Earlier in the month we featured an international red band trailer for Chloe, the new film from director Atom Egoyan starring Amanda Seyfreid, Julianne Moore, and Liam Neeson. Now Sony Pictures Classics has released an official green band trailer that is decidedly less European; that is to say, it features nearly all the same scenes but none of the nudity. From the very tense footage on display, Chloe looks to be an escalating cat-and-mouse thriller infused with lust and betrayal a la Fatal Attraction. Seyfreid seems perfect for her assigned role of seductress, given her uniquely lovely features, while Moore and Neeson are sure to bring gravitas to their potentially melodramatic roles. More after the jump:
I am particularly interested in the shot that concludes the trailer, featuring Seyfreid looking directly into the camera. In Egoyan’s 1999 film Felicia’s Journey, there is a memorable sequence where star Bob Hoskins likewise stares into the lens. Sure enough, Journey features Hoskins breaking the fourth wall as one of the final scenes of its own trailer. I’m not smart enough to know what that means cinematically (something about voyeurism?), but it’s certainly an interesting motif from the Armenian-Canadian Egoyan that perhaps one of you wonderful commenters could enlighten for me.
Check out the official green band trailer for Chloe, and compare it to the aforementioned trailer for Felicia’s Journey after the jump. Chloe is slated to hit theaters on March 19th, 2010.
Felicia’s journey trailer:
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.jpg "Chloe movie image Amanda Seyfried (1).jpg")
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Great! Yes, that's really amazing how you've drawn that parallel line… A few days ago, I've watched a scene in 'Exotica' where Mia Kirshner fixes the camera in the same way. Although I'm possibly the greatest Egoyan fan on Earth, I've got no idea what this is all about. Maybe the director just plays with the voyeuristic situation of the spectator… But this may be left to the field of film theorists. But, once again: bravo!
It is not exactly breaking the fourth wall.
In most cases, in movies, with this technique, somebody directly stares into the camera – but, at the same time, directly at the character the actor is looking at. As we take his/her perspective, we think he/she's looking at us.
Egoyan frequently did it. Spike Lee tries it every second movie. And watch some Jonathan Demme films closely – he did it in “Silence of the lambs” during the funeral scene, in “Beloved”, and many more films.
There's something obscene about it, like breaking a taboo, as it is clearly forbidden to actors and actresses to even look at the camera. Filmmakers know that, of course. But sometimes, if you let them do it, it creates a kind of unease to an audience, even sort of shock, and both can be used dramatically.
Interesting: This is not working on tv, you need the big screen. Also, sometimes, it doesn't work at all, and generates laughter.
I'm looking forward this film, and Amanda Seyfried's hypnotizing big eyes.
Egoyan may be taking notes from Cronenberg here. I hope he did!
- No she is an actress and actors have to be able to play different things. Why would she go from good girl only to bad girl only? Women are not black and white, we have shades of grey; we are complex. I'd rather see an actress that can stretch and play varied roles instead of the same old thing. It's fans like you (because you are no film critic) that pigeonhold actors or obsess with celebrity.
- No she is an actress and actors have to be able to play different things. Why would she go from good girl only to bad girl only? Women are not black and white, we have shades of grey; we are complex. I'd rather see an actress that can stretch and play varied roles instead of the same old thing. It's fans like you (because you are no film critic) that pigeonhold actors or obsess with celebrity.