Kylie Minogue: `Lo último` de la diva de Oceanía

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Viernes 29 de octubre de 2004
¿Qué Pasa?
Friday, October 29, 2004
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Movie
Kylie Minogue: ‘Lo último’ de la diva de Oceanía
Foxx delivers a stirring, soulful performance of ‘Ray’
precoz se interesa por el mundo
de la escena y con tan sólo doce
años de edad obtiene su primer
papel profesional en la serie de
televisión australiana “Skyways”.
Sin duda, esto le beneficiaría para
los repartos de otras series
televisivas como “The Sullivans”,
“The
Henderson
Kids”
o
“Neighbours”, justo cuando
abandona la escuela.
POR NACHO CASADO
EFE
Una de las divas del pop de
mayor repercusión regresa.
“Ultimate Kylie” es el título de su
nuevo trabajo, un doble compacto
con 33 canciones que verá la luz
el próximo 22 de noviembre.
“I believe in you” será el sencillo
extraído de este ‘Grandes éxitos’
de la cantante australiana.
Desde 1987 hasta la actualidad,
Kylie
Minogue
ha
sido
protagonista de la música de baile
australiana. La diva más ‘sexy’ de
Oceanía publica un ‘grandes
éxitos’ que consta de alrededor
de 33 canciones extraídas de los
mejores momentos de su
trayectoria.
“Ultimate Kylie” es un doble
compacto en el que se compilan
sus mejores canciones – la que
más éxito le han reportado- pero
también contará con alguna
novedad como los sencillos “I
believe in you” y “Giving you up”.
El nuevo trabajo verá la luz el
próximo 22 de noviembre.
Cuarenta millones
Su primer canción popular, “The
Loco Motion” ya le reportó un
número uno en 1987 en las listas
australes y, como colofón a su
Muñeca de cera
Foto de AP
KYLIE MINOGUE
condición de ‘best seller’, alcanzó
31 ‘hits’ en los ‘tops’. De hecho,
se estima que ha colocado más
de cuarenta millones de álbumes
en el mundo.
“I Should Be So Lucky” (1988) o
“Can’t Get You Out Of My Head”
(2000) son la muestra de que año
tras año ha roto las previsiones
de las listas musicales más
comerciales. Ambos temas se
situaron entre los diez más
adquiridos.
Kylie Ann Minogue nace en
Melbourne, Australia, un 28 de
mayo de 1968. De manera
En 1989, Kylie firma un contrato
para protagonizar el largometraje
“The Delinquents”, se convierte
en una estatua de cera en el
mundialmente famoso Madame
Tussaud’s de Londres y el diario
londinense Mirror la elige como
“Mejor Actriz del Mundo”.
A “Kylie” le siguen los discos de
estudio “Enjoy Yourself” (1989),
“Rhythm of love” (1990), “Let´s
get to it” (1991), “Kylie Minogue”
(1994), “Impossible Princess”
(1998), “Light years” (2000),
“Fever” (2001) y “Body language”
(2003).
Su ropa interior
Kylie ha dado la talla en la
pasarela junto a algunas de las
mejores modelos del mundo
como Claudia Schiffer o Naomi
Campbell.
La revista europea FHM la situó
entre las “100 Mujeres Más
Sexys” del mundo, por delante de
Marliyn Monroe, Brigitte Bardot,
Elle Mcpherson y Kim Basinger.
BY DAVID GERMAIN
AP Movie Writer
He certainly did not feel it at the time, but
director Taylor Hackford is enormously lucky
it took 15 years to bring his film biography of
Ray Charles to the screen.
Hackford himself concedes it was a
blessing it took so long to put the project
together since he first met Charles in the late
1980s.
The odds are slight that Hackford could
have found an actor back then who could
have come close to Jamie Foxx’s skill,
commitment and sheer rightness for the title
role.
“Ray” was just waiting for Foxx to
flower as a performer, gradually easing
himself into more dramatic roles after
his start in standup comedy and such
lowbrow raunch as “Booty Call.”
