiastically embraced for the remake. Scott describes the film’s setting as a “gateway into the Eastern world”, with the production team drawing from Middle Eastern, South Asian, and even Chinese influences. “We’ve created a world that so many different people can pick things out and take it with them,” Scott concludes. “I think, ultimately for young kids, seeing themselves in a character is really powerful. Even if they don’t get the nuanced, small things, they probably do pick it up subconsciously. For me, I think that’s beautiful.”


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messaggio 20/5/2019, 22:34
Messaggio #338


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CITAZIONE (Daydreamer @ 16/5/2019, 21:32) *
Sì, la Brancucci lo ha fatto di nuovo", diverse parole cambiate rispetto al testo originale.

Eh l'ha fatto realmente! Non si capisce perché illuderci con il testo originale nel trailer e poi cambiarle in alcuni punti.. secondo me il risultato è peggio del solito, perché o la cambia tutta o la lasci come in originale. Che le parole non si distolgano molto da quelle del classico è vero, ma ovviamente sono più banali e per chi andrà al cinema conoscendo a memoria la canzone iconica del classico, e non sono solamente i nostalgici ma anche le nuove generazioni, non potrà che essere disorientato nel sentirla. mad.gif
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messaggio 20/5/2019, 23:36
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TV Spot Trust/Legend:

Click


Dietro le quinte:

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Featurette dedicata a Jasmine - Speechless Special Look:

Click



Sempre su Jasmine - interviste a Naomi Scott:

Dal sito Yahoo:

'Aladdin': Naomi Scott explains why Princess Jasmine's story has been updated for 2019

The stars of Disney’s huge new live-action movie remake, Aladdin, have revealed how Princess Jasmine’s story has been updated for the 2019 film, to give the character a more feminist ending.

The new Disney movie, which stars Power Rangers star Naomi Scott as Jasmine, Mena Massoud in the title role, and Will Smith as the Genie, is a live-action retelling of the classic 1992 Disney animation.

Naomi Scott spoke to Yahoo about how Princess Jasmine’s plot, and both the character’s ending and the finale of the film, differs from the original Disney animated film.

Spoilers ahead…

The 1992 animated film ends with the Princess Jasmine’s father, the Sultan, changing the law which had previously stopped Aladdin and Jasmine from being together – where she once was bound by law to marry another royal, the Sultan realises their love and changes the law to allow her to marry whoever she wants, meaning she can now be with the self-proclaimed “street rat”, Aladdin.

But in the 2019 live action remake, Jasmine’s story ends with her father making her the Sultana herself – and in doing so, she uses her own ruling power to change the law which had stopped her and Aladdin from being together.

“I love the fact that the power is then in in her hands, and that she becomes the Sultana,” Naomi Scott revealed to Yahoo, “She's like, ‘Well, I'm a boss lady, so I’ll just change the law!’ And she's actively pushing forward her own narrative. I just love that.”

“At the end of the day, I think that she is the right person for the job when it comes to leading her people, because she’s been studying and she is that politician. Those differences just really make it more relevant to a modern audience,” says Scott.

Scott went on to describe how the Sultan’s story has been updated to reflect that too: “The fact that her father realises that ‘I didn’t see it before, but yes, you are the leader.’ I think that's really great to have a character that goes through his journey of actually realising that he was holding her back, that he was fearful. I think sometimes that we are held back by our fear, and we're unable to progress.”

In the 2019 remake, Jasmine also gets her own brand new song, defiantly performed by Scott in the film and written by long-time Disney composer Alan Menken, who wrote the music for the original Aladdin animation: the empowerment anthem, ‘Speechless’.

Scott thinks updating Jasmine’s story was an important part of the process, explaining, “It’s been 27 years since the original, so a lot has changed and progressed. But Princess Jasmine was literally my favourite princess, because I could see myself in her, and she made me feel empowered. And I really wanted to keep that feeling, but just update her and modernise her. I think that there was room to really give her more ambition.”

Aladdin actor Mena Massoud also spoke to Yahoo about how that modernisation has impacted the rest of the new film, explaining, “It was one of the ways that we wanted to contemporise this and then make it relevant. So Princess Jasmine is definitely more empowered in this and Aladdin's journey now differs a little bit because a part of his journey is helping empower her, and encouraging her to do what she thinks she'd be good at.”

Aladdin hits cinemas on the 22 May 2019.



Dal sito EOnline:

Princess Jasmine Is Very Different in Aladdin Reboot: Watch Her Belt Out Her New Song

Princess Jasmine is more empowered and has got bigger dreams and aspirations in Disney's live-action Aladdin reboot.

In the beloved 1992 animated film, she is depicted as an independent, strong daughter of the Sultan of Agrabah, who is sick of feeling "trapped" behind the walls of their castle and refuses to be forced into marriage and have her "life lived" for her as she prepares to become queen one day. Ultimately, she ends up with Aladdin, who previously masqueraded as a prince. The new film gives the character of Jasmine, played by British actress Naomi Scott, much more depth.

"What we're trying to do is reimagine with a modern twist to it," she says in a behind-the-scenes video for the film, obtained by E! News. "Princess Jasmine wants the best for Agrabah and what's best for them is if she leads, but rather than say that she wanted to lead...she shows the skills and the qualities of a leader. The story is a progression of how she finally speaks out and becomes the leader that she's destined to be."

In the animated film, Jasmine sings the famous duet "A Whole New World" with Aladdin. In the new movie, Jasmine also gets her own new, solo song, a soaring anthem titled "Speechless."

"She says, 'Enough is enough. I have a choice here and I'm gonna stand up for what I believe in,'" Scott says. "It's such a strong song."

While in the animated film, Linda Larkin provided Jasmine's speaking voice and famed Broadway star Lea Salonga sang her part in "A Whole New World," Scott pulls double duty as an actress and singer in the new Aladdin, which features music from original composer Alan Menken.

"We got to write a new song for Jasmine," co-songwriter Justin Paul told Variety last summer. "Alan wrote a beautiful piece of music and [Scott] is incredible."

Disney's Aladdin reboot stars Mena Massoud as Aladdin, Will Smith as Genie, and Marwan Kenzari as the villain Jafar.

The film is set for release on May 24.



Intervista al regista Guy Ritchie:

Dal sito Hey U Guys:

Exclusive: Guy Ritchie on directing Disney’s Aladdin and working with Will Smith

Eyebrows were raised when Guy Ritchie was first announced as the director of Disney’s latest live-action blockbuster, in their retelling of their classic animation Aladdin. And yet the finished product suggests it was a brilliant choice. To celebrate the film’s release we had the pleasure of sitting down with the man himself.

Excusing my lost voice (it was the night after the Champion’s League semi final, after all) it was a fascinating chat with a director who has made such a huge contribution to British cinema across the past three decades, and now lends his distinctive sensibilities as a storytelling to the world of Disney. He explains why he wanted to step out of his comfort zone with this project, and tells us that he’s pleased he has made a film he can sit down and watch with all the family.

On that note, we asked Ritchie is he’s excited about watching his old classics, such as Lock Stock and Snatch with his children, while we also get on to the subject of Will Smith, and what he brings to the role of the Genius, that once belonged the wonderful Robin Williams. Finally we touch upon the pertinency of the film, as Ritchie explains where he sees it fitting in, and relating to a tumultuous modern climate.



