MADONNA’S EVITA DIARIES : VANITY FAIR (NOVEMBER 1996)

[groovyguy 63,869]

Loved reading this when it first came out & still love reading it now.

 

She's so witty and clever in her writing.

 

http://allaboutmadonna.com/madonna-interviews-articles/vanity-fair-november-1996

 

 

MADONNA’S EVITA DIARIES : VANITY FAIR (NOVEMBER 1996)

Read diaries @ http://allaboutmadonna.com/madonna-library/madonnas-evita-diaries-vanity-fair-november-1996

 

[Turuncan 737]

Absolutely looooove this movie and the soundtrack!! And she was so similar to Eva Peron!

[groovyguy 63,869]

https://youtu.be/8mSYkEgjV6w

[groovyguy 63,869]

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[groovyguy 63,869]

[groovyguy 63,869]

Forget the book of the film, here's the diary. . .

 

http://www.telegraph.co.uk/culture/4705167/Forget-the-book-of-the-film-heres-the-diary.-.-..html

 

'FORGOT to mention that I met with the chief of police and his first lieutenant," confides Madonna to her diary on Wednesday, January 31. "The lieutenant said he admired Evita but he was not a Peronist. Then he said the most amazing thing - that people were angry with Evita in her day for the same reason they are angry with me today. That we are women with success and power."

 

True, there are peripheral differences between the former First Lady of Argentina and the celebrated chanteuse-cum-photographic model: Evita appeared on a balcony, having left behind her humble past, whereas Madonna appeared up a wall, having left behind her humble pants. Still, how fortuitous for the singer that, after a long, painful journey to discover the secret of Evita's character, the secret should be: she's just like me! Madonna is appropriately grateful to the lieutenant: "I was quite stunned, for his macho appearance did not prepare me for his sensitive and perceptive point of view," she continues. "Don't judge a federal policeman by his uniform!"

 

"Madonna's Private Diaries", as they are called, can be read in the current issue of Vanity Fair. They form part of an ever-swelling literature of celebrity accounts of the films they're working on months before they're released - which gives them a dislocated feeling, like reading Pepys's account of the Great Fire of London six months before it happened.

 

As a whole, though, this new school of diary can be used to track the movements of virtually every celebrity. Turning to the entry for Sunday, December 17, in Glenn Close's diary of the forthcoming 101 Dalmatians(published in November's Premiere), we find her in London: "We went to a restaurant where a Madonna party was in full swing. She was holding court at a long table. Hair pulled back into a braided bun like Evita Peron," writes Close, adding: "She was very welcoming and came to sit with us for a while" - a phrase hitherto reserved by diarists for Princess Alexandra.

 

Seeking comfirmation of this encounter, I turned back to Madonna's diary . . . but evidently Madonna didn't think meeting Glenn Close was worth preserving for posterity. My own entry for the day reads: "Went to restaurant. Madonna and Glenn Close there, but both too busy taking notes for their diaries to speak to me. Bumped into Alan Clark, who said, 'Who's that ghastly old slapper of a fag-hag with motorway cones on her impressive globes?' "

 

That's the odd thing about Madonna's diaries. When Rice and Lloyd Webber were writing Evita, Peronists considered that the very idea of having a great political figure sing was demeaning.

Twenty years on, singers and showfolk are about the only people you can rely on to be dignified and portentous about the world's problems: Sting frets about global warming; Alan Clark thinks it's a minor side-effect of the electric bra. For the traditional rock 'n' roll life - man, those crazy chicks just dig me! - you're better off with the diaries of disgraced Senator Packwood, a politician with impeccably feminist credentials whose nightly entries were a babefest-a-go-go.

 

Madonna has no time for such piffle: "I must say it was a bit of an insult to discover that the President has had lunch with Claudia Schiffer," she writes in Buenos Aires, "and he is not free to meet with me. Once again this proves my point that if you have an opinion or stand for something in this world you are considered a threat. Something to be feared."

[groovyguy 63,869]

[groovyguy 63,869]

Evita Review by Roger Ebert

http://www.rogerebert.com/reviews/evita-1997

 

... Only Evita herself, magnificently embodied by Madonna, rises above the quibbles, as she should; if there is one thing a great Evita should lack, it is any trace of self-doubt. Here we have a celebration of a legendary woman (for those who take the film superficially) and a moral tale of a misspent life (for those who see more clearly).

 

The movie is almost entirely music; the fugitive lines of spoken dialogue sound sheepish. Madonna, who took voice lessons to extend her range, easily masters the musical material. As importantly, she is convincing as Evita--from the painful early scene where, as an unacknowledged child, she tries to force entry into her father's funeral, to later scenes where the poor rural girl converts herself into a nightclub singer, radio star, desirable mistress, and political leader.

 

There is a certain opaque quality in Madonna's Evita; what you see is not exactly what you get. The Che character zeroes in on this, questioning her motives, doubting her ideals, pointing out contradictions and evasions. Yet for Evita there are no inconsistencies, because everything she does is at the service of her image. It is only if you believe she is at the service of the poor that you begin to wonder. Listen closely as she sings: “For I am ordinary, unimportant And undeserving Of such attention Unless we all are I think we all are So share my glory.†The poor, in other words, deserve what Evita has, so her program consists of her having it and the poor being happy for her. After all, if she didn't have it, she'd be poor, too. In other words: The lottery is wonderful, just as long as I win it.

 

... But Parker's visuals enliven the music, and Madonna and Banderas bring it passion. By the end of the film we feel like we've had our money's worth, and we're sure Evita has.

[groovyguy 63,869]

'Evita' Tailor-made for Madonna

http://www.cnn.com/SHOWBIZ/9701/04/evita.review/

 

'Evita' Keeps Its Promise

http://www.washingtonpost.com/wp-srv/style/longterm/review96/evitaharr.htm

 

MOVIE REVIEW

Madonna, Chic Pop Star, As Chic Political Star

By JANET MASLIN

http://www.nytimes.com/movie/review?res=9B02E0D91E31F936A15751C1A960958260

[groovyguy 63,869]

Absolutely looooove this movie and the soundtrack!! And she was so similar to Eva Peron!

+1

 

Huge fan of her Evita era. The movie is brilliant & the soundtrack is fantastic & I prefer it to the Broadway version. IMHO, she absolutely aced this role, deserving of an Oscar. But then people seem to be overly harsh when it comes to her as an actress. She may not be the best actress but she's certainly not the worst. When the movies she's in are successful, people point to everyone & everything else for the success. But when the movies flop, then it's all her fault.

[groovyguy 63,869]

Madonna talked about Patti LuPone during her interview with MTV's Kurt Loder after the Evita release. When Madonna had her vocal classes from the same vocal coach as Patti LuPone. According to that vocal coach Joan Lader Patti had said she believed Madonna would do a good job. "So there you go, Italian chicks supporting for each other!", Madonna joked to Kurt Loder. It seems Patti forgot about that loyalty 20 years later...

Source: Mad-Eyes