my one and only

• basrollerinde renée zellweger,logan lerman ve kevin bacon in oldugu 2009 yapimi film.1950 lerde gecen film george hamilton un hikayesidir ayni zamanda.
  hatta chris noth da filmin bir kisminda rol almis.ancak alistigimiz tarzda (mr.big) bir adami canlandirmadigindan filmin tamaminda gormedigimize uzulmedik hic.
• başrollerini renee zellweger, logan lerman ve mark rendall gerçek bir hikayeden yola çıkılarak yazılmış aile draması. filmde anlatılan öykü ise george hamilton un ergenlik çağının gerçek hikayesi. uzun zamandır bu kadar sıcak ve hoş bir dönem filmi izlememiştim izlenmeye değer bir öykü özellikle de sinema sever biriyseniz. 1953 de babasının annesini aldatmasından sonra ülkeyi dolaşan 2 erkek çocuk ve çılgın annenin hikayesi.
  
  http://www.pbpulse.com/…m-starring-renee-zellweger/
  
  george hamilton ile yapılan röportajda şöyle ifade etmiş kendini ;
  
  q: so what did you think of the movie?
  
  a: there were two times that i saw the movie, and i had different emotions. the first time i saw it was technical. i was watching something, i was not anticipating in it. i think if you've been in the business a long time your eye gets trained and many times you'll look at a film not for the emotion of it. i didn't have a lot of feeling about it. i went away saying it's a finely made film. the second time i went they said, "well, we'd like you to come and do a q&a," and i said sure. i went to see it in the hollywood film festival and all of a sudden it started to affect me, and i asked myself, "what is this? are you not feeling well?" the lights came up, i went down there, and i couldn't speak. that's not happened to me on any film, at any time. logan lerman and renee zellweger had hit the exact notes of what i had felt as a child, and it was emotionally staggering for me.
  
  q: now how was that possible when, i understand, they hadn't met you until just recently?
  
  a: i met logan two hours ago. i'd met renee before, but only at dinner one night. i was waiting to send them tapes of my mother speaking and to talk about all the different incidents and give them ideas, but then i thought, "well, no, it's their movie." there's a process actors have to go through, they make their own decision about what that process is. some people want to know every detail, some people want to know no details. i prefer to know every detail. i played a lot of people's life stories and it was helpful. but the director (richard loncraine) was able to make the actors see why the movie was being made, and that was a universal emotion, not just mine. i would've done it differently until i saw this movie. i would've been all over it, but i wasn't.
  herrick entertainmentrenee zellweger, logan lerman and mark rendall, from left, star in the film "my one and only," which opened last week in manhattan.
  
  q: how involved were you with the genesis of the project?
  
  a: merv griffin and i talked about it. merv wanted to make this as a film and i couldn't quite understand why. charlie peters (a screenwriter) got his own hook to it, saw it, wanted to do it. i talked to him twice, long conversations, he went and wrote the script. there was annette bening, there was michelle pfeiffer, catherine zeta-jones, they all wanted to do this film. it's a very interesting women's role. i thought it was going to get made immediately, but beacon (the film's first production company) folded, and then it went to warner bros., and they didn't do it, then merv and i bought it back, then merv passed away, and then i got a call about a year ago. i negotiated for five nights in a row and closed the deal. then it fell apart. then there was a strike. it was just the most bizarre path. and then the guy who put up the money, norton herrick, said that he had met me with my mother. when i heard that renee zellweger wanted to do it, i thought she's not at all like my mother, but then i thought, "would you rather have someone who acts like your mother or who looks like your mother?" and i wanted someone who can act because that's it. i felt very comfortable, i stayed away. it was hard to do because when it's you and your life story and your mother you want to be super-protective. if my mother had been alive the movie would never have gotten made because she'd say, "i didn't wear that hat."
  
  q: how closely based is it on that period of your life?
  
  a: it's loosely based. it's a lot of information that they had to string together cohesively. originally this was just an odyssey from new york to the mexican border of my mother looking for men that she had had relationships with over the years to see if there was a father for us and a husband for her. we went across the united states with this aaa map. my mother would say, "oh, he's divine," and she'd go in the restaurant, we'd wait out in the car, and she'd come out and say, "oh my god, he's let himself go. he had no hair." and then the next one, "oh my god, he's fat. no teeth." we were coming together, and we realized in the end that that's all we had. that was the odyssey from which this was taken. there's enough to make a couple movies, but i think we've done it, having written a book and now this.
  
  q: how similar was your entry into motion pictures to what we see in the movie? was it just right place, right time?
  
