After the controversy generated around his choice to play a transsexual man in the film ‘Rub and Tug’, Scarlett Johansson has decided to abandon the project. The actress of ‘Lucy’ or ‘Avengers: Infinity War‘ has written a statement explaining the reason for his departure from this film in which he was to put himself in the shoes of Dante Tex Gill. “As a result of the ethical issues raised around the fact that I was chosen to play Dante Tex Gill, I have respectfully decided to withdraw from the project,“ the actress said in a statement picked up by Out Magazine.
Johansson explains in the statement that he shows great admiration for the trans community and appreciates the debate generated on this issue. For this, the actress alludes to some of the data on the low representation of LGBT characters in the cinema and indicates that she has noticed that her signing and participation in the film was “insensitive”.
“Our cultural understanding of transgender people continues to advance and I have learned a lot from this community since I made my first statements and I realized I was insensitive, I have great admiration and love for the trans community and I appreciate that the conversation about inclusion in Hollywood continues … According to GLAAD, the LGTBQ + characters have had 40% less representation in 2017 compared to the previous year, with no trans representation in any movie of a large studio, “explained Johansson.
“Although I would have loved the opportunity to bring to life the story of Dante and its transition, I understand why many may feel that it should be interpreted by a transgender person, and I am grateful to be part of this controversial debate that has triggered a further conversation wide about diversity and diversity in the cinema,” he added.
“All artists should be considered equally”
Finally, Johansson also assured in his statement that he thinks that all people should be considered equally within their profession as an actor or actress, pointing out how from their producer, These Pictures, they are looking for projects that involve various communities to offer tapes committed while entertaining.
“I believe that all artists should be considered equally and fairly .. My production company, These Pictures, actively seeks projects that entertain but also break down barriers, we are looking forward to working with all communities to bring these moving stories to all public around the world, “ concluded the actress.
The 10 best performances by Scarlett Johansson
‘Lost in Translation’
An actor grabbed the cutest advertising to keep surviving. A woman who kills free time, eternal, lying on the bed and looking at the street from the window. They might not have met in all their lives, have continued walking on routes as different as inconsequential. But the neon lights of Tokyo are too heavy and loneliness ends up uniting the lost.
Therefore, everything that happens in ‘Lost in Translation’ has a meaning that goes far beyond the captivating visual beauty achieved by Sofia Coppola in each of her scenes. And the main culprits are Bill Murray and Scarlett Johansson, accurate at a level only related to excellence. Focusing our eyes on it, what we find is an interpretation full of tenderness and melancholy, a presence that shines in the midst of a thousand people who meet in the corners of an eternal city. Probably, the best job of his career.
‘Under the Skin’
I do not know if the Michel Faber novel that he adapts ‘Under the Skin’ is so ambitious, strange, complex and, pity, tedious as his film version, but I’m pretty sure that few actresses would give so much in the role of his protagonist as Scarlett Johansson. The actress, after bursting around the world with ‘Avengers‘ box office, made a decision full of risk and bravery interpreting a character that makes contention and silence his flag , which was a challenge in his career and that He was completely alienated from the more commercial interests of the industry.
For some, the film is one of the most fascinating gems of recent science fiction. For others, a yawn. Of course, we all agree on the umpteenth talent show of an outstanding Johansson who gave himself body and soul to a proposal of a suicidal nature.
As much as we love the two installments of ‘Avengers‘, plus the first that its irregular sequel, it is clear that both make an error to locate in a field so secondary to the Black Widow. Mainly, because Scarlett Johansson does not joke her character at any time, giving her a bulletproof personality.
In her hands, what could have ended up being a heroine of walking around lost in a universe of superheroes full of incredible powers, ends up turned into a stupendous revision of Nikita, yes, with a more conflictive past. In short, Marvel, less romantic subplots for the Widow and more individual films for her.
Joseph Gordon-Levitt’s amazing feature debut, “Don Jon,” was full of pleasant surprises, but if there was one that stood out above all it was, without a doubt, the interpretation of Scarlett Johansson. Her character, a choni straight out of the imagination of a teenager in full sexual effervescence, had a thousand and one chances of falling into parody or the most boring stereotype , but the actress always manages the tone and rhythm necessary to turn it into something plus. In much more.
