Across The Way Thread #15633
Argentine Article about River
Created Bybigstar
Created DateWed, Mar 03, 2004
Created Time01:50PM GMT

bigstar3/3/2004 1:50:02 PM
kats3/7/2004 6:10:01 AM
river_chris3/7/2004 12:30:01 PM
Helene3/7/2004 4:20:01 PM
bigstar3/25/2004 2:20:00 PM
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AuthorMessage #31132
bigstarSubjectArgentine Article about River
PostedWed, Mar 03, 2004 01:50PM GMTMethodWeb-Site
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This is Ana, from Spain. I have not written since a lot of time. I
hope you all are very well.

I am writing because last week I found in a Argentine e-magazine, this
article about River Phoenix and the 10 years of his death. I want to
know what you think about it.

I have translated it into English with Google. I have also attached
the original version in Spanish, if anyone speaks Spanish. If you want
to go directly to the website, the address is:



Magazine "Pagina 12"
Beautiful and the sad thing

It had everything to become the icon of a generation, but it died to
the 23 years of overdose in a path of Los Angeles. Then Hollywood had
everything to turn it legend, but it preferred to cover it with a
mantle with silence. As if outside little, the 31 of October turns ten
years of their death and there is no a single planned tribute: their
films are not published in DVD, some not even are obtained and nobody
thought about a biography or a documentary one. For that reason, Radar
remembers with pain to River Phoenix.


He is very strange, but the next Night of Witches, the 31 of October,
turns ten years of the death of River Phoenix and the machinery of
Hollywood, always eager for tributes and resucitaciones, is quiet and
quiet. My deprived world, the classic film of Gus Van Sant, the Rebel
without cause of Phoenix, not even is published in DVD, and that that
the other protagonist is Keanu?Mr. Matrix? Reeves. He was expectable
that the last great young actor received, at least, a reedición of his
films, or the opening of a documentary one on his life and builds.
After all, nobody has been able to replace it and there is no a single
young actor in present Hollywood with half of the talent of Phoenix.
Silence shamed around the death of Phoenix is not new and wanted to
attribute itself, in the last months of 1993, to the respect. It is
certain: the attitude of paparazzi was celebrated that did not shoot
its camera to catch the image of the actor with convulsions, agonizing
in the path of Sunset Strip, outside the club Viper Room de Johnny
Depp; the Joaquin, today most famous did not abuse the desperate call
of his brother either, to the 911. But immediately, when the results
of the autopsy demonstrated that Phoenix had died of an overdose
(heroin, cocaine, Valium, etc.), discretion let see hipocresía. Martha
Frankel, journalist of Spin, wrote in January of 1994: I called to the
personages of the industry to write this obituario, no wanted to
speak. Hollywood was giving reverse gear, trying to be distanced all
the possible one of the death of Phoenix. A publicista said to me that
his clienta, an actress friend of River, was not going to take care of
to me because?no could be mixed with this excrement? and that the
latest that needed, now that offered good papers to him, was to have
something to see with drugs. Another agent used a metaphor: that were
going to be the A the Pacino of their generation, and finished being
their John Belushi. What happened to him? Perhaps it is not sufficient
to gain a million dollars by film, to be young and beautiful and that
to you every five minutes absorb pija? This subject makes sick to me.
Hollywood gave the back him. When they let make money with him, when
public did their errors and died of a fatal overdose of cocaine and
heroin, stopped being useful. Dead, became the invisible man.
Some were animated to speak. Unconditional friends like Peter
Bogdanovich (who directed it in The Thing Called Love), Gus Van Sant,
its ex- fiancèe Martha Plimpton, Rob Reiner (that discovered it in
Account with me) and until Johnny Depp, who remembers that night like
before and later in his race, perhaps one of the reasons by which
exilió for Los Angeles and settled down residence in France.
Bogdanovich remembers that the distrusts of Hollywood put to Phoenix
in a virtual black list before their death. It wrote in Premiere in
January of the 2001: drugs only once during the running of our film.
But the gadget arrived at Hollywood and then an attitude of the guilty
type began until the opposite demonstrates itself. The ironic thing
was that River was so convincing in its interpretation of a
autodestructivo personage, arrogant and vicious who people thought
that it was the real River. They sent spies to the Seth. It acted
rare, said, because it was drugged. What happened was that it was
acting different and very well. A personage like that one had never
done: it was the first time that an adult interpreted. They
estigmatizaron it. Until they did a judgment to him to its family
because it died during the running of another film, Dark Blood.
The theories on why River Phoenix died are many. For the tabloides
like the National Enquirer, she was a hypocrite who pretended a life
of exemplary vegetarian, militant ecologist and of P.E.T.A. (for
People the Ethical Treatment of Animals), and that in fact hid a
fiestero drug addict. For his friends actors like Dermot Mulroney and
its wife, the talented Catherine Keener, it was a sensible soul that
did not support the weight of the world. For its personal friends, the
fault was of the bad companies. For Bogdanovich, she was a victim
of?método? of the Actor?s Studio. For his mother hippie, Heart
Phoenix, it died because?la earth is dying and it wanted to go away
before. No aimed most obvious, except for the writer Dennis Cooper,
who wrote in 1994: a boy. Sometimes it seemed too serious, incapable
to relax and to enjoy since any boy in his position would do. It left
one night and it took a lethal mixture from drugs. It could happen to
him to anyone.

