Fidel Castro, Oliver Stone, USA

Les américains ont une vision de Castro qui est malheureusement caricatural… Je pense qu’ils craignent de le trouver sympathique

Oliver Stone

C’est édifiant. Cuba, avec ses petits moyens est une réussite de gouvernement progressiste, de politique sociale. Les États-Unis veulent renverser ce régime pour imposer leurs propres valeurs totalitaires. Pour cela ils tentent depuis 40 ans de déstabiliser le pays en l’asphyxiant, en finançant le terrorisme international.

Il reste de l’espoir. J’ai enfin trouvé le livre Cuba face à l’empire de Salim Lamrani à la FNAC, un peu coincé entre deux livres critiques sur les État-Unis.

Salim Lamrani parle beaucoup mieux que moi de la politique terroriste du gouvernement étasunien, procurez-vous le livre (il est disponible sur Amazon) ou cherchez ses articles sur internet.

Je fantasme un peu sur le livre dans le billet Comandante. Maintenant qu’il existe entrain mes mains, je suis entrain de l’éplucher (je lis lentement), et je découvre qu’à un moment, il parle du film d’Oliver Stone ! Il cite un extrait d’une entrevue.

Dans mon précédent billet, j’avais vu juste de parler de ce livre, et du film. Le hasard veut que l’auteur ait publié le chapitre ou il parle du film censuré sur le site Confidentiel.net, dans l’article intitulé Commission des droits de l’homme de Genève : Cuba, le Honduras et l’histoire d’un terroriste notoire devenu diplomate étasunien.

J’ai cherché l’article original sur Oliver Stone, mais j’ai trouvé qu’un pdf difficilement accessible. Je publie donc cet article afin de faire parler de l’œuvre de l’artiste, et polémiquer sur la situation cubaine.

The Americans have a view of Castro that is unfortunately rigid… I think they’re worried they might like him.

Oliver Stone spent three days in Cuba with Castro talking about youth, power, everything from Fidel’s failings as a father to drinking nights with Krushchev. The result is a film HBO won’t show, perhaps because it puts a human face on the U.S.’s eternal enemy. But the CBC isn’t afraid to air it

By Simon HOUPT – Saturday, March 20, 2004

NEW YORK — The phone line to Los Angeles is weak and crackling, and Oliver Stone asks me to call him back. I thought maybe our phone was being tapped by the Bush Administration, I say when I finally reach him. Huh huh, he chuckles without mirth. Huh huh. Huh huh. I don’t know if that’s funny or not.
The joke apparently cut a little close to home. Stone isn’t quite an enemy of the state, but for a Hollywood director, he has the rare ability to bring on aesthetic heartburn among political, business and academic leaders in America. His latest film, Comandante, a documentary profile of Fidel Castro, had the misfortune to be scheduled for broadcast in the U.S. only weeks after the Cuban government cracked down on dissidents last spring and ordered the execution of three men who had hijacked a ferry to escape the island. Saying it needed more work in light of the turn of events, the normally fearless American pay channel HBO temporarily shelved the program. Eventually, the network quietly removed the film from its schedule. Comandante will finally get its North American premiere one week from tomorrow, playing on CBC Newsworld’s The Passionate Eye Mar. 28 at 10 p.m. (ET).

The problem wasn’t just one of timing. Castro rarely grants interviews, and some were disappointed with the gentle nature of Stone’s approach. He gave Castro the right to pause the proceedings at any point if he objected to the questions. But there was no need to exercise that right since Stone, who appears on-screen in modest thrall to Castro, was going after a portrait of a man rather than a world leader. There is little tough questioning about the treatment of dissidents or other potentially hot topics. It’s one of the few documents of Castro actually being in the conversational mode, boasts Stone, sitting down for a coffee in an L.A.
restaurant.

It’s like My Dinner with Andre. It’s My Dinner with Fidel.

Actually, many dinners. Castro and a mustachioed Stone break bread together on-screen, travel the streets of Havana in the presidential Mercedes and wade through admirers at surprise appearances throughout the city. Culled from 30 hours of interviews that took place over three days in 2002, the film shows the Cuban leader relaxed and reflective, and almost simplistically playful.