Intervista Video a Guy Ritchie:

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messaggio 21/5/2019, 23:45
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Dal sito DigitalSpy:

Disney legend Alan Menken talks about updating Aladdin and the movie he thinks won't get remade
"With modern sensibilities, it'd be hard."


[...]

"But I'm happy to come back to these films and continue to add to them. Writing 'Speechless' was a surprising benefit," he added of the new song he wrote for the live-action Aladdin movie, which is sung by Princess Jasmine. "It was one of those songs that wouldn't have existed otherwise."

He continued to explain that more of his original 1992 version of Aladdin had to be updated for modern audiences when it came to this big-budget 2019 remake, including the lyrics in the classic song 'Prince Ali', which is performed by Will Smith as the Genie.

“It is no longer 'Sunday salaam'. It's 'Friday salaam'. Things got corrected, certain things got removed. Like, we used to have [in the lyrics to 'Arabian Nights'], 'The heat is intense / It's barbaric / But hey, it's home'," Menken recalled.

"But originally, what Howard [Ashman, Menken's late collaborator] and I wrote actually was, 'Where they cut off your ear if they don't like your face / It's barbaric / But hey, it's home'. That went fast. We thought it was funny. But I don't think Arabic people thought it was all that funny, so that got changed.

"Then the word 'barbaric' came out. It's a filter, you have to look at what's happening today. Values go upside-down in a blink. It's inevitable, you have got to take that really seriously."




Segnaliamo che la canzone Desert Moon, un duetto tra Aladdin e Jasmine, è stata cancellata dalla versione finale del film.

Dal sito DigitalSpy:

Exclusive: Aladdin star Mena Massoud confirms new duet was cut from the remake

"We shot a lot of stuff that didn't make it."

Aladdin star Mena Massoud has confirmed that a new duet was cut from the live-action remake.

The Greatest Showman's Benj Pasek and Justin Paul had spoken before about a "sweet song" they had written for Aladdin and Princess Jasmine, but it seems that it didn't make the final cut.

"We shot a lot of stuff that didn't make it. There was a new duet that me and Naomi [Scott] sang together," Massoud told Digital Spy.

"I had to learn how to juggle and I had to learn to play the oud, which is that classical Middle Eastern guitar or string instrument. In the end, it's Naomi that plays it in the film, so a lot of things can change."

Still, the new skills he learned for the movie didn't go to waste as Massoud added that people still ask him to juggle.

Aladdin also challenged Massoud to stay in character when Will Smith improvised during filming.

We earn a commission for products purchased through some links in this article.
"We had one scene together which is called the jam scene now that we improvised. Guy [Ritchie] was an absolute champion in trusting us with that moment and allowing us to take over and see what happened," he recalled.

"It's a beautiful moment that I'll remember forever."

Talking about his role in the movie, Will Smith has previously said that he was "feeling sexy about myself" as the Genie.



Per quanto riguarda i costumi:

Dal sito EW:

A whole new wardrobe: How Aladdin's costumes were created

Dressing the characters

Aladdin costume designer Michael Wilkinson created timeless garments from exquisite jewel-tone fabrics to help tell the story of a princess and a street rat, a sultan, and a vizier. Read on to see how he came up with the looks seen in the live-action film.

Jasmine (in disguise)

When it came to creating the look Jasmine (Naomi Scott) wears as she wanders through Agrabah hoping not to be recognized, costume designer Michael Wilkinson opted for neutral fabrics with just a hint of vibrant blue-green.

A touch of turquoise

“I wanted all of her costumes to have a tease of turquoise, so it becomes her iconic motif,” Wilkinson says. “You see it repeated again and again until you see the whole turquoise costume in the middle of the film.” Pairing her split skirt with trousers hinted at her nature as a more “fluid and modern” princess, Wilkinson notes.

Aladdin

Let’s face it — Aladdin’s vest-and-no-shirt look from the 1992 animated film is wildly impractical. Still, with an eye toward honoring that original ensemble, Wilkinson mined the character’s personality for inspiration. “With Aladdin, he is a street kid who lives by his wit and his audacity,” he says. “He’s very streetwise, so we wanted him to have a bit of swagger.”

Street Style

Wilkinson gave Mena Massoud’s diamond-in-the-rough striped pants as well as a striped shirt and added a hood to his vest. A pair of custom leather shoes completed the ensemble.

Jasmine (in magenta)

In addition to filling out Jasmine’s life with a new friend and handmaiden, Dalia, the live-action Aladdin tells us more about the princess’ mother. “In our film Jasmine wears clothing inspired by South Asian countries to honor her late mother,” Wilkinson says. “A lot of Jasmine’s costumes have a slightly different feel to the rest of Agrabah, the country that her mother made her home, which distinguishes her from the rest of the looks.”

Bright and bold

That difference is on display in this magenta dress — with turquoise accents, of course.

Jasmine (in orange)

One of the first steps toward expanding Jasmine’s style was broadening her color palette. Wilkinson dressed Scott in bright colors, such as oranges and fuchsias, as a reference to her inner character. “Jasmine is a very modern Disney princess, so she could really carry off these very strong colors,” Wilkinson says. “We thought that she would have a very bold personal style because she is a very confident woman.”

Formal wear

The character’s inner turmoil also played out in the structure of her clothing. Wilkinson kept her palace-wear rigid, while private outfits had a looser, more relaxed fit.

Sultan

A sultan should look like — well — royalty, so Wilkinson didn’t want to settle for the near-monochromatic outfit that Jasmine’s dear old dad wore in the animated film. That’s why he draped actor Navid Negahban in bright oranges and greens.

Fit for a sultan

The final, essential touches were the finishes: an osprey feather for his headdress and buttons and belts Wilkinson found in Istanbul’s Grand Bazaar. “We wanted to layer the colors and fabrics in the most sumptuous and surprising eye-catching way,” Wilkinson says. “That was a wonderful challenge, to find the most lovely, lavish fabrics to express the wealth and the power of the sultan’s palace.”

Jafar

For Jafar (Marwan Kenzari), the filmmakers built out the character’s backstory, making his high-ranking position in the Agrabah government a little more plausible (lest audiences wonder why the sultan would place his faith in such a clearly untrustworthy adviser). Jafar’s wardrobe reflected those embellishments.

Man in uniform

“[Jafar] has these military plans for the future,” Wilkinson says. “With the armor and some of the more formal looks, it almost looks like a dress uniform that he’s wearing when he’s in the court.” Much remained the same from the animated version, however. His costumes are largely black and red, and his turban is adorned with a single feather.