  a: yep, right place, right time. i was 17, 18, i'd gone to california just for the summer. i'd won an award in school for acting, just to get out of english. i remember in prep school, up here in tarrytown, i played a russian who was going to harvard with a rucksack on his back. i had the lead in it and i forgot my lines, so i started speaking in russian, made-up russian, and somehow made it crazily funny. the audience loved it, but every actor hated me. i got a standing ovation at the end, and the master, who was our theater arts guy, came down with fire in his eyes and i knew i was going to be flunked, and he said, "mr. hamilton, i want to tell you something. i gave you a great play in my eyes, and you took the liberty to make this into some sort of farce because you forgot your lines, for which, mr. hamilton, i'm going to give you an a because you changed my play, which i think was a little bit boring, into a great comedy." and i thought, "damn," and that kind of gave me the idea that i could act. then i went to california, had some pictures taken of myself. it was the pictures that got me a screen test that got me a film. i didn't want to be an actor, had no desire. i just did it to get out of other things, still do. the idea that you show up on a set, you know a few lines and have a few laughs -- that's the way i looked at it. all the guys i knew -- gable, mitchum, bill holden, all of them -- were embarrassed to be actors because they thought it wasn't a man's thing. mitchum said he was a truck driver, and that he should be on a chain gang in north carolina. i don't think any of them really thought they were polished actors. i came from that era.
  
  kaynak : http://www.silive.com/…rsation_with_actor_geor.html
• bazen bazı filmlere tamamen tesadüf eseri rastlıyorum. denk geliyor.
  
  mesela bir yönetmenle yeni tanışmışım, diğer filmlerini de bilmek istemişim aramışım, mesela bir oyuncuyu çok beğenmişim başka filmlerde görmek istemişim veya beğendiğim bir film hakkında yazılan entrylerde bahsedilmiş ilgili filmleri de görmek istemişim, bir yerlerde okumuşum, zevkine güvendiğim bir yazar tavsiye etmiş vesaire.
  
  bunların arasından bir kısmını izlerken hiçbir beklenti içine girmiyorum. film kötü de çıksa çok kötü de çıksa hayıflanmıyorum.
  
  böyle sıfır beklentiyle izlediğim filmler güzel çıkarsa nasıl seviniyorum anlatamam. tam hayattaki küçük mutluluklar tanımı benim için.
  mesela one week/@bal i shikeste tam da böyle bir filmdi, sırf başrol oyuncusu için izleyeyim demiştim ama filmi beğendim gayet. öyle filmler daha bir sempatik oluyor nedense.
  
  işte bu da öyle bir film oldu benim için, sıfır beklenti, bol bol gülümseme.
  
  kocasının çapkınlıklarından bıkmış biraz pervasız bir annenin, iki genç oğlunu alarak çıktığı yolda başına gelenler, oğlu ve diğer erkeklerle olan ilişkileri ve bol bol hayal kırıklığı...
  
  şimdii;
  
  --- spoylır ---
  pervasız, bencil görünüşlü anne aslında elinden geleni yapıyor, kendince.
  
  geçinmek için bir kocaya ihtiyaç olduğunu düşünüyor ve en iyisini seçmeye çalışıyor, o zamanlar öyleymiş demek isterdim de hala böyle desem yanlış olmayacak gibi.
  bunları yaparken de kuyruğu dik tutuyor her daim, zarif ve mağrur. zellweger yerine başkası olsaymış diye düşünmedim değil zira kendisi çok az mimikliydi ama idare etti gene, göz alışıyor heralde ki çok batmadı.
  
  araba kullanırken oğluna söylediği "asla dikiz aynasına bakma çünkü ardında ne olduğunun hiç önemi yok" kilit cümlelerdendi. geçmişe bakma, önümüzdeki maşlara bakıcaz diyor, fatih hocamıza gönderme yapmışlar orda i don't want to see the backdiyerek.
  
  fekat hatunun rastladığı tüm adamların, topunun da tam bir göt olmasına ne demeli! bir tek "sen gerçek bir centilmensin" dediği eleman, bud iyiydi bir an onunla beraber kalacak sanmadım değil. arabalarla ilgili söyledikleri de güzeldi, kız kardeşine de maşallah diyorum daha da bir şey demiyorum.
  
  iki kadının birbirlerini tehdit olarak algılamaları halinde 5 saniye içinde havada uçuşan güler yüzlü nefret güzel yansıtılmış. (bkz: sempatik geçirme).
  
  mutsuz umutsuz "hope" teyze ve "tom amca", bir de the catcher in the rye, zarif, ince ayrıntılar.
  
  gittikleri her yerde başrol alan oğlanın bir türlü bir oyunu tamamlayamaması, elinde gerçek bir şans olunca da batırması da ironik.
  
  bir de sonunda iyice barizleşen oedipus kompleksi, sırıtmamış.
  
  --- spoiler ---
  
  çerez film. hafif, kafa yormayan ve gülümseten anlarıyla yumuşak bir film olmuş yani zellweger'e rağmen akıcı buldum ben.
• bir kristan higgins romanı. türkçesi "geç gelen mutluluk".
• her duyduğumda düştüğüm cümle