Angelina Jolie Interview by Ann Curry

2kidz3 Says

I think Angie looks more like Mariene than chin chin. Also, Mariene approved jen playing her (according to you) but she wouldn’t have a close relationship with chin chin. Angie and Mariene have more in common then chin chin because of their children. And I am sure that Mariene prefer Angie over chin chin.

You know the part at the press conference when Angelina said she could’nt imagine not being with the father of her child like Marrianne went through without Danny.POST CHRONICLE thinks she was talking of Jonh Voight,just shows how stupid they are.They need to listen properly.What a joke

POKEMAN Says:

chin chin ahahahahahahhaha

2kidz3 ,You should give up#93 ida as usual is trying to tell others what to do instead of letting us lurkers and posters read all.And I read about the groups not including others, I say thats true, also even if you love Angie and Brad if you post something nice, the groups wont include new posters in talk or feedback,its a shame because all true AJ BP fans should be included.Im a lurker and I have been reading JJ for years so I know its true.BTW love the Jolie Pitts. So Im not a Hater.Thats why I read the threads and notice whats being written and how the groups work.Holla.

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stupid people Says:
May 22nd, 2007 at 10:19 am - flag comment

You know the part at the press conference when Angelina said she could’nt imagine not being with the father of her child like Marrianne went through without Danny.POST CHRONICLE thinks she was talking of Jonh Voight,just shows how stupid they are.They need to listen properly.What a joke
_______________________________________________________________________________

WHAT? Geez, they just can’t let it go. :(

stupid people Says:

May 22nd, 2007 at 10:19 am - flag comment
You know the part at the press conference when Angelina said she could’nt imagine not being with the father of her child like Marrianne went through without Danny.POST CHRONICLE thinks she was talking of Jonh Voight,just shows how stupid they are.They need to listen properly.What a joke

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OMG, really?
English is a second language to me but I perfectly understood that she meant Brad. I think they understood it but tried to twist story.

When I listen to Angie saying this, I wondered what Brad was feeling.
I think Brad/Angie went through similar experience while preparing and making this films - what would happen if your significant other is dead. I think this is why Brad had the line of tattoo on his arm- quote form MP’ book. I believe meaning of the tattoo is that even if you do not have physical existence, your spirit is living with your love.

109
Jolie is a FRAUD Says:
May 22nd, 2007 at 10:23 am - flag comment

Chin Chin, wipe the spittle from your pointy chin, put on your helmut and step away from the computer.

Variety Review:

The sad saga of slain Wall Street Journal reporter Danny Pearl has made it to the bigscreen with facts, figures and beating heart intact in “A Mighty Heart.” In his first studio venture, Michael Winterbottom coaxes forth a staggering wealth of detail from this terse, methodical account of Pearl’s kidnapping and murder in Pakistan, seen through the eyes of those who sought his return. Given audiences’ resistance to films dealing with 9/11 and its aftermath, soberly restrained pic reps a mighty tough sell, though Angelina Jolie’s performance as Pearl’s widow should broaden prospects for the June 22 Stateside release.
Adapting Mariane Pearl’s harrowing memoir, director Winterbottom, who previously ventured into Mideast politics with “In This World” and “The Road to Guantanamo,” proves to be just the man for the task. Though the prolific British chameleon isn’t one to make the same film twice, his gifts for docudrama storytelling — an ability to shepherd complicated narratives, avoiding every opportunity for sensationalism in favor of a low-key mounting dread — couldn’t be better suited to the material.

Having covered the U.S. bombing of Afghanistan following the Sept. 11 attacks, the Pearls were working as journalists in Karachi, Pakistan, on Jan. 23, 2002 — the day Danny (”Capote” scribe Dan Futterman), chasing a story about foiled shoe bomber Richard Reid, got into a cab and never returned. Sticking close to the very pregnant Mariane (Jolie), pic recounts the restless five-week search for the man’s whereabouts and his kidnappers’ identities, all accompanied by a hailstorm of media attention.

Screenplay crisply diagrams the labyrinth of false leads and fruitless interrogations with various middlemen Danny may have had contact with on the night of his disappearance. Suspicion ultimately comes to rest on the elusive Omar Saeed Sheikh (Alyy Khan), a known Islamic militant with a history of kidnapping foreigners.

Like his fellow suspects, Sheikh is seen only briefly, and in the most objective possible light. Working in the brisk, discursive style of a police procedural, Winterbottom scrupulously follows the rescue effort, step by agonizing step — ensuring that the audience is never given additional information despite its foreknowledge of the tragic outcome. Even larger political questions — the implications, say, of a scene in which a Pakistani suspect is strung up and interrogated, or the grim irony of a journalist couple facing intense media scrutiny — are subjugated to the flow of the storytelling.

Along the way, pic also manages to sketch vivid portraits of Mariane’s key supporters and allies. These include Danny’s tough-minded colleague, Asra Nomani (Archie Panjabi); a local cop (Irffhan Khan), known simply as Captain, determined not to let the case soil Pakistan’s reputation; American diplomatic security agent Randall Bennett (Will Patton), who tends to see the silver lining in all bad news; and Wall Street Journal higher-up John Bussey (Denis O’Hare), who arrives in Pakistan after news of the ordeal, a comforting but resilient figure.

But this is ultimately — and very intimately — Mariane Pearl’s story, and much of it rests on Jolie, who fits comfortably into the naturalistic mold that shapes the entire ensemble. Though Jolie sports a big belly, a high-coiffed hairstyle and a very challenging accent (raised in France, Mariane is of Afro-Cuban and Dutch descent), this isn’t the sort of commanding star turn in which the performer vanishes behind a well-known celebrity mask, but rather a subdued, carefully considered portrait of a woman caught between premature grief and persistent hope.