The Americans have a view of Castro that is unfortunately rigid, Stone says, the restaurant clatter amplified by his phone. He is a man who’s seen a lot. Let’s give him his chance to speak. I think they’re worried they might like him.

Stone continues. They don’t like to listen. They don’t want to give Hussein, or anybody, more airtime. The Vietnamese were faceless — you make the enemy faceless, you can obviously get away with that for a long time.

Comandante puts a human face on America’s eternal enemy. Castro demonstrates his exercise regimen for Stone’s cameras, pacing in a rectangular circuit around his small office. He sits in a screening room, nostalgic ease spreading across his 76-year-old face, as he dwells on his love of old movie stars such as Brigitte Bardot and Sophia Loren. He admits that he has perhaps not been as good a father to his sons as he might have been. He offers Stone, an old JFK assassination-conspiracy buff, his own thoughts on the lone gunman theory. And he recalls some evenings of heavy drinking through the decades with Khrushchev, Brezhnev, and Yeltsin.

Somehow believing this sort of material might be greeted warmly back home, Stone stepped on a land mine. To some Americans, particularly those within the powerful Cuban exile community, which has the ability to move the vote in the swing state of Florida and therefore can grab the attention of federal politicians, the concept of a soft portrait of Castro is just short of criminal. In the days after Comandante screened for the first time at the 2003 Sundance Film Festival, the local Cuban exile community began a fierce campaign to have it suppressed.

So many reporters in America killed the film without even seeing it, says a disappointed Stone. They were all saying the same thing: It’s soft-ball questions for old Castro. It was just so obvious that nobody had seen the film. That’s amazing to me, that that kind of closing down of the First Amendment can happen so easily.

I think I pushed Fidel. I wasn’t trying to be Mike Wallace because I don’t think Mike Wallace would have gotten anything from him. He’s used to those people in his face, so I went about it as a filmmaker, not as a political reporter.

Stone habitually challenges authority, either by taking on official U.S. history with the swirling paranoia of JFK or an all-out assault on the corrupt media-saturated American culture in Natural Born Killers. He even faced nasty opposition to his last studio picture, Any Given Sunday, a critical look at professional football. Oh, the NFL killed us, or tried to kill us, he says. It took its gloves off. There was a lot of dirty stuff. If you take on the establishment here, it’s not that easy. It’s like Soviet Russia, you know. It’s not that easy to take on the big boys. There’s a climate of fear.

That’s where HBO is supposed to come into the picture. The pay-TV network portrays itself as being above the quotidian commercial pressures that crush the creativity of the broadcast outlets. As a cable service, it can afford to offend just about anyone it wishes, be it a core of Italian-Americans with The Sopranos, the Catholic church with a documentary about sexual abuse by priests, or anti-porn advocates with a program about Nevada’s Bunny Ranch whorehouse.

But the network, owned by Time Warner, may have felt Castro’s defence of himself crossed a line. What is a dictator? And is it bad to be a dictator? Castro asks rhetorically, to little apparent objection from Stone. Because I’ve seen the United States government being friendly with the biggest dictators.

HBO said this week it did not cave to pressure from a powerful lobby group, it merely took another look at Comandante when Castro’s crackdown occurred and determined the film wasn’t balanced enough. Saying it was still in the works, the network asked Stone to return to Cuba for more material. He did so, securing another three days with Castro in May, 2003. The encounter was much testier, as Stone pushed him on his control of political opponents and the execution of the hijackers. Stone also spoke
with dissidents.

But rather than incorporate that material into Comandante, Stone produced an entirely separate documentary entitled Looking for Fidel, which will be shown on HBO next month. (CBC Newsworld is negotiating for the rights.) HBO still has no intention of running Comandante, even as a companion piece to Looking for Fidel. We don’t feel there is a need to air Comandante, said Lana Iny, an HBO spokesperson.

CBC did not share HBO’s concerns. We’ve run portraits of Saddam Hussein, of the Pope — quite a broad range of documentaries, said Jerry McIntosh, the director of documentaries for CBC News. I think the fact that Castro is a dictator is not a reason for us not to look at the guy’s life and his point of view.