In 1991, River Phoenix gave a rare interview, where it dared to speak
of Hollywood and the contradictions of his life. like being the
invisible man. One there is stopped, begins to disintegrate, it cannot
be seen itself and it feels that it has been absorbed by a bubble of
giant brilliantine? There is no a single photo of Phoenix laughing,
and in very few it outlines a crossed smile. It distrusted of the
industry and as anything it served that to the seventeen years they
name to an Oscar (by Running on Empty de Sidney Lumet in 1988) or who
put in the covers of the magazines for adolescents as ídolo teen. Its
incomodidad can be included/understood better with the history of its
It was born in a cabin in Oregon, son of parents hippies, traveling
recolectores of fruit, John and Arlyn (whom later the name took from
Heart). They called River by the river of the life in Siddartha de
Hermann Hesse. Shortly after her birth in 1970, the Young family was
united to the sect of God and started off for Venezuela like
missionaries. River and its smaller sister, Rain (Rain), sang in the
street to obtain money, and the family slept in an infested plate
square of rats in the beach. They left the cult in 1977, after
international denunciations on infantile abuse, and returned to the
United States. To that height, with its brother Joaquin (called by its
Leaf parents?Hoja), all were veganos, vegetarian radicals that did not
consume any product animal, not even honey or eggs. In 1980, the
parents decided that their charming children had to enter the world of
the spectacle, according to Heart Phoenix because they wanted to?usar
means of masses to change to the world and River would be our
missionary. The certain thing is that since then the boy of ten years
became the economic support of his family hippie and is it until
today: his father lives in Costa Rica, in a farm located in a virgin
forest that River bought like action of its ecological militancy. In
1982 he made debut in TV as the smaller son in the series Seven
fiancèes for seven brothers and in 1986 already were an incredible
star with important films and performances in Account with me of Rob
Reiner and the coast Mosquito of Peter Weir. Their parents did not
believe in the escolarización of the children, so he never went to the
school. His friend Dermot Mulroney instructed to River on Sam Shepard
when the escritor/actor/director summoned it for Silent Tongue: knew
who was, nor that the.Pulitzer had won, he did not know what was
a.Pulitzer. I never knew a so ignorante and so intelligent person at
the same time. All the witnesses agree in which Phoenix could not
solve the contradiction of a raising?pura? with the push that their
parents gave him so that he gave himself to Hollywood, that form rare
of anxious hippies to obtain hearing for its children, that passage of
the contracultural/ecologista bubble towards the most extreme exhibition.