Video:

Restare Fedeli all'originale (video in francese):

Click


Tv Spot:

Click


Interviste al cast artistico e tecnico:

* Will Smith, Naomi Scott e Mena Massoud: Click

* Mena Massoud (Aladdin): Click

* Naomi Scott (Jasmine): Click

* Will Smith (Genio): Click

* Marwan Kenzari (Jafar): Click

* Navid Negahban (Sultano): Click

* Nasim Pedrad (Dania): Click

* Billy Magnussen (Principe Anders): Click

* Guy Ritchie (regista): Click

* Dan Lin (produttore): Click

* Jonathan Eirich (produttore): Click

* Gemma Jackson (Production Designer): Click

* Michael Wilkinson (costumista): Click

* Jamal Sims (coreografo): Click


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buffyfan
messaggio 22/5/2019, 12:40
Messaggio #341


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Colonna sonora italiana caricata su Disneymusicitvevo: https://www.youtube.com/watch?v=Fcv32YXVQ_c
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messaggio 22/5/2019, 20:44
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Volevo solo segnalarvi che oggi è caduto l'embargo, e Aladdin attualmente vanta su rottentomatoes un punteggio pari al 59 per cento, con 78 recensioni...

Flop.

Messaggio modificato da theprinceisonfire il 22/5/2019, 20:46
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messaggio 22/5/2019, 20:44
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Saranno state le basse aspettative per questo film, ma a me è piaciuto veramente veramente molto. Al pari di Cenerentola tra i remake dei classici. Altro che La Bella e la Bestia.
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messaggio 22/5/2019, 21:06
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CITAZIONE (buffyfan @ 22/5/2019, 20:44) *
Saranno state le basse aspettative per questo film, ma a me è piaciuto veramente veramente molto. Al pari di Cenerentola tra i remake dei classici. Altro che La Bella e la Bestia.


Io attenderò di visionarlo per formulare un giudizio, ma da quanto visto in tutto il materiale promozionale, concordo con i critici quando sostengono che le ambientazioni risultano particolarmente posticce, e che l'impatto visivo è piuttosto "cheap".
Del resto la stessa considerazione l'ho espressa già qualche mese fa, quando uscì il primo trailer esteso...
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messaggio 22/5/2019, 21:59
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CITAZIONE (theprinceisonfire @ 22/5/2019, 21:06) *
Io attenderò di visionarlo per formulare un giudizio, ma da quanto visto in tutto il materiale promozionale, concordo con i critici quando sostengono che le ambientazioni risultano particolarmente posticce, e che l'impatto visivo è piuttosto "cheap".
Del resto la stessa considerazione l'ho espressa già qualche mese fa, quando uscì il primo trailer esteso...

Molto teatrale, non cheap.. Ma un teatrale che funziona molto meglio rispetto a la Bella e la bestia.. La storia ha avuto modifiche interessanti, e nonostante anche qui Jasmine abbia avuto uno sviluppo femminista (figuriamoci), non è il femminismo becero della Belle Watsoniana. I pezzi musicali sono tutti (forse tranne Prince Alì) di grande impatto, soprattutto A Friend like me, che non ha nulla a che fare con l'orribile trasposizione di Be our guest. E gli attori sanno recitare grazie al cielo, principalmente Naomi Scott, veramente molto brava. Poi il pezzo inedito è decisamente strepitoso. Concludo dicendo che come tutti i live action dura oltre le due ore, ma mentre negli altri le ho sentite veramente pesanti, cosa che potevano finire tranquillamente con mezz'ora in meno, in Aladdin il tempo è volato.

Ripeto non so se siano state le basse aspettative avute a causa del primo trailer, ma io l'ho amato parecchio. Poi magari con la seconda visione mi farò un'idea migliore.


Messaggio modificato da buffyfan il 22/5/2019, 22:01
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messaggio 22/5/2019, 22:05
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Le critiche di chi l'ha visto comunque sono positive.

Comunque teniamo conto che i flop o non flop derivano dalla presenza o meno delle star per i ragazzini, l'abbiamo sempre detto che dovevano mettere una Kardashian o una Jennifer Lawrence per attirare le ragazzine.
Aladdin NON ha un cast all star (l'unico noto in un mare di sconosciuti è Will Smith), non ha la presenza di queste stupidine che attirano gente al cinema e fanno le schizzinose quando devono fare i selfie con i fans e, nonostante tutto, sono portate in gloria (tante volte sono pure pessime attrici però le portano in gloria lo stesso) perchè fanno tendenza.
Contiamo poi che la Disney ha dato una PESSIMA pubblicità al film (farlo uscire a maggio quando si sa già che sono i film a cui non crede nemmeno un po' le uscite di maggio), ha dato risalto solo a Avengers Endgame (che guarda caso aveva un cast all stars) e ha già iniziato mesi prima dell'uscita di Aladdin a pubblicizzare Il Re Leone (perchè là ci sono le star alla Beyoncé). Teniamo conto del fatto che poi in Italia almeno, nemmeno i libri sono stati pubblicati mentre di tutti gli altri film (eccetto Maleficent), dal migliore al peggiore, hanno pubblicato il mondo (alcune edizioni poi potevano pure risparmiarsele).
Di Aladdin alla Disney non gliene è mai fregato nulla, siamo onesti. Basta vedere che nelle interviste quando si trattava di una Bella e la Bestia o Cenerentola giù a parlare di quel film a più non posso e lodare come se non ci fosse niente di meglio, quando si tratta di Aladdin invece giù a parlare di altri film perchè Aladdin non è , nella loro testa, degno di avere la stessa considerazione degli altri. In sostanza, alla Disney interessano solo quei 2 o 3 titoli per far urlare le ragazzine in crisi ormonale e basta (e questo è provato pure dalle dichiarazioni di Menken stesso che dice "Pocahontas live action non la faranno mai perchè troppo complicata"... che poi dov'è complicata Pocahontas? in un mondo in cui si predica la tolleranza reciproca Pocahontas non ha spazio, è complicata ... ma certo, come no... Menken ci è davvero scaduto, pure lui, certe affermazioni per giustificare i propri datori di lavoro si possono evitare, non è che uno deve giustificare tutto quello che fanno i datori di lavoro, mica si può sempre essere in accordo con quello che fanno, se uno non concorda è meglio non parlarne e basta, non fare giustificazioni non richieste... excusatio non petita, accusatio manifesta).


Dal sito Tgcom:

"Aladdin", arriva al cinema il live action del classico Disney

Divertimento, grande azione e ritmo garantito da Guy Ritchie: la nuova versione non teme il confronto con lʼoriginale

Arriva al cinema dal 22 maggio "Aladdin", rivisitazione in chiave live action del celebre classico d’animazione Disney diretto da Guy Ritchie. Il nuovo (e convincente) tassello della monumentale operazione della casa di Topolino offre l’elettrizzante storia dell'affascinante ragazzo di strada e dell'indipendente principessa Jasmine che rifiuta le imposizioni sessiste della società in cui vive. E del Genio della Lampada che potrebbe essere la chiave del loro futuro. Tgcom24 vi offre una clip esclusiva.