Beyond the physical resemblance,
Foxx is so good, so earnest, so
authentic as Ray Charles that
you practically forget he’s
an actor playing a part and
start to feel that he IS Ray
Charles.
Primed by Foxx’s
excellent turn as a cabbie
hijacked by Tom Cruise’s
QPI courtesy photo/UNIVERSAL
JAMIE FOXX
film review
hitman in “Collateral,” Academy Awards
voters cannot help but give Foxx a best-actor
nomination for “Ray.”
The herky-jerky head bobbing, the
hemming, hawing hesitation of the voice.
The smooth, playfully cocky spirit beneath
the soft-spoken and seemingly deferential
facade. The passionate emulation of
Charles’ keyboard style (a classically trained
pianist, Foxx taps his musical training to
great effect). Even the way the sweat hangs
off his brow.
It all screams Ray!
Charles, who died in June, gave his
blessing to a warts-and-all treatment
of his life, so “Ray” unflinchingly
depicts his introduction to drugs,
prolonged heroin addiction and
painful cold-turkey recovery.
His tender yet troubled home life
with his wife, luminously played
by Kerry Washington, is set
alongside his womanizing
ways, notably in his affair
with Margie Hendricks
(fiercely portrayed by
Regina King), the tragic
spitfire of Charles’
backup singers, the
Raelettes.
The singer’s kinship
with early collaborators
such as manager Jeff Brown (Clifton Powell)
and Atlantic Records founder Ahmet Ertegun
(Curtis Armstrong) and producer Jerry
Wexler (Richard Schiff) is countered by the
unsentimental business savvy that prompted
him to change record labels and drop Brown
for manager Joe Adams (Harry Lennix).
Foxx’s performance cuts much deeper
than the dead-on impersonations of some
film biographies, Jim Carrey as Andy
Kaufman in “Man on the Moon” or Val Kilmer
as Jim Morrison in “The Doors.”
Those movies are great technical
performances that give viewers the outer
incarnation of their subjects without much
glimpse beneath the skin.
With “Ray,” Foxx delivers a stirring, soulful
portrait of the artist on the level of Sissy
Spacek’s Loretta Lynn in “Coal Miner’s
Daughter.”
The film itself has flecks and flaws that
keep it out of the league of that Lynn biopic.
Charles’ boyhood tragedies — his brother’s
death and the gradual loss of his eyesight —
are handled rather superficially through
sketchy flashbacks. The editing tends
toward choppiness, particularly in the film’s
abrupt flash-forward to round out Charles’
later years.
Even at 2½ hours, “Ray” feels like a
drastically reduced story, a two-disc best-of
compilation scaled back and crammed onto
a single CD.
It might have played better as a four-hour
cable miniseries, yet in the film’s favor, “Ray”
is almost always interesting, even if the
drama is uneven at times.
The film tracks Charles’ rise from teen-age
keyboard jockey for clubs and house bands
in the late 1940s, through his early
stumblings as a Nat King Cole sound-alike,
to his ‘50s breakthrough, when he found his
voice and style in a raw, joyous blend of
gospel-tinged blues on such hits as “I Got a
Woman,” “What’d I Say” and “Unchain My
Heart.”
Foxx provides vocals for a couple of softer,
Cole-styled numbers, but Hackford wisely
has him lip-synch to Charles’ own voice for
most of the songs. Imitating the man is one
thing. Imitating the voice is another.
The songs are pervasive, well-chosen and
wonderfully integrated into the action,
propelling the drama every bit as much as
Foxx’s uncanny embodiment of Charles.
Some of the music was newly recorded by
Charles specifically for the film.
It would have been lovely had Charles lived
to bask in the adoration of fans at the
premiere of “Ray.” Charles was able to view
a cut of the film shortly before he died,
though, allowing him to appreciate the
remarkable performance of the man
stepping into his shoes.