Ten years after their death, the films of River Phoenix are rare
jewels, some difficult ones to obtain. Good and the bad ones have at
least one sequence that leaves out of breath, and always is because of
River. Dividing equally Account with me, Chris Chambers (River) tells
its friend who robbed a money, but wanted to give back it, and nobody
him creyo '; later it cries, and it exclaims: could go to a place
where nobody knew me. Director Rob Reiner conto ': I said that it
thought about which had disappointed it, because it cost to him to
cry. It did it, and that one is the taking that was in the film. After
doing it, it shook and it cried as much that I had to embrace it. Some
did not have technique, was pure intuition. When the camera ignited,
it always said the truth. Running on Empty de Sidney Lumet, another
central film, is a peculiarity that the difference between the
Hollywood of today marks and the one of yesterday just: it is the
history of two activists who, in?70, put a pump in a military
laboratory that produced napalm; in the present they are in secrecy
and they change constantly of identity and address, with its children
to hills. In spite of certain concessions in the script (the
protagonists never killed nobody), the glance of Lumet on the
terrorists is comprehensive, idealistic, even celebratoria, impossible
to reproduce today in the days of the axis of badly. The test is the
personage of Phoenix, the older son, than it lets to his parents to go
to the university (they never will return to see it). The impression
is that he will be a wonderful man, pious and intelligent. Running on
Empty is an audacious film and is remarkable that an actor of
seventeen years could interpret not only a boy it jeopardize with the
election of life of his parents, but also to the failure of a
generation; it is an almost autobiographical film.
But it is My private world the film to which Phoenix put the body to
him, and the soul. Mike Waters, its personage, belongs to the pantheon
of the visceral creations, in the limit with the reality. composed a
song for the film with its band Aleka?s Attic was musical, a ballad
country precious call?Too Many Colours? that it sounds when Mike, its
personage, the taxi boy that suffers of narcolepsy, finds out that it
can be son of a incestuosa relation.
Director Gus Van Sant counted, years later, that gay had not thought
about that taxi boy like a personage. The central scene is with Keanu
Reeves, around a bonfire, in a stop next to the highway. The
improvisation of Phoenix took by surprise to all: could love somebody
although it did not pay to me, Mike says to him to Scott (Reeves).
master, and you do not pay to me. I have many desire of besarte.?
The legend says that in the Seth of My private world Phoenix it began
to experiment with drugs and had a romance with Keanu, to which it
called?mi Romeo. They go Sant grants: to?River was committed, and a
personage could not do with whom he did not become jumbled. He wanted
that Mike was gay, wanted to redeem it. And he did it. River Phoenix
does not belong to the pantheon of actors who died young and they
became legend, and is difficult to explain why. It was called on to
him to be I inform expiatorio? Perhaps. But one became a marginal
icon, whose cult emerges in unexpected places. In a song of Milton
Nascimento?Carta to a Ator young person, written after the Brazilian
was hypnotized by the performance of Phoenix in the coast Mosquito:
found you someday/would have confesarte that I saw your films too many
times/to decipher your eyes. In a song of the first disc of Rufus
Wainwright?Matinée Idol: that has seen that beauty is marked by the
death. In a song of Network Hot Chilli Peppers?Trascending, written
by its friend, the Flea bear: the magazines go away to carajo/the
ecological machinery/the legal avarice/the nonexistent world. The
faithfuls of the Phoenix cult feel that they lost an actor who did not
appear like a martyr, but was able to use his solitude and its anguish
to humanize to the personages, playing in the limits of the artifice.
Gus Van Sant explains therefore the romance of Phoenix with the
camera: they?En cinema, matters what shows the face of the actor. In
that they are really good, which is seen is pain. That transmitted
River: a beautiful misfortune.


Revista "Pagina 12"
Lo bello y lo triste

Tenía todo para convertirse en el icono de una generación, pero murió
a los 23 años de sobredosis en una vereda de Los Angeles. Entonces
Hollywood tuvo todo para convertirlo en leyenda, pero prefirió
cubrirlo con un manto de silencio. Como si fuera poco, el 31 de
octubre se cumplen diez años de su muerte y no hay un solo homenaje
planeado: sus películas no están editadas en DVD, algunas ni siquiera
se consiguen y nadie pensó en una biografía o un documental. Por eso,
Radar recuerda con dolor a River Phoenix.