Jolie plays Mariane as sharp and prickly, but also highly principled and completely devoted to her husband. Wisely, Winterbottom opts to shoot her more high-pitched outbursts from a distance or in near-darkness, as if refusing to milk more histrionics than necessary.

Occasional subdued flashbacks to happier days from Mariane and Danny’s marriage, including a very brief love scene, add emotional texture even as they take something away from the film’s otherwise unsentimental approach.

Pic negotiates its way around another potential landmine — to show or not to show the widely circulated video of Pearl’s murder — re-creating a very brief, non-graphic snippet of the contentious footage and getting the facts across with the utmost restraint.

Shot on location in Pakistan, India and France, the film gains considerable authenticity and momentum from its handheld DV lensing by Winterbottom’s regular d.p., Marcel Zyskind, and Peter Christelis’ rapid editing, rarely allowing a shot to last more than a few seconds.

Premiere review.

“A Mighty Heart”

Given her tabloid noteriety, is it possible for Angelina Jolie to even register a performance anymore? That is, when on screen, can she make you believe that you are not looking at Angelina Jolie? That’s just one of the questions going through my mind before seeing A Mighty Heart, the much-bruited film adaptation of Mariane Pearl’s memoir starring Jolie as Pearl, co-produced by Jolie’s companion Brad Pitt, and directed by Michael Winterbottom. (Pearl was the wife of Wall Street Journal reporter Daniel Pearl, who was kidnapped and murdered in Pakistan in early 2002. Mariane, also a journalist, was five months pregnant with their son at the time.)

The answer to the question is “kind of.” Which is not to say that Jolie does not perform to the fullest of her capabilities, or that she is ineffective. But what makes her convincing here has as much to do with how she is shot as what she does.

The ever astute Winterbottom has cast the film as a procedural and an ensemble piece. Contrary to what many might have inferred from the production stills, official-and-non, that emerged during the making of the film, this is not a picture wherein a lone Mariane Pearl wanders wide-eyed through the streets of Karachi in a heroic search for her missing spouse. Mariane spends most of the time in the rented house of a friend and colleague (Archie Panjabi), surrounded by a partially ad hoc team—a Pakistani police captain, an American diplomat, a couple of Wall Street Journal staffers, etc.—trying to piece together the hows and whys of Pearl’s abduction. (Pearl himself is played very well by Dan Futterman in his likable straight-shooter mode.)

Winterbottom appears to understand that no matter how much she is made up (here she is given a darker complexion and ringletted hair to better resemble the Afro-Cuban/Dutch Pearl; she looks pretty much just like herself regardless), there is no way an audience is going to look at her onscreen and NOT see Angelina Jolie. He employs a couple of strategies to tackle this. In the initial sequences of the film, he rarely puts her in the frame all by herself; she’s always in part of some bustle, even if she’s in the foreground. He also cuts very quickly; he doesn’t give her any “moments.” Thus, he makes her just a part of what he’s weaving, much of which involves getting the viewer as deep as film possibly can get one into the feel of Karachi. Winterbottom’s particularly good with environments, and he’s also a deft, quick storyteller, and he juggles chronology in a way that gives us a quick, empathy-generating read of Daniel and Mariane’s passionate involvement while moving the kidnap tale at almost full throttle.

Later, at moments when Mariane is most emotionally fraught, Winterbottom makes us not see Jolie by sort of not showing her to the viewer; he will shoot her from behind, or in silhouette. We don’t get a full-on, well lit face-forward shot of Mariane screaming until she’s giving birth to her and Daniel’s son Adam. And by this point of the film, it works.

As does, I should say, the rest of the picture, which is involving and moving in the mode of another war-zone Winterbottom picture, Welcome to Sarajevo. Jolie and Pitt were very smart to get a director who doesn’t do star turns to do Jolie’s star turn. I dare say she’s got at least an Oscar nomination locked.

2kidz3 please you need to understand that i admire Angelina not Jennifer Anistons and no one picked on her YOU are the one that brought up the discussion. Really kini o fe ki a se am tied of busy body.

Well 2Kidzs jo wo lo wa oko fun Aniston or je ki oko re ko fe.

Ni temi I love the Jolie-Pitt family mo feran Brad, Angie, Mad, Pax, Zahara, Shiloh and am proud to be their fan.

Ever notice how the reading comprehension skills of Chin fans are sorely lacking. I keep telling myself they can’t be that stupid, but they are.

From Empire magazine (biggest selling European film mag)

“Going straight out to come back in, we found ourselves sitting in exactly the same seats for Michael Winterbottom’s new film, A Mighty Heart, a true-story-slash-biopic set in Pakistan and starring some American bird called Angelina Jolie. Filmed on the hoof in India, but shot so stunningly you’d swear they’d closed down the whole country for the shoot, the film tells the story of Daniel Pearl, a Wall Street Journal writer who was kidnapped by jihadists, on suspicion of being a CIA and Mossad operative, then viciously beheaded in the first of many militant video statements issued in the wake of 9/11. Jolie plays his widow, Mariane, but she isn’t always the focus, sometimes sliding into the background whenever Winterbottom’s film morphs into United 93-type reconstruction. Anyone who doubts her acting talent will be hard pushed to find fault with her performance here; the French accent and (controversial) dusky looks are very convincing indeed, but if there’s a fault to be found it’s perhaps that the film lacks a little in subtext. Then again, it seems churlish to say that: Winterbottom finds terrific flavour in the backstreets, and there’s a poignant sense of camaraderie to counter the cruelty. “