La storia è nota. Ispirato all’omonimo cartone uscito nel 1992, che era tratto a sua volta dal famoso racconto "Aladino e la lampada meravigliosa" de "Le Mille e una notte", il film segue le vicende di un ladruncolo di nome Aladdin, che viene accompagnato nelle sue avventure dalla scimmietta Abu. Un giorno, in strada, difende una giovane ragazza, accusata di un furto, che poi si rivela di essere la principessa Jasmine, figlia del Sultano. I due si innamorano. Intanto, Jafar, il Gran Visir del Sultano, sta cercando di impossessarsi della Lampada Magica, custodita nella Caverna delle Meraviglie. Il losco figuro scopre che soltanto una persona umile con dei grandi valori è in grado di accedervi; questa persona è Aladdin, che viene convinto ad entrare nel luogo sinistro. Lì trova una lampada magica, contenente un genio in grado di esaudire tre desideri. Aladdin chiede di essere trasformato in un principe per conquistare la principessa. Fingersi diverso da quello che è non sarà così facile, e il ragazzo si troverà a scontrarsi con le sue stesse bugie.

Se nel cartone animato originale il volto di Aladdin era ispirato a Tom Cruise, oggi in carne e ossa troviamo il canadese Mena Massoud, già visto in tv nella serie "Jack Ryan". La bella Jasmine è Naomi Scott, attrice inglese di origini indiane che sarà tra le protagoniste del nuovo "Charlie’s Angels". Il leggendario Genio blu è Will Smith, che aveva il difficile compito di non far rimpiangere la voce di Robin Williams che con la sua parlantina aveva caratterizzato i tempi comici del suo personaggio.

A conti fatti, il remake funziona, ritmi e coraografie sono coinvolgenti e convince soprattutto visivamente, mantenendo alta la magia sia della trasformazione del genio che del volo del tappeto riuscendo a far rimanere immutata la visione incantata del cartone disneyano. Elemento surplus è la regia di Guy Ritchie, marchio di fabbrica di film come "Snatch" e "Sherlock Holmes", capace di rendere tante scene d'azione e inseguimenti davvero coinvolgenti. Il nuovo film segue molto l'originale soprattutto ricreando sequenze e scene cult, puntando ancora sugli elementi ironici. Tra le novità, la dama di compagnia Dalia, arguta e simpatica, che addomestica l'incontenibile Genio, ma soprattutto una nuova caratterizzazione della principessa: Jasmine appare come un'eroina, non solo bella, ma anche determinata, intelligente, con il sogno della rivoluzione. La linea narrativa del suo personaggio offre sicuramente nuovi riferimenti al diritto delle donne in Paesi in cui viene troppo spesso zittita.

La colonna sonora è firmata dal compositore Alan Menken, che ha vinto otto Oscar (uno proprio per "Aladdin" nel 1992). Ci sono anche nuove registrazioni delle canzoni originali scritte dallo stesso Menken e dai parolieri Howard Ashman e Tim Rice, rese più contemporanee da tocchi jazz e arrangiamenti pop. La canzone-simbolo "Il mondo è mio", intonata dalla principessa Jasmine, è interpretata nella versione italiana da Naomi Riveccio, reduce dall'esperienza di "X Factor 12".

l film d’animazione del 1992 incassò oltre 502 milioni di dollari al box office globale, dando vita a produzioni teatrali di successo a Broadway e nel resto del mondo. Dove arriverà questo?



Dal sito Vanity Fair:

«Aladdin», il miglior live-action della Disney (finora)

Anche se arriva con meno hype di «Mary Poppins» e «Dumbo», «Aladdin» è il film Disney che aspettavamo da tempo, e che supera ogni più rosea aspettativa (o sarebbe meglio dire “blu”?). Ecco che cosa ci è piaciuto di più

Non arriva accompagnato dall’attesa – quella che i moderni chiamano “hype” – che c’è stata per il remake di Mary Poppins o più di recente per il live-action di Dumbo. Eppure Aladdin, in sala dal 22 maggio, è il film Disney che aspettavamo da tempo, e che supera ogni più rosea aspettativa (o sarebbe meglio dire “blu”?).

Il film, diretto dal regista inglese da Guy Ritchie (Snatch, Sherlock Holmes), è naturalmente ispirato all’omonimo cartone uscito nel 1992, e tratto a sua volta dal racconto più famoso de Le Mille e una notte, ossia la Aladino e la lampada meravigliosa.

Nei panni del ragazzo orientale il cui volto animato era ispirato all’attore Tom Cruise c’è oggi «in carne e ossa» il giovane canadese Mena Massoud: 27 anni, nato in Egitto e cresciuto in Ontario, lo abbiamo già intravisto qua e là in alcune serie tv, tra cui quella di Amazon Jack Ryan, con John Krasinski. E il suo sorriso non passa inosservato.

La bella Jasmine, invece, la principessa per cui Aladdin perde la testa, è Naomi Scott, attrice londinese di origini indiane che rivedremo anche a novembre tra le nuove Charlie’s Angels.

La novità più importante, tuttavia, riguarda il Genio blu: è infatti Will Smith, il mitico Will Il Principe di Bel Air, a farsi gigante e fumoso per entrare e uscire dalla lampada e interpretare il genio leggendario della fiaba.

Certo, è probabile che nella versione originale qualcuno rimpiangerà Robin Williams, colui il quale prestava la voce al genio nel cartone; ma la perfetta sinergia di irriverenza, magia e simpatia che incarna per due ore Will Smith è tale da contrastare ogni sintomo di nostalgia.

In Italia, il Genio era interpretato da Gigi Proietti, e la bella notizia per i fan italiani è che Proietti, inconfondibile, ritorna, anche se per doppiare il papà di Jasmine, il Sultano di Agrabah, e non più il Genio (per ovvie ragioni anagrafiche).

Passato e presente s’incontrano e arricchiscono, dunque, e infatti l’elemento più (con)vincente di Aladdin è proprio riuscire a catturare sia le nuove generazioni (con colori, musiche ed effetti speciali); sia quelli che l’infanzia l’hanno vissuta nel 1992, e che ritroveranno qui molti degli elementi cari. La scena del Ti fidi di me? (che qualche anno dopo James Cameron replicò in Titanic); il tappeto volante, gli animali e le stesse canzoni, come la famosa (e struggente) Il Mondo è mio, che nessuno in questi anni può avere dimenticato.

Perché è chiaro: per piacere e avere successo, un live-action deve avere più di un legame con il suo originale e, soprattutto, deve lasciare allo spettatore in testa almeno un motivetto da continuare a cantare fuori dalla sala.

In Aladdin, si tratta appunto della canzone-simbolo Il mondo è mio, intonata dalla principessa Jasmine e interpretata nella versione italiana da Naomi Riveccio, la 26enne campana arrivata seconda all’ultima edizione di X Factor 12.

Detto questo non pensiate che, tra film e cartone, in Aladdin resti praticamente tutto uguale: le sorprese ci saranno e saranno diverse, e tutte speciali. Per esempio vi suggeriamo di tenere d’occhio la new entry Dalia, la nuova migliore amica di Jasmine, che per arguzia e simpatia non sarà da meno rispetto all’irresistibile Genio blu.

E, soprattutto, viva Jasmine! Una eroina bella, determinata, intelligente, forte, che sogna la rivoluzione, ma senza cadere nel cliché dell’antipatica ribelle. Nessuno può metterla in un angolo, nessuno può dirle «stai zitta». Ma la sua ambizione non è fittizia come quella della bambina che in Dumbo sognava Marie Curie. Anche perché lo abbiamo già detto, vero, che questo è il migliore film della Disney uscito finora?