Es muy extraño, pero la próxima Noche de Brujas, el 31 de octubre, se
cumplen diez años de la muerte de River Phoenix y la maquinaria de
Hollywood, siempre ávida de homenajes y resucitaciones, está quieta y
silenciosa. Mi mundo privado, el film clásico de Gus Van Sant, el
Rebelde sin causa de Phoenix, ni siquiera está editado en DVD, y eso
que el otro protagonista es Keanu “Mr. Matrix” Reeves. Era esperable
que el último gran actor joven recibiera, al menos, una reedición de
sus películas, o el estreno de un documental sobre su vida y obra.
Después de todo, nadie ha podido reemplazarlo y no hay un solo actor
joven en el Hollywood actual con la mitad del talento de Phoenix.
El silencio avergonzado alrededor de la muerte de Phoenix no es nuevo
y quiso atribuirse, en los últimos meses de 1993, al respeto. Es
cierto: se celebró la actitud de un paparazzi que no disparó su cámara
para atrapar la imagen del actor con convulsiones, agonizando en la
vereda de Sunset Strip, fuera del club Viper Room de Johnny Depp;
tampoco se abusó de la desesperada llamada de su hermano Joaquin, hoy
famosísimo, al 911. Pero enseguida, cuando los resultados de la
autopsia demostraron que Phoenix había muerto de una sobredosis
(heroína, cocaína, Valium, etc.), la discreción dejó ver la
hipocresía. Martha Frankel, periodista de Spin, escribía en enero de
1994: “Cuando llamé a los personajes de la industria para escribir
este obituario, ninguno quiso hablar. Hollywood estaba dando marcha
atrás, tratando de distanciarse todo lo posible de la muerte de
Phoenix. Un publicista me dijo que su clienta, una actriz amiga de
River, no iba a atenderme porque ‘no podía mezclarse con esta mierda’
y que lo último que necesitaba, ahora que le ofrecían buenos papeles,
era tener algo que ver con las drogas. Otro agente usó una metáfora:
‘Pensábamos que iba a ser el Al Pacino de su generación, y terminó
siendo su John Belushi. ¿Qué le pasaba? ¿Acaso no es suficiente ganar
un millón de dólares por película, ser joven y hermoso y que te chupen
la pija cada cinco minutos? Este asunto me da asco’. Hollywood le dio
la espalda. Cuando dejaron de hacer dinero con él, cuando hizo
públicos sus errores y murió de una sobredosis fatal de cocaína y
heroína, dejó de ser útil. Muerto, se convirtió en el hombre invisible”.
Algunos se animaron a hablar. Amigos incondicionales como Peter
Bogdanovich (que lo dirigió en The Thing Called Love), Gus Van Sant,
su ex novia Martha Plimpton, Rob Reiner (que lo descubrió en Cuenta
conmigo) y hasta Johnny Depp, que recuerda esa noche como un antes y
después en su carrera, quizá uno de los motivos por los que se exilió
de Los Angeles y estableció residencia en Francia. Bogdanovich
recuerda que los recelos de Hollywood pusieron a Phoenix en una lista
negra virtual antes de su muerte. Escribía en Premiere en enero del
2001: “Usó drogas sólo una vez durante el rodaje de nuestra película.
Pero el chisme llegó a Hollywood y entonces comenzó una actitud del
tipo culpable hasta que se demuestre lo contrario. Lo irónico fue que
River era tan convincente en su interpretación de un personaje
autodestructivo, arrogante y vicioso que la gente creía que era el
River real. Enviaron espías al set. Actuaba raro, decían, porque
estaba drogado. Lo que sucedía era que estaba actuando diferente y muy
bien. Nunca había hecho un personaje como ése: era la primera vez que
interpretaba a un adulto. Lo estigmatizaron. Hasta le hicieron un
juicio a su familia porque murió durante el rodaje de otra película,
Dark Blood”.
Las teorías sobre por qué murió River Phoenix son muchas. Para los
tabloides como el National Enquirer, fue un hipócrita que fingía una
vida de vegetariano ejemplar, militante ecologista y de P.E.T.A.
(People for the Ethical Treatment of Animals), y que en realidad
escondía a un drogadicto fiestero. Para sus amigos actores como Dermot
Mulroney y su esposa, la talentosa Catherine Keener, era un alma
sensible que no soportaba el peso del mundo. Para sus amigos
personales, la culpa fue de las malas compañías. Para Bogdanovich, fue
una víctima del “método” del Actor’s Studio. Para su madre hippie,
Heart Phoenix, murió porque “la tierra está muriendo y él quiso irse
antes”. Ninguno apuntó lo más obvio, salvo el escritor Dennis Cooper,
que escribió en 1994: “Era un chico. A veces parecía demasiado serio,
incapaz de relajarse y disfrutar como lo haría cualquier chico en su
posición. Salió una noche y tomó una mezcla letal de drogas. Pudo
pasarle a cualquiera”.

