Virtuosity - Virtuality (1995)

Un serial killer simulato in una realta' virtuale riesce a trasferirsi nel mondo reale...

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Titolo originale:  Virtuosity
Nazione:  Usa
Anno:  1995
Genere:  Fantascienza/Thriller
Durata:  106
Regia:  Brett Leonard
Sceneggiatura: Eric Bernt
Musiche: musicisti vari (brani originali)
Fotografia: Gale Tattersall
Montaggio: Rob Kobrin; B. J. Sears
Scenografia: Jay Hart
Costumi: Francine Jamison-Tanchuck
Produttore: Gary Lucchesi
Sito ufficiale: 
Cast: Denzel Washington (Tenente Parker Barnes)
Kelly Lynch (Dott.ssa Madison Carter)
Russell Crowe (SID 6.7)
Stephen Spinella (Dr. Darrel Lindenmeyer)
William Forsythe (William Cochran)
Louise Fletcher (Commissario Elizabeth Deane)
William Fichtner (Wallace)
Costas Mandylor (John Donovan)
Kevin J. O'Connor (Clyde Reilly)
Kaley Cuoco (Karin)
Christoper Murray (Matthew Grimes)
Heidi Schanz (Sheila 3.2)
Traci Lords (cantante Media Zone)
Produzione: Paramount Pictures (USA)
Distribuzione: UIP
Prima italiana:
Virtuosity

la trama

SID 6.7, una simulazione di serial killer la cui personalita' e' composto da centinaia di profili psicologici  di serial killer esistiti nella realta', viene usato nell'ambito di una realta' virtuale per addestrare agenti di polizia. Il programma di addestramento viene sperimentato da Parker Barnes, gia' tenente di polizia, ora in carcere per l'omicidio di Matthew Grimes, lo psicopatico che gli aveva ucciso moglie e figlia. Quando SID 6.7 riesce a uscire dalla simulazione ed entra nel mondo reale, gli viene messo alle calcagna proprio Barnes, coadiuvato dalla Dottoressa Madison Carter. Sulla scia degli omicidi commessi da SID 6.7 Barnes e Carter riescono a mettere SID con le spalle al muro, ma lui, come ultima risorsa, rapisce la figlia della Dottoressa Carter...

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18/11/2002 - da La Stampa.web - ecco cosa dice Denzel Washington del suo Oscar:   

[...]Torniamo un attimo indietro, alla notte dell´Oscar. Come la ricorda?
«Ero piuttosto calmo, pensavo che anche questa volta mi sarebbe sfuggito. Quando hanno letto il mio nome, mia moglie mi ha quasi rotto il collo e solo a quel punto ho capito che sarebbe stato più saggio se avessi preparato un discorso».
Dove lo tiene l´Oscar?
«Me lo porto sempre dietro, gli chiedo in continuazione chi è il più bravo e l´ho addestrato a rispondere: Denzel! Ogni tanto dice Russell e allora gli do una sberla. Scherzo, Russell Crowe mi ha sempre molto incoraggiato. E l´Oscar lo tengo in salotto».

http://franklovece.com/subpage2.html#croweNewsday

Newsday (New York, NY) 
August 6, 1995


Russell Crowe Has Enough Ego to be a Bad Guy You'll Remember 

By Frank Lovece 

HIS NAME is Sid 6.7, and he lives in virtual reality. That's because he's not a person, just a computer program that looks and acts like a person. Unfortunately, Sid's vicious. Beneath his cherubic exterior lie the personality traits of 183 human monsters, including Hitler and Manson — and a terrorist who'd killed the wife and child of ex-cop Parker Barnes (Denzel Washington). When he escapes from a police training simulator computer and ventures into the real world in the new sci-fi action film "Virtuosity," his killings aren't virtual anymore. 

As evil incarnate — yet stylish and witty — Sid is the kind of unforgettable villain who leaps out at an audience and, pardon the expression, slays 'em. Think Alan Rickman in the original "Die Hard," or Charles Dance in "Last Action Hero." Or rather — if acclaimed Australian actor Russell Crowe, who plays the role, has anything to say about it — don't. "What a load of ---," says Crowe, bristling at the suggestion. "What do I have to --- do with Alan Rickman and Charles Dance?" 