Stone understands HBO’s objections. but is disappointed that Americans won’t get a chance to see the film except at select film festivals.

I saw what the people are like in Cuba. I’m not seeing a Stalinist regime, North Korea, or Iraq. Let’s not kid ourselves, millions of tourists go there every year, Canadians included, they see with their own eyes. At what point does it become ridiculous to put a hex on this island?

He speaks from a wealth of experience. Stone is one of the best-travelled commercial filmmakers, often going abroad to make movies such as Salvador, Platoon, and his upcoming epic about Alexander the Great, Alexander, due out in November. I’ve been in a lot of these countries: Honduras, Guatemala, Chile, Brazil, Argentina. I don’t see where they’re so free, he says with a grim laugh. I don’t understand what the comparison is and why Cuba is the bogeyman. I’d be a lot more scared to live in Guatemala, or frankly parts of New York or L.A. or Washington, than I would in Havana. I think it’s very safe. There’s very little crime.

So why does America hold a grudge against Cuba? It’s like Vietnam. It represents something that beat us, he says, then reconsiders his words. Well, they wouldn’t surrender. Castro outwitted us, stayed on, the revolution lasted, he took over the land.

Taking land is the greatest sin in America, he says. Revolution is not allowable — although we had a revolution. We’re still committed to destroying the Bolshevik Revolution of 1918, and I think in a strange way anything that exists outside our globalized financial structure is going to be the enemy. And Cuba is right up there on that list, with North Korea, Iran, Iraq, Pakistan, but they won’t put them on. Won’t put Saudi Arabia on. He laughs.

This is as close as Stone will come to making specific comments about the current state of politics in the U.S. Perhaps he’s tired of being attacked for his politics, but he leaves many questions alone, even seeming to pretend at times that he didn’t hear them. Still, he will take a slap or two at the current American leadership, by way of pointing to the special place Castro holds in the hearts of the Cuban people.

Every street we walked down [with Castro], there was a furor, an excitement, people rushing out to see him, lining up to see him, and I think we could have gone to 20 streets and found that kind of reaction, he says.

If you just look at the faces, you’ll see it. I hope that comes through a bit in the documentary. I’m sure there’s some discontent that I’m not showing in their faces, but you don’t generally see that kind of enthusiasm for a presidential candidate, unless he’s John Kennedy or Bill Clinton. I don’t know that you’d see it spontaneously for George Bush. I don’t think George Bush would walk around any street in America. I think he’d be scared to death with what he’d get.

Oliver Stone’s documentary Comandante airs on CBC Newsworld’s The Passionate Eye at 10 p.m. on Sunday, March 28 and repeats on Friday, April 2 at 10 p.m.

La Cité des Hommes : le film !

Quatre saison, ce n’est pas assez. Heureusement, le long métrage est en préparation ! Je ne fais que compiler ce que j’ai trouvé par-ci par-là.

Le synopsis

La série la Cité des Hommes (Cidade dos homens) a été diffusé par la Globo, et les créateurs finissent l’adaptation sur grand écran. Le long métrage est la suite direct de la série, et montrera l’entrée dans la vie d’adulte de Laranjinha (Darlan Cunha) et Acerola (Douglas Silva).

Maintenant, du haut de leurs 18 ans, leur amitié de toujours est mise en péril par un terrible secret, et les plongera dans une guerre de drogue dans la favela de Sinuca.

On connait par cœur Laranjinha et Acerola, nous les avons suivi durant 4 ans. Le film s’ouvre sur les 18 ans d’Acerola. Les deux meilleurs amis sont à la plage et ils se déplorent leur situation. Acerola est marié et à un bébé avec la seule partenaire sexuel qu’il n’ait jamais eu. Il désire retrouver sa liberté qu’il a perdu très jeune, en assumant femme et enfant. Laranjinha, serial lover qui fait tombé toutes les filles qu’il désire, ne rêve qu’à une chose qu’il n’a jamais eu : il veut absolument retrouvé la trace de son père avant qu’il ait 18 ans, afin d’écrire un nom dans sa carte d’identité.

