Norwegian Chamber Orchestra

Norwegian Chamber Orchestra
Norwegian Chamber Orchestra (Photo by Mona Ødegaard)

Saturday, June 02, 2018

Matthew Bourne's The Car Man (2001) – Music by George Bizet, Rodin Shchedrin, Terry Davies – Alan Vincent, Saranne Curtin, Will Kemp, Etta Murfitt, Scott Ambler – Lez Brotherston, Ross MacGibbon (Download the movie)














The Car Man was first seen in 2000, winning the Evening Standard Award for "Musical Event of the Year". A revival in 2007 proved a smash-hit in London and at venues accross the UK. In the most recent revival – a limited 16 week UK tour, in 2015, Zizi Strallen won the "Outstanding Female Dancer (Modern)" Award at the National Dance Awards. Since 1 March 2016 The Car Man has been shown in over 150 cinemas worldwide.

The Car Man is loosely based on Bizet's popular opera Carmen and has one of the most thrilling and instantly recognisable scores in New Adventures' repertory, brilliantly arranged by Terry Davies.

The familiar 19th Century Spanish cigarette factory becomes a greasy garage-diner in 1960's America where the dreams and passions of a small-town are shattered by the arrival of a handsome stranger. Fuelled by heat and desire, the inhabitants are driven into an unstoppable spiral of greed, lust, betrayal and revenge.

Lez Brotherston's epic design, Chris Davey's evocative lighting and Matthew Bourne's vivid storytelling take in a wealth of cinematic references, creating a dangerous and uncompromising vision of small-town America.

World premiere 16 May 2000 at the Theatre Royal, Plymouth.

The Car Man contains scenes of a sexual nature, frief nudity, strobe lighting and gunshots. Age guidance 12+.

Source: new-adventures.net















Matthew Bourne's The Car Man (2001)

Adventures In Motion Pictures

Stage Production, Choreographed and Directed by Matthew Bourne
Produced for the Stage by Katharine Dore
Stage and Television Desigh by Lez Brotherston

Music by Terry Davies and Rodion Shchedrin's Carmen Suite (after George Bizet's Carmen)

Conducted by Brett Morris

Cast:
Luca..........Alan Vincent
Lana..........Saranne Curtin
Angelo..........Will Kemp
Rita..........Etta Murfitt
Dino..........Scott Ambler
Mercedes..........Vicky Evans
Rocco..........Arthur Pita
Monica..........Valentina Formenti
Bruno..........Stephen Berkeley-White
Gina..........Heather Habens
Sandra..........Rachel Lancaster
Delores..........Shelby Williams
"Hot" Rod..........Adam Galbraith
Chad..........Lee Smikle
Vito..........Neil Penlington
Marco..........Ben Hartley
Dirk..........James Leece
Chuck, Dexter..........Darren J. Fawthrop
Shirley..........Michela Meazza
Barman..........Paulo Kadow

Directed by Ross MacGibbon and Matthew Bourne

Filmed in 2001 at Pinewood Studios

Length: 86 minutes

Audio: English
Subtitles: English, Francais, Deutsch, Espanol, Italiano


Watch the trailer




Download the movie using torrent

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The Car Man is a dance in two acts, set in a fictional mid-west Italian-American town called Harmony. The story centres around Luca (a drifter), Dino (owner of Dino's Diner and Garage), Lana (Dino's wife), Rita (Lana's sister), and Angelo (Rita's boyfriend).


Act I

Welcome to Harmony...

When a stranger, Luca, arrives in Harmony he takes a job at Dino's garage as a car mechanic. His presence has an immediate effect on all those in the town. Lana tries to resist his allure but ends up succumbing and they embark on a passionate affair. Luca also befriends Angelo, who is bullied by the other mechanics and he helps him to find confidence. Angelo also falls in love with Luca, unbeknownst to his girlfriend Rita.

During a wedding party Dino starts to suspect that something is going on between Lana and Luca but he dismisses this idea. After the celebrations are over he goes out. When he returns he finds Lana and Luca together. A fight breaks out between Dino and Luca during which Lana hits her husband over the head with a tool from the garage. Dino is on the floor covered in blood but not yet dead. Lana hands the tool to Luca to give Dino the final blow that will kill him. Angelo finds Dino, and as the police arrive Lana throws money all over the floor, rips her dress and pulls Angelo on top of her to make it look as though Angelo has killed him. Angelo is arrested and put in jail.