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messaggio 22/5/2019, 22:15
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CITAZIONE (buffyfan @ 22/5/2019, 21:59) *
Naomi Scott, veramente molto brava. Poi il pezzo inedito è decisamente strepitoso.

Si intitolerà anche "Speechless" ma se ne potrebbero usare di parole invece per descriverla!! Innamorato.gif Innamorato.gif

Messaggio modificato da Daydreamer il 22/5/2019, 22:16


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messaggio 22/5/2019, 22:33
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CITAZIONE (Daydreamer @ 22/5/2019, 22:15) *
Si intitolerà anche "Speechless" ma se ne potrebbero usare di parole invece per descriverla!! Innamorato.gif Innamorato.gif

Condivido! Splendida la canzone, splendida la Scott e la sua interpretazione e splendido il messaggio del pezzo.
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nicolino
messaggio 23/5/2019, 14:54
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Visto ieri. Nel complesso l'ho trovato molto, molto gradevole e sono soddisfatto.

Prima di tutto, anche io lo trovo di gran lunga superiore a La Bella e la Bestia. Entrambi presentano sì un uso massiccio della CGI, ma quantomeno Aladdin mantiene uno stile stravagante e spettacolare dall'inizio alla fine, in maniera molto più omogenea, e lo spettatore fa molto meno caso a cosa è aggiunto al computer e cosa non lo è. (nel caso della Bella e la Bestia, invece, saltava tutto all'occhio)

Mi ha colpito molto la fedeltà della storia a quella del classico. Forse questo è il live action che più di tutti non tradisce la sceneggiatura originale, pur non rinunciando a qualche piccola novità (che comunque non va fuori contesto, né risulta forzata).
Certo, bisogna rinunciare all'effetto sorpresa, ma sinceramente preferisco molto più una copia carbone a una versione che loro spacciano per rimodernizzata e poi, alla fine, sa di monco e banale più di ciò che si è visto 20 anni fa. Meglio mantenere i twist originali, dato che hanno dimostrato di non saperne inventare di nuovi.

I personaggi mi sono piaciuti e tutti trovo che nessuno sia stato snaturato o decontestualizzato. Aladdin particolarmente mantiene le stesse caratteristiche per cui lo si ama, e Mena Massoud è adorabile. Sembra davvero la versione umana del disegno.
Jasmine è sicuramente il personaggio che più hanno rivoluzionato, ma la cosa che mi è piaciuta è che non l'hanno tanto CAMBIATA, quanto ARRICCHITA, e ci sta. Qui lei vuole guidare il regno, ma non ha perso tutte le altre qualità che la caratterizzano nel classico. La componente femminista avrà anche stufato, ma almeno qui non hanno soppresso la sua femminilità. Non la vedremo camminare da rapper, vestita di stracci o con un atteggiamento grezzo e musone. Anzi. Qui la principessa Jasmine sorride (Oh mio dio!), prende da subito una cotta per Aladdin (Oh mio dio, che sconfitta per il femminismo!) e, pensa un po', le vediamo perfino piangere. (Una delle tante cose che più odio della Bella e la Bestia è la mancata disperazione di Belle quando viene rinchiusa nella torre. Ma ovviamente mostrarla piangere o esternare qualche tipo di emozione sarebbe stato sinonimo di debolezza).
Jafar è ugualmente cambiato molto, ma sinceramente pensavo peggio. Alla fine credo che la cosa che stranisca più il pubblico sia la sua giovinezza e il fatto di essere così fisicamente diverso dal classico, ma il temperamento più o meno è quello.

Scenografie come al solito pazzesche e adoro l'architettura che hanno scelto per ricreare il palazzo e Agrabah. Forse avrei preferito che qualche scena si svolgesse in altre parti del castello (se notate, è quasi tutto girato nella stessa sala principale e nello stesso cortile), ma va bene così.

I numeri musicali tutti belli, specialmente Le notti d'oriente, che ho trovato molto d'impatto. Il mondo è mio è il momento che sicuramente tutti aspettavano e l'ho trovato abbastanza semplice, ma forse è positivo il fatto che non abbiano strafatto.

Adattamenti italiani incommentabili come al solito. Riconosco alla brancucci solo il fatto di aver fatto talmente tante schifezze peggiori in passato, che questa volta i pasticci sono passati quasi inosservati, fatta eccezione per i due reprise di Aladdin dove -come al solito- è diventato tutto un macello pur di doppiare perfettamente anche il minimo movimento del labiale.

Qualche neo: il ritmo mi è sembrato molto, molto veloce. Devo rivederlo per capire meglio se è stata solo una mia impressione. Tra l'altro l'audio nella sala era pessimo e avevo difficoltà a sentire (o almeno spero fosse un problema della sala).

Ah, come al solito sono dovuto capitare accanto a due s**** che non hanno smesso un attimo di gridare, mangiare, ridere, commentare a voce alta e muoversi per tutto il primo tempo. Ho dovuto alzarmi per cambiare posto ma ormai metà visione era stata rovinata, anche perché mi sono eccessivamente innervosito (a parte queste due, comunque, c'era un mormorio continuo ogni volta che si cantava, perfino ne Il mondo è mio! Cioè, veramente c'è gente che ancora non sa che i film Disney sono MUSICAL? E soprattutto, vai a vedere Aladdin e ti lamenti quando parte la canzone più famosa? Io non ho davvero più parole.)

Messaggio modificato da nicolino il 23/5/2019, 15:01
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messaggio 23/5/2019, 19:49
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CITAZIONE (nicolino @ 23/5/2019, 14:54) *
Ah, come al solito sono dovuto capitare accanto a due s**** che non hanno smesso un attimo di gridare, mangiare, ridere, commentare a voce alta e muoversi per tutto il primo tempo. Ho dovuto alzarmi per cambiare posto ma ormai metà visione era stata rovinata, anche perché mi sono eccessivamente innervosito (a parte queste due, comunque, c'era un mormorio continuo ogni volta che si cantava, perfino ne Il mondo è mio! Cioè, veramente c'è gente che ancora non sa che i film Disney sono MUSICAL? E soprattutto, vai a vedere Aladdin e ti lamenti quando parte la canzone più famosa? Io non ho davvero più parole.)

Io sono stato fortunato, tutti presi dalla storia, con tanto di applauso finale. E i titoli di coda sono divertentissimi!
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messaggio 23/5/2019, 22:15
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Che bello ragazzi, non vedo l'ora di vederlo.

Intanto ecco qui il VIDEO UFFICIALE DI "SPEECHLESS" CON LA MERAVIGLIOSA NAOMI SCOTT heart.gif heart.gif

Messaggio modificato da Daydreamer il 23/5/2019, 22:15


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messaggio 24/5/2019, 0:16
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Naomi Scott canta veramente molto molto bene. Degli ultimi anni è la più brava ad aver cantato in Disney assieme a Idina Menzel per Frozen.

La canzone Speechless è quella composta da Menken assieme a Paul e Pasek (strano che non ci sia nessuna intervista a questi due artisti finora)

Per ora in Italia il film è andato molto bene. Le critiche sono positive e gli incassi nel primo giorno sono quelli di un week end. Vedremo come farà.