But aren't they terrific actors who played memorable villains? "That's your opinion," Crowe says, putting the matter to rest. He lights up a cigarette — not asking if anyone else in the room minds, of course — then smiles like Sid 6.7 before a kill. 

Well, okay, so maybe Sid has more grace and tact. He also dresses better than the 31-year-old Crowe, who's looking studiedly scruffy today in a denim shirt, blue jeans, outback boots and several days' worth of downy beard. Still, no one can deny Crowe's got talent as big as his ego: His Sid is the latest in a series of dazzling performances, from his breakthrough role as the evil skinhead Hando in "Romper Stomper" (1992) to the devoted gay son in "The Sum of Us" (1994) to the gunslinger-turned-man-of-God in "The Quick and the Dead" (1995) — a role he won at the behest of star Sharon Stone, who insisted no one else would do. Along the way, he's picked up two Australian Film Institute awards — the Aussie equivalent of the Oscar. 

Yet while Sid may well lead the actor to become a leading man in America, Crowe asserts, "It's just another role. It's just the latest thing I'm talking to people about. I'm purely a working actor." Yeah, yeah — but doesn't he hear Hollywood calling after years of bottom-budget Australian art films? "I've got offers on the table," he announces, "for more money than I got for this one, for half the --- time. But doing only studio movies is not my aim, and if I ever start thinking like that, then I'll go start doing something else for a living." Crowe, indeed, is following up his two big studio pictures with a pair of more modestly budgeted films: "No Way Back," with Michael Lerner and Helen Shaver, which Crowe cites as a $ 1.3 million micro-budget independent, and the U.S. / U.K. co-production "Rough Magic," with Bridget Fonda. As for his doing anything else for a living, it's unlikely — he's in the family business. 

A New Zealand native born in Wellington, the capital, Crowe grew up around film. His maternal grandfather, Stan Wyemss, was a cinematographer who, Crowe claims, produced the first film by director Geoff Murphy, late of "Under Siege 2: Dark Territory." Crowe's parents were set caterers who emigrated to Australia when Crowe was a child. There they worked on the TV series "Spyforce," where the producer was his mother's godfather. Crowe, at age 5 or 6, got hired for a line of dialogue in one episode, opposite series star Jack Thompson, who years later played his father in "The Sum of Us." 

"My family's been in the business for three generations," says Crowe. "I'm just the first one stupid enough to stand in front of the cameras!" The family moved back to New Zealand when Crowe was about 14. He returned to Australia at 21, intending to apply to the National Institute of Dramatic Art. 

"I was working in a theater show, and talked to a guy who was then the head of technical support at NIDA," Crowe recalls. "Actually," he says, "I was a family friend who was living in the house that he grew up in. I asked him what he thought about me spending three years at NIDA. He told me it'd be a waste of time. He said, 'You already do the things you go there to learn, and you've been doing it for most of your life, so there's nothing to teach you but bad habits.' "In any event, adds Crowe, "I wasn't one of those ooh-la-la-honey-lovey-darling performance sort of kids." 

In 1990, he won his first film role in "The Crossing," a small-town love triangle directed by George Ogilvie ("Mad Max Beyond Thunderdome"). Before production started, however, a film-student protege of Ogilvie's, Steve Wallace, "rang me up and wanted to have a look at this guy George was gonna use as his lead." Wallace was casting the film "Blood Oath," a.k.a. "Prisoners of the Sun" (1990), which, Crowe says, "had nothing to offer in terms of great characters or anything, but it was ten weeks of on-set experience." 

CROWE WENT on to become a top down-under star. He continues to live in Sydney, Australia, and his pet project, the in-development film "Pacific Meltdown," concerns French atomic testing in New Zealand's claimed nuclear-free zone. 

"I want to do movies that have a strong sense of purpose, and work with people who have a vision," Crowe says. "Whether that's in a supporting or a lead capacity is neither here nor there. And if you get locked into a major-studio-only kind of career, though it may seem huge on one level, your options begin to get limited." For Russell Crowe, it seems, "Virtuosity" is its own reward. 
leggi l'articolo di di Bruce Kirkland dal Toronto Sun del 2 agosto 1995: "Russell, uno che non urla" a riguardo di questo film

 

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