Act II

The scene begins in a bar and Lana and Luca are now together as a couple. Luca is having hallucinations about the death of Dino and the arrest of Angelo. This angers Lana, she thinks that this is a sign of weakness. Luca tries to prove himself to her by involving himself in gambling, car chases and fight nights to prove his strength.

Angelo is still in jail where Rita visits him and tells him of what really happened on the night of his arrest. She tells him that he was framed for something he did not do. He is angered by this news and after Rita has left he escapes from jail. Angelo returns to Harmony to find Lana and Luca. He captures Rita and holds her hostage until Lana returns. During the fight night he appears and fights with Luca. Angelo kisses Luca passionately before pushing him away. Luca pulls out a gun and holds it to Angelo, he is about to pull the trigger when Lana fires a shot from behind that kills her lover.

















The Car Man: An Auto-Erotic Thriller

Director-choreographer Matthew Bourne calls his company Adventures in Motion Pictures, and the pun is extremely revealing. Heavily influenced by film, Bourne creates ballets saturated with visual cultural reflections and driven by narrative force. The Car Man is his third piece to be presented at the Ahmanson (after his masculine Swan Lake and WWII-set Cinderella), and like its predecessors it reflects Bourne's effort to push typically rarefied ballet into the popular culture mainstream. This eclectically inspired dance – working class grand opera, high-art film noir – isn't just accessible and beautiful. It's as passionate, as involving, as vital as anything else out there.

Bourne hasn't really "adapted" the story of Carmen. The Car Man stands very much on its own as an interpretation of the Bizet music (as adapted for a 1960s ballet by composer Rodion Schedrin) and its fundamental thematic drive – the danger of overflowing passion.

In Bourne's tale, the arrival of a male drifter named Luca (played on the press nights by Alan Vincent – the ensemble switches roles throughout the run), wreaks havoc on the small town of Harmony, an imaginary icon of 1950s America.

The sexy Luca answers a "Man Wanted" posting at the garage, with diner attached, owned by Dino Alfano (Scott Ambler). Dino's wife Lana (Saranne Curtin) takes notice; it isn't long before her flirtation with Luca becomes more. And Lana's not the only one to fall under the spell of Luca's sexual magnetism.

Wimpish Angelo (Will Kemp), boyfriend to Lana's sister Rita (Etta Murfitt), relies on Luca to protect him from the torments of the other mechanics, and the men end up in the seat of one of two classic cars that sit stage right.

Production designer Lez Brotherston's and lighting designer Chris Davey's evocation of film noir isn't about forcing the aud to retreat into the cerebral – we don't sit there thinking, as Dino arrives home while Luca and Lana are there, "Oh, that's taken from ‘Postman Always Rings Twice’" Rather, with palms sweating and stomachs beginning to churn with suspense, the audience awaits the possible discovery and the inevitable aftermath.

Bourne's accomplishment is actually to make us forget these layers of visual notalgia – this adventure in motion pictures is of the truly visceral sort.

Subtitled "An Auto-Erotic Thriller", The Car Man does indeed thrill during Act One, all the elements cohering to create an operatic intensity. The storytelling is so concentrated that it feels at every moment on the verge of explosion.

The individual dances in Car Man are not only gorgeously expressive, but also gripping because they're not merely reflections on the events – the dances are the event. Things happen during the dances: Characters change, persuade, seduce, injure.

The choreography – defined by Bourne's trademark combination of grace and power – is at one with the narrative and the music.

In Act Two, passion gives way to themes of guilt and regret and revenge. And, unfortunately, Bourne does begin to become self-conscious. You can feel him laboring, figuring out where to take the tale next. The images become less a part of the fabric of the story than stray stereotypes (the beats, cowboys and gamblers).

The Second Act opens at a cabaret with a dance spoof that's very funny but drifts too far away from the tone of this story. Bourne never quite pulls it all back together, although he still creates individual moments that are startlingly strong – Kemp, phenomenal throughout as the character who undergoes the most dramatic change, dances one number with his arms tied.

The Car Man peaks while the tension is still developing – what follows feels intimate but strained.

Source: Steven Oxman, September 17, 2001 (variety.com)


















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