A proposito di Jasmine e Naomi Scott, ecco cosa riporta il sito LA Times:

How the ‘Aladdin’ remake redefines a Disney princess with Naomi Scott’s Jasmine

Growing up in England, Naomi Scott, like so many other young girls, fell in love at an early age with Disney’s animated heroines — particularly Mulan, Pocahontas and Jasmine from “Aladdin.” But while those three are officially part of Disney’s juggernaut princess line of media franchises and toys, alongside the likes of Cinderella, Sleeping Beauty, Belle and Ariel, it wasn’t their ostensible princess-y trappings that enthralled Scott. It was something deeper.

“I just gravitated toward the characters as opposed to the princess side of it,” Scott said on a recent afternoon in a Beverly Hills hotel suite, wrapped in a white bathrobe at the end of a long day of interviews to promote Disney’s new live-action remake of “Aladdin,” in which she plays Jasmine. “At the end of the day, that’s what girls will gravitate towards: that person, that human.”

The 26-year-old Scott wasn’t even born when 1992’s “Aladdin” hit theaters, one of a string of hits that fueled Disney’s ’90s animated renaissance. Now the actress and singer finds herself bringing three-dimensional life to a character she once pretended to be as a child, images of whom countless girls have had plastered on their walls and bedsheets. It’s a lot to wrap her head around.

“Jasmine was my favorite, so I can’t really reconcile those two things,” Scott said. “You have to have a healthy respect for what came before, but I still see those things as separate. It’s more a case of being able to create this human version of her. That’s the way I saw it.”

In fact, Scott’s new take on Jasmine stands apart from the original version in ways that go beyond simply the storytelling medium. Whereas the original film’s Jasmine was mainly concerned with choosing a spouse, Scott’s version dreams of breaking with archaic patriarchal traditions and ruling her kingdom of Agrabah. This is a Jasmine for the era of female presidential candidates and the #MeToo movement, reflecting broader societal shifts in gender norms and expectations over the past 27 years.

Scott sees the character’s evolution as a natural progression. “It doesn’t feel like we’re shoehorning something in,” she said. “In the original movie, as great as it is that she’s fighting for the choice of who she wants to marry, that’s where her ambition kind of stops. In this movie, she’s more ambitious and she looks outside herself. She’s trying to protect her kingdom against this evil dictator [Jafar]. It’s showcasing that you can lead and you can have love. You can have both, girls, and the two aren’t mutually exclusive.”

In recent years, as Disney has sought to leverage its animated back catalog with new live-action versions, the studio has found that depictions of gender roles that were accepted in decades past may now induce cringes. But figuring out how to strike the right balance, delivering audiences a fix of nostalgia while also reflecting today’s heightened awareness around issues of identity and power, is far from simple.

“Obviously we deal with gender and how these stories have changed throughout history quite a bit, whether that’s ‘Cinderella,’ ‘Beauty and the Beast,’ ‘Aladdin’ or ‘The Little Mermaid,’ which we’re working on now,’ ” said Sean Bailey, Disney’s president of production. “You’ve got some real issues you have to dig into and discuss at great length.”

With the “Aladdin” remake, those discussions began early in the development process, as director Guy Ritchie, screenwriter John August and the rest of the creative team looked for ways to blow some dust off the story and make it feel more in tune with today’s audiences.

“We watched the original movie and said, ‘In these times, does it feel outdated?’ And there are times relationship-wise that it does feel a little out of date,” said producer Dan Lin. “We felt like we had a real opportunity to make Jasmine really be a strong female leader in this movie that maybe she wasn’t so much in the original movie.”

According to a 2016 study by linguists at Pritzker College and North Carolina State University that analyzed the gender breakdown of dialogue in numerous Disney movies, male characters delivered some 90% of the lines in the original “Aladdin.” (Much of that disparity was no doubt accounted for by Robin Williams’ famously motor-mouthed performance as the Genie.)

To help address that imbalance and further flesh out Jasmine’s more empowered character, “Aladdin” composer Alan Menken, in collaboration with the songwriting duo of Benj Pasek and Justin Paul, wrote a song for Scott to perform, a soaring power ballad called “Speechless” in which Jasmine expresses her desire to unleash her voice.

“We were really inspired by a line in the original movie where Jafar very misogynistically says, ‘You’re speechess, I see. A fine quality in a wife,’ ” said Pasek. “In the world that we live in, so many people need to reclaim their voice — or claim it for the first time — and be outspoken about who they are and what they believe in. It was a really exciting opportunity to put that message into the voice of Jasmine.”

Crafting the song’s lyrics in mid-2017, months before the Harvey Weinstein sexual misconduct scandal broke, Pasek and Paul couldn’t have foreseen how they would soon resonate with the zeitgeist. “The song was written before the Time’s Up movement,” said Paul. “I think it’s just confirmation that this has been an age-old struggle for people who have felt marginalized and continue to be.”

Highlighting the perils of reimagining a beloved classic, the new “Aladdin” has faced multiple criticisms on the road to the screen. After the film’s first trailer dropped, many faulted the look of Will Smith’s Genie, while others complained about the casting of Marwan Kenzari as the villainous Jafar, deeming the actor too good-looking and insufficiently menacing.

The casting of Scott as Jasmine has not been free of controversy either. Though Agrabah is a fictional country, some took to social media to decry the casting of Scott, arguing that the actress, who is of Gujarati Indian and British descent, was taking a role that should have gone to a Middle Eastern actress.

“All these Arab actresses on the planet and they cast half-white, half-Indian Naomi Scott as Jasmine,” wrote one Twitter user. “Indian isn’t middle-eastern, Hollywood.”

Scott, perhaps best known to American moviegoers from her role in the 2017 reboot “Power Rangers,” says dealing with the intense scrutiny that goes along with a high-profile project like “Aladdin” has been “a good learning curve.”

“You have to just be comfortable with knowing in yourself what you’re doing and not allow outside voices to get into this part,” she said, pointing to her heart. “I’m very proud of this movie and how diverse our cast is and what it represents and the message of the movie. Everyone is entitled to their opinion. I didn’t look too much to the left or right or listen to what people were saying. You can’t get into that habit, can you?”

Even as she waits to see what audiences make of her fresh take on Jasmine, Scott is already looking ahead to another breakout role later this year as one of the stars in Elizabeth Banks’ “Charlie’s Angels” reboot and cultivating a parallel career as a singer-songwriter. Not unlike Jasmine, she has ambitions that won’t be stifled or contained.

“I love the breaking down of walls that someone like Donald Glover does,” Scott said. “I’m definitely not someone who wants to stay in a box. If you put me in it, I’m probably going to break it down anyway. So you might as well just let me run free.”


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messaggio 24/5/2019, 18:49
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Aladdin al box office italiano sta andando molto bene, il che era scontato dato che da noi i live actions Disney vanno tutti bene. Ma ha avuto un buon inizio anche in America, dove ha incassato 7 milioni dalle previews, molto meglio di Maleficent e Cenerentola, quindi i 75/80 milioni di incasso per i primi quattro giorni che si aspetta la Disney sono molto probabili.
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messaggio 24/5/2019, 19:05
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CITAZIONE (buffyfan @ 24/5/2019, 18:49) *
Aladdin al box office italiano sta andando molto bene, il che era scontato dato che da noi i live actions Disney vanno tutti bene. Ma ha avuto un buon inizio anche in America, dove ha incassato 7 milioni dalle previews, molto meglio di Maleficent e Cenerentola, quindi i 75/80 milioni di incasso per i primi quattro giorni che si aspetta la Disney sono molto probabili.