En 1991, River Phoenix dio una rara entrevista, donde se atrevía a
hablar de Hollywood y de las contradicciones de su vida. “Es como ser
el hombre invisible. Uno está ahí parado, se empieza a desintegrar, no
puede verse a sí mismo y siente que ha sido absorbido por una burbuja
de brillantina gigante.” No hay una sola foto de Phoenix riendo, y en
muy pocas esboza una sonrisa cruzada. Desconfiaba de la industria y de
nada servía que a los diecisiete años lo nominaran a un Oscar (por
Running on Empty de Sidney Lumet en 1988) o que posara en las tapas de
las revistas para adolescentes como ídolo teen. Su incomodidad puede
comprenderse mejor con la historia de su familia.
Nació en una cabaña en Oregon, hijo de padres hippies, recolectores
itinerantes de fruta, John y Arlyn (que después tomó el nombre de
Heart). Lo llamaron River por el río de la vida en Siddartha de
Hermann Hesse. Poco después de su nacimiento en 1970, la familia se
unió a la secta Niños de Dios y partieron hacia Venezuela como
misioneros. River y su hermana menor, Rain (Lluvia), cantaban en la
calle para conseguir dinero, y la familia dormía en una casilla de
chapa infestada de ratas en la playa. Dejaron el culto en 1977,
después de denuncias internacionales sobre abuso infantil, y volvieron
a Estados Unidos. A esa altura, con su hermano Joaquin (llamado por
sus padres Leaf, “Hoja”), todos eran veganos, vegetarianos radicales
que no consumían ningún producto animal, ni siquiera miel o huevos. En
1980, los padres decidieron que sus encantadores hijos debían entrar
en el mundo del espectáculo, según Heart Phoenix porque querían “usar
los medios de masas para cambiar al mundo y River sería nuestro
misionero”. Lo cierto es que desde entonces el chico de diez años se
convirtió en el sostén económico de su familia hippie y lo es hasta
hoy: su padre vive en Costa Rica, en un rancho ubicado en una selva
virgen que River compró como acción de su militancia ecologista. En
1982 debutó en TV como el hijo menor en la serie Siete novias para
siete hermanos y en 1986 ya era una estrella con películas importantes
y actuaciones increíbles en Cuenta conmigo de Rob Reiner y La costa
Mosquito de Peter Weir. Sus padres no creían en la escolarización de
los niños, así que nunca fue a la escuela. Su amigo Dermot Mulroney
instruyó a River sobre Sam Shepard cuando el escritor/actor/director
lo convocó para Silent Tongue: “No sabía quién era, ni que había
ganado el Pulitzer, no sabía lo que era un Pulitzer. Nunca conocí a
una persona tan ignorante y tan inteligente al mismo tiempo”. Todos
los testigos coinciden en que Phoenix no podía resolver la
contradicción de una crianza “pura” con el empujón que le dieron sus
padres para que se entregara a Hollywood, esa forma rara de hippies
ansiosos por conseguir audiciones para sus hijos, ese pasaje de la
burbuja contracultural/ecologista hacia la exposición más extrema.

Diez años después de su muerte, las películas de River Phoenix son
raras joyas, algunas difíciles de conseguir. Las buenas y las malas
tienen por lo menos una secuencia que deja sin aliento, y siempre es
por culpa de River. Promediando Cuenta conmigo, Chris Chambers (River)
le cuenta a su amigo que robó un dinero, pero quiso devolverlo, y
nadie le creyó; después llora, y exclama: “Ojalá pudiera ir a un lugar
donde nadie me conociera”. El director Rob Reiner contó: “Le dije que
pensara en alguien que lo había decepcionado, porque le costaba
llorar. