Like Elizabeth Taylor and Richard Burton, but without that hobby to eternal air tanks.
Like John Cassavetes and Gena Rowlands, but with less nicotine soaked in alcohol maybe.
Like Laurence Olivier and Vivien Leigh, but without that slightly superb start.
Penelope Cruz and Javier Bardem are like all eternal couples who at some point were candidates for the Oscar in the same year, at the same time and identical moment of clarity.
But, yes, otherwise.
They talk tall, they embrace when they are excited and, if necessary, they have no repair to admit that they cried.
“I fell to the ground and I threw an hour and a half crying,” she says.
“We were hugging watching TV and we have stayed in shock,” he says.
She confesses that she is happy, fundamentally, for him.
And by Pedro.
And he is convinced that, of winning someone, she will be.
In addition to feeling that neither Fernando (Lion de Aranoa) nor Pedro (Almodóvar) are with them in the same list.
Pimpinela, please, I gave something.
In good morning in Los Angeles (at noon here) the news was known.
And this was not so much that the most international Spanish actors are candidates for the Oscar (her for her role in parallel mothers, by Pedro Almodóvar, and he in being the Ricardo, by Aaron Sorkin) like two people up to now of flesh and blood
They let him be.
No people, but the other.
It’s like that.
Suddenly, glory transforms bodies;
Slowly, in what a poster with a few names appears, the subject evaporates and transforms into myth.
They are alive, embrace, cry and laugh out loud, but, in reality, they share Kingdom and Fortuna with Paul Newman and Joanne Woodward, with Spencer Tracy and Katharine Hepburn, with Warren Beatty and Diane Keaton.
Penelope account in the kitchen of the desire producer that all but one of the time he has been a candidate witnessed the moment in which his name was pronounced.
Although she was in Los Angeles and although that she supposed to get up at five o’clock in the morning.
“The first time my father forced me;
The second, the one who pushed me was Salma Hayek (she would end up winning it for her role at Vicky Cristina Barcelona, from Woody Allen);
The third, I fell asleep … and this one ».
And here, she has already said, she hugged, threw himself to the ground and cried.
«I knew,” he says at the Urso Hotel in Madrid, “who, to leave, would be clear that he would come first, for the B of my surname, and I stayed with the face of Bobo, which is what happens in these cases”
.
Penelope instead was more exciting.
Rigor the c does not go long after B. “First came Chastain, Jessica, then Colman, Olivia … and I said: ‘How much C’.
And so c ended up coming out “.
At first, none of the two part as a favorite.
Bardem will be seen with Benedict CumberBatch (the Power of the Dog), Andrew Garfield (Tick Tick Boom), Will Smith (the Williams Method) and Denzel Washington (The Tragedy of Macbeth).
On paper, CumberBacht seems untouchable in volcanic exhibition of him as a wounded cowboy in the depths of his virility from Jane Campion’s hand.
Not in Balde, remind them, the power of the dog is the film to beat with its 12 nominations.
The Bardem is an interpretation to the limit.
As he likes it.
As it was that of not a country for old, of the Coen, with which he has already won his Oscar.
He embodies Desi Arnaz, who was husband of Lucille Ball, in a verborean drama and in free fall in which Spanish is absolutely all: from singing to dancing by felling to falter the Cuban accent with a sharpness that scares.
Will it suffice?
And what about him?
In the case of Penelope, it seems that there are more options.
The opponents of it are the aforementioned Jessica Chastain (the eyes of Tammy Faye) and Olivia Colman (the lost daughter), next to Nicole Kidman (be the Ricardo) and Kristen Stewart (Spencer).
That is, none of them reverse any of the tapes most visible and with more options.
Maybe Nicole Kidman, if she cousin is the wisdom of an interpreter who perfectly reads the gestures of an icon like Lucille Ball, or maybe Kristen Stewart, if the option is to surrender to Lady Di’s unfathomable suffering.
Or PE and point.
Javier, as it could not be less, remembers his mother pillar who died in September.
«Here I have the ring of it.
There is no time when I do not remember her, of the eternal love that I feel for her, of the need to tell her everything about her. ”
And follow: “My mother these things did a lot of illusion.
She prayed to her saints for us to spend good things.
I know my mother at this moment is enjoying him, I’ve been talking to her and I’ve dedicated it to him. ”
Penelope, on the other hand, does not cease to mention Pedro Almodóvar, “who should both and so much” so much “.
But she too (and here she gets excited) remembers that friend of yours that has passed almost the same as Janis, the character of her in parallel mothers.
And she cries.
Without shame.
She is excited to see a giant get excited.
She tells that the first time she read the script of the last of Almodóvar, she already gave her a turn her heart.
“Because he impressed me that once again he trusted me for so much and so distinct and so complex.”
And happy, she is excited.
Again.
Never before an actor got as much as Javier Bardem.
And never before an actress came so close to heaven as Penelope Cruz.
The two are a couple.
Like Alfred Lunt and Lynn Fontanne.
Like Jack Nicholson and Anjelica Huston.
And both are, for conviction and birth, Spanish.
Are Spain brand considered?
“I dont know.
I do not dare so much.
The only thing I can say is that I love Spain, I live in Spain and I have always tried not to get away from Spain. ”
Not in bucket, rarely, an actress is nominated for the Oscar for speaking in a language that is not English.
“That’s why I think that emotion is double,” she concludes.
On March 27 at Hollywood Dolby Theater will be known if what is now nomination will be something else.
And the question is: What else can it be?
30 years ago they met at the shooting of ham, ham.
Three decades later continue embraced.
Forever.
The ham became myth.