Direi che la tua analisi è corretta e che i 75 milioni verranno ampiamente superati, in quanto probabilmente per i 4 giorni del memorial day incasserà 90-100 milioni.
Tuttavia, come quasi tutti film "evento" della Disney, sarà estremamente "front-loaded", cioè tenderà ad incassare una enorme percentuale degli introiti totali nella prima settimana, per poi calare drasticamente.
Prevedo un incasso finale in Usa di 190 -220 milioni, e a livello globale 500- 600 milioni ( è ancora troppo presto per stringere la forbice, dato che ci sono pochissimi numeri internazionali).

Il che renderebbe il film un tiepido insuccesso. Rientrerà nelle spese, ma scendere di oltre il 50 % dall'incasso della Bella e la Bestia 2017 è davvero un pessimo risultato, considerando che Aladdin è un brand più forte a livello globale.
Devono considerare molti aspetti per il prossimo "La sirenetta", e, sicuramente, puntare su volti molto noti direi che si dimostra necessario in grandi produzioni come queste.
Aladdin ha solo Will Smith il cui astro è in parabola discendente da ormai un decennio...

Messaggio modificato da theprinceisonfire il 24/5/2019, 19:06
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buffyfan
messaggio 24/5/2019, 19:32
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CITAZIONE (theprinceisonfire @ 24/5/2019, 19:05) *
Direi che la tua analisi è corretta e che i 75 milioni verranno ampiamente superati, in quanto probabilmente per i 4 giorni del memorial day incasserà 90-100 milioni.
Tuttavia, come quasi tutti film "evento" della Disney, sarà estremamente "front-loaded", cioè tenderà ad incassare una enorme percentuale degli introiti totali nella prima settimana, per poi calare drasticamente.
Prevedo un incasso finale in Usa di 190 -220 milioni, e a livello globale 500- 600 milioni ( è ancora troppo presto per stringere la forbice, dato che ci sono pochissimi numeri internazionali).

Mi auguro che riesca a tenere per più settimane, anche perché leggendo sui vari forum, praticamente tutti coloro che l'hanno visto lo hanno ritenuto migliore de La bella e la bestia. Quindi il passa parola potrebbe avere un buon peso sull'incasso totale. Non so sinceramente se sia un brand più forte de La Bella e la Bestia. Quest'ultimo è più popolare nei paesi occidentali, Aladdin di più in quelli orientali, e i paesi orientali che regalano incassi alti sono numericamente inferiore, giusto la Cina, l'Indonesia e l'India (dove hanno puntato molto, vista la promozione) potrebbero dare soddisfazioni. In Giappone, Aladdin è popolare quanto La Bella e la Bestia, se non di più, e potrebbe avere risultati importanti. 500/600 milioni mi sembrano pochini sinceramente.... io arriverei a pensare sui 800 milioni di incasso totale. 200/300 milioni in nord america, 300 milioni negli altri paesi occidentali e 300 milioni in quelli orientali.. Ma come hai detto tu è prestissimo per fare supposizioni, già a partire da lunedì avremo le idee più chiare. Personalmente penso che meriterebbe maggiore successo del film di Condon.

Messaggio modificato da buffyfan il 24/5/2019, 19:36
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messaggio 25/5/2019, 15:26
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Personalmente credo che si debba festeggiare, sia per l'accoglienza del pubblico sia per il box office.
Le reazioni e il passaparola sembrano molto positivi: seppur non privo di difetti, Aladdin viene collocato tra i remake riusciti ed è considerato migliore de La Bella e la Bestia.
Ancora questa settimana, i siti più affidabili prevedevano 75 milioni nei quattro giorni, ora ne stimano 106, il 40% in più! E tutto ciò nel weekend del Memorial Day, in cui la Disney ha sempre avuto pessimi risultati negli ultimi 10 anni (Maleficent escluso).
Considerati i kolossal Disney degli ultimi 5 anni, la tenuta migliore appartiene al Libro della Giungla, il cui incasso finale è circa 3.5 volte quello d'apertura, mentre la tenuta peggiore è di Pirati 5 (2.7). Se Aladdin incassasse "solo" quanto Pirati 5, arriverebbe a 229 milioni, che appare dunque come soglia minima.
Ovviamente il confronto con la Bella e la Bestia non regge, ma ricordiamoci che Aladdin è stato affossato per mesi su internet e nei forum senza motivo, solo perché il trailer non era granché. Grande riscatto di Al! clapclap.gif


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messaggio 26/5/2019, 18:24
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Dal sito Hollywood Reporter:

Box Office: 'Aladdin' Earns $86M in First 3 Days, Eyes $100M Holiday Bow

The live-action Disney title is outpacing early estimates, while Olivia Wilde's R-rated high school comedy 'Booksmart' has pulled in $6.5 million at the domestic box office this weekend.
While the box office's holiday weekend is not yet over, Aladdin is already posting big earnings in its three-day weekend run.

The Disney live-action title has grossed $86.1 million in its release so far, already out-pacing earlier estimates that it would gross $80 million for the entire Memorial Day holiday. Aladdin is now on pace for a $100 million plus four-day bow.

Guy Ritchie directed Aladdin, which stars Will Smith as the Genie and Mena Massoud as the titular hero, a charming street rat who masquerades as a prince to win the affections of Princess Jasmine, played by Naomi Scott. The movie musical, produced by Dan Lin and Jonathan Eirich's Rideback, opened wide in 4,400 locations.

The re-hashing of the studio's 1992 animation has received a mixed response from critics, with a 57 percent fresh rating on Rotten Tomatoes, but has fared far better with audiences, earning a A CinemaScore.

Also, rounding out a three-day weekend at the domestic box office is Olivia Wilde's Booksmart. The R-rated high school comedy pulled in $6.5 million across 2,500 theaters.

Beanie Feldstein and Kaitlyn Dever star in the high school comedy as two Ivy League-bound overachievers determined to party on the night before their graduation. The pic premiered at SXSW to universal praise and currently sits at an incredible 99 percent on Rotten Tomatoes. But audiences did not respond as favorably, with a B+ CinemaScore.

Screen Gems and The H Collective's superhero horror Brightburn posted a three-day gross of $7.5 million at 2,257 locations.

Brightburn received a lukewarm response from critics, with a 64 percent on Rotten Tomatoes. Audiences gave it a C+ CinemaScore, but a lower rating is not uncommon for horror-tinged films.

The movie was directed by David Yarovesky from a script by Brian Gunn and Mark Gunn and counts James Gunn as a producer. A riff on the Superman origin story, Brightburn is led by Elizabeth Banks and centers on a couple in Kansas who find an alien baby and raise him, only to see him turn evil.