When it’s not on screen, you miss it. When she leaves the scene, you miss her. When the movie seems to break down, you miss it. When everything is over, you miss her. And there we continue. A wonderful interpretation
Temptation and victim. Fire and perdition. Passion and tragedy Luck and misfortune. ‘Match Point’ would be less masterpiece, non-negotiable label, without Scarlett Johansson. And it is not because his character plays the key role of the whole plot, but that his interpretation is so hypnotic, so memorable, that one can not but surrender to the evidence. And with all the happiness in the world.
Woody Allen delivered his best script in many years and Johansson took advantage of the opportunity by deploying all his arsenal of charm, charisma and fragility. A lethal combination that captivated its director and the spectators who kept forever in his memory the sad look of a character that seemed indestructible.
‘Her’ remains for many viewers, including myself, the most memorable masterpiece of the last decade. A proposal of multiple readings in which one can stay with the vision of a future that we glimpse with little difficulty, with the portrait of solitude more accurate, with the isolation of a society that walks looking at the ground and is only able to lift the look when your mobile device indicates it, or with the optimistic message that, when things go wrong, there will always be physical contact, even if it is a shoulder to cry on. All those ideas, all those situations, all those reflections are those that the Spike Jonze proposed more inspired, giving away a good number of unforgettable scenes, moments of pure cinema.
And, above all, Samantha. That voice. The key that everything explodes into a thousand pieces, that everything has a meaning, that everything rises. What Scarlett Johansson does is a gift. Because, what he gets here, without appearing in any of the seconds that make up the film and with the exclusive help of his vocal cords, is one of the most powerful cinematographic achievements of recent years.
‘Girl with a Pearl Earring’
The first film by Peter Webber, director who unfortunately fell immediately into the most irrelevant, based, apparently, all its potential in formal finishing, directly influenced by the painting, artistic modality that surrounded its history and main context. However, in the midst of the undisputed visual beauty, appeared Scarlett Johansson, in its most unrecognizable version, to, from a ghostly appearance, snatch the entire function.
There is not a scene in which it does not seem to be close to breaking like the most fragile of the crystals. Absolute delicacy in an interpretation that, after ‘Lost in Translation’, confirmed the evidence of being before an actress more than interesting.
For a director like Luc Besson, specialist in the creation of memorable heroines of action, with ‘The professional (Lion)’ and ‘Nikita’ at the helm, having Scarlett Johansson to star in ‘Lucy’ is little less than a gift to be eternally grateful.
Because it does not matter that the film completely loses its head in its last stretch, ridiculous and pedantic, failed and delirious, there she is to save the furniture at the stroke of charisma and personality. In the same moment that appears on the screen, everything works. He is a superstar. And nobody can overshadow him. They do not try. Besson, you owe a lot to Scarlett.
After the wonderful result of their first joint work, ‘Match Point’, Woody Allen was more than clear: Scarlett Johansson star in his next film. Said and done. Changing completely the tone, from the Greek tragedy to the summer entertainment, from the opera to the most luminous jazz, in short, from the dramatic thriller to the mystery entangled in laughter, the New York genius offered the actress the opportunity to give free rein to his comic with ‘Scoop’. And she took advantage of it.
Within the set, as light as fun, Johansson became the film’s greatest virtue, captivating in its charm and clumsiness, combining its sensuality with its talent to take advantage of every little moment of brilliance. A good job of its director. A major work of its protagonist.
Although her character plays a clearly secondary role, Scarlett Johansson manages to get gold from each of her appearances along that gem called ‘Ghost World’, one of those rare independent film ads in which everything flows like a charm and nothing seems set.
An ingenious and balanced work in which, together with the wonderful friendship / platonic love established between Thora Birch and Steve Buscemi, highlights the chemistry between Johansson and the protagonist, able to convince the second that they are lifelong friends. For that reason, that moment in which the character of Scarlett deceives Birch by telephone telling him that he has already stayed with his friends from work does not break his soul. Of pure naturalness.