Les chaleurs de l’été tapent sur les mentalités et les caïds de leur favela commencent à péter un cable. Acelora travaille comme gardien dans une propriété bourgeoise, et pense à voir d’autres femmes, jusqu’à ce qu’il se laisse tenté par une beauté. De son côté, la grand mère de Laranjinha lui laisse échapper accidentellement un indice concernant son père. Il a les preuves dont il avait besoin pour traquer son père, Heraldo, qui s’avère être un ex-taulard, voleur et meurtrier.

Les deux amis ont des problèmes avec Mudrugadao (Hiboux), le caïd le plus dangereux de la favela, et ils sont contraints à partir de la favela. Laranjinha part vivre avec son père, et aveuglé par le désespoir de faire plaisir à son père longuement disparu, qui voit d’un mauvais œil son ami, Laranjinha jette Acerola qui était venu chercher refuge. Banni par sa famille et sans endroit où aller, il n’a pas d’autre choix que de rejoindre le gang de Mudrugadao, c’est alors qu’il découvre le terrible secret d’Heraldo, ébranlant son amitié avec Laranjinha, et les propulsant dans une énorme guerre des gangs, l’un contre l’autre.

La cité des Hommes - premières images - 4-5 La cité des Hommes - premières images - 3-5 La cité des Hommes - premières images - 2-5 La cité des Hommes - premières images - 5-5 La cité des Hommes - premières images - 1-5

Les protagonistes

Le film est réalisé par Pablo Morelli, il cosigne le scénario avec Helena Soares.

Le casting se compose de

  • Douglas Silva
  • Darlan Cunha
  • Eduardo BR
  • Luciano Vidigal
  • Naíma Silva
  • Jonathan Haagensen
  • Rodrigo Dos Santos

Producteurs

  • Fernando Meirelles
  • Paulo Morelli
  • Andrea Barata Ribeiro
  • Bel Berlinck

Maisons de Production

  • Globo Filmes
  • Fox Films Brazil
  • O2 Filmes

Distribution

  • Miramax Films (États-Unis, Grande-Bretagne, Australie, Nouvelle Zélande et Afrique du Sud)

Les sources

La cité des Hommes : la série

J’étais déjà conquis par le film la Cité de Dieu. Cette série continue dans la même démarche, chaque épisode est une leçon de culture et de cinéma. J’ai craqué. Il me fallait la total. J’ai pris les deux coffret de cette incroyable série.

Je ne suis pas téléphage, mais cette série est grandiose. Mon élitisme me pousse à être stupéfait qu’une grande chaine de télé Brésilienne l’ait produite.

Brouiller pour mieux montrer

Je suis entrain de développer un site interne à PriceMinister. J’ai envie de faire le site très sérieusement, en respectant tous les standards en vigueur, et l’intégré au maximum au navigateur.
J’ai décidé de le rendre très sérieux et épuré, avec une pointe de javascript pour apporter le fun et le confort d’usage.
Je suis parti sur une base WordPress qui apporte le confort d’usage pour ceux qui l’alimenterons, et j’ai pour l’occasion étendu mon plugin Identikit pour qu’il gère l’identité des articles et des catégories. Je publierai prochainement la v2 sur ce site.

Donc c’est une adaptation pour prototype.js d’un script de Johnvey qui est visible sur son site. Quand vous survolez les liens de son menu, le slogan change. J’aime beaucoup cette idée, je l’ai donc adapté pour servir ma démarche.

Je voulais un effet dans le genre pour afficher l’attribut title de toutes mes balises a. D’autres s’amusent à afficher cette donnée dans des infobulles, mais je trouve cette mode un peu indigeste. Cette méthode reste très discrète comme vous pouvez le voir dans la vidéo. Ainsi, quand l’utilisateur survole un lien, la div id="blog-description" se met à jour. Pour le moment il ne fonctionne que sous Firefox, mais je vais l’adapter pour qu’ils fonctionnent sur d’autres navigateurs. Voici la bête :

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