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messaggio 26/5/2019, 19:52
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Dopo il primo week end Aladdin incassa a livello mondiale ben 207 milioni di dollari. Meglio delle più rosee aspettative e sono felicissimo perchè lo merita. Anche se bisogna dire che come ultimo mercato chiave manca solamente il Giappone…. L'Italia è uno dei paesi in cui sta ottenendo il miglior risultato, come ipotizzavo, surclassando Francia e Germania! Però in Europa hanno fatto presentare il film dagli attori a Parigi e Berlino, e non a Roma. mad.gif
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messaggio 26/5/2019, 23:48
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Intervista a Mena Massoud:

Dal sito NY Times:

Disney’s Aladdin: Mena Massoud on His Big Break and the Film’s Big Issues

The little-known actor talks casting controversies, questions of representation and how he held his own with Will Smith.

Massoud was one of more than 2,000 hopefuls who auditioned for the title role.


When Mena Massoud, the star of the new “Aladdin” live-action remake, got the first callback for the title role, he decided not to revisit the beloved 1992 animated original. Instead he wanted to draw inspiration from the underlying theme: a “journey of personal identity.”

The cartoon does carry a well-intentioned, universal message of being true to yourself. But it has also been criticized for promoting the stereotype of “barbaric” Arabs. And though it’s set in a fictional port city in Arabia, its characters were voiced by a majority white cast.

Born in Cairo and raised in Toronto, Massoud, 27, has a rosier view of the earlier movie. “My parents knew about the story of Aladdin far before the animation film. It’s a folk tale that is very prevalent in Egypt,” he said, adding that the movie is a “very positive depiction of where we came from.”

Still, Disney needed to update the revival for woke audiences. After an open, worldwide casting call, it wound up with a diverse cast that includes the British actress Naomi Scott, who plays Jasmine and is of Indian descent, and actors with Iranian and Tunisian roots. Massoud, who had a recurring role in “Tom Clancy’s Jack Ryan,” won out over more than 2,000 hopefuls who auditioned for his role.


The film has received decidedly mixed reviews from critics, though in his New York Times review, A.O Scott called the casting “admirable.”

In a recent phone interview, Massoud explained why he thought it was “counterproductive” to critique the story and casting process and shared his thoughts on Will Smith’s blue genie. These are edited excerpts from the conversation.


Were you a fan of the animated “Aladdin” growing up?

Yeah, he’s one of the only characters that I could relate to on a cultural level. I have two older sisters. They had it on at the house before I could even walk, so I grew up with it in my childhood in a big way.

Did you ever have any thoughts about the backlash it received for the original “Arabian Nights” lyrics and its portrayal of the characters?

No. Growing up in my family, we just celebrated that film because it was one of the few that had any representation for us. It’s very pretentious to start nit-picking things when there’s not a lot of representation out there anyway. You have to start somewhere.


Casting for the live-action remake took longer than expected because it was difficult to find an actor for the lead role. Were you following that process as it played out?

When I first saw the online casting [call], I was very excited. I put a tape together. I didn’t have much hope because when they’re getting tens of thousands of tapes from around the world, the chance of it even getting seen is very low. So we didn’t hear anything back, I assumed they were going to one of the Hollywood established stars, and that was it. Four months later, I heard from my reps and I was shocked that they were still looking for someone. I put another tape together and flew to London twice to test for it.

Why do you think the parts of Aladdin and Jasmine went to relative newcomers?

From my understanding, [the producers and the director] did go out to stars at the beginning, but they just couldn’t find anyone able to pull off the singing and dancing and acting. They were looking for a singer that could pull off the acting. And they came to realize over months of searching that they actually needed a really strong actor because Aladdin only really sings two songs. So I think that’s when they started changing their approach.


Massoud as Aladdin and Naomi Scott as Jasmine in the new live-action “Aladdin.”

When Disney announced that Naomi Scott would play Jasmine, some fans reacted angrily on Twitter and said the role should have gone to someone of Arab heritage.

It’s a funny thing that’s happening online. The Middle Easterners want “Aladdin” to be a Middle Eastern story, and the Indians want “Aladdin” to be an Indian story. The truth is, it’s really a folk tale from the 1800s, and Agrabah is a fictional place that’s a culmination of India and Asia and the Middle East. In fact, in the original folk tale, Aladdin was actually of Chinese descent. So what we wanted to do with this was represent as many different cultures from that part of the world as possible.

How did the filmmakers address concerns about cultural sensitivity and representation beyond casting? Did you ever feel the need to flag anything that seemed off?

They had a team of cultural advisers on set. And no, to answer your question. It’s the most represented and the most respect, culturally, that I’ve ever felt in my career. My first professional gig was on a show called “Nikita,” and I played Al Qaeda No. 2. At that time I had to take those roles because I just wanted to get my foot in the door. So I think [Disney] handled it beautifully and [this] needs to happen more in Hollywood.

What was it like working with Will Smith? How did you hold your own on set?

I’ve been in the industry for about 10 years, and I think if you want to work with the best directors in the world and the best performers in the world, you have to value yourself and what you have to offer. Don’t get me wrong — I was really nervous the first time I met Will. But we had a lot of time to prep and to get to know each other, so by the time we got to filming, he [was] just a co-star of mine.

Massoud opposite Will Smith, whom he got to know before filming started.

What did you think of his take on the blue genie?

I honestly think he’s the only one that could have played it. I think what Robin [Williams] did so well, and the reason Robin’s genie is so iconic, is because he brought his whole self to the role. And Will has done the same in his rendition. He’s brought his past 30 years of experience. The genie’s got a little bit of “Hitch” in it; it’s got a little bit of “Bad Boys” in it; a little bit of “The Pursuit of Happyness” — it’s got a little bit of everything. I think he nailed it.

You recently sent out a message to Egyptian viewers in Arabic on Twitter. Do you still have ties to the country?


Definitely. I grew up speaking Arabic at home. I’ve been back to Egypt a few times. I’m planning to go back again this year for the El Gouna Film Festival in September.

What’s next for you?

Right after this I’m shooting a series on Hulu called “Reprisal.” It’s produced by Warren Littlefield and it’s with Abigail Spencer and Rodrigo Santoro. It’s very dark and dramatic and very different from “Aladdin.”

And you’ll be voicing the poet Rumi in an animated film slated for 2020.

Yes! I’ve actually started working on it already. It’s very cool animation. It’s not mainstream — it’s very artistic. I’m looking forward to seeing how that turns out.


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messaggio 27/5/2019, 9:01
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Box-Office Italia: Aladdin vince il weekend e sale a 6.4 milioni in cinque giorni

Il maltempo premia i cinema italiani con un weekend di fine maggio decisamente ricco, a vantaggio di diversi film in classifica. A dominare su tutti è Aladdin, che incassa ben 5.6 milioni di euro tra giovedì e domenica, per un totale di quasi 6.4 milioni in cinque giorni. È il secondo miglior esordio dell’anno dopo Avengers: Endgame, decisamente sopra il risultato di Maleficent e Cenerentola ma sotto a La Bella e la Bestia (che raccolse 7 milioni in quattro giorni).

Fonte: Badtaste.it
https://www.badtaste.it/2019/05/27/box-offi...-giorni/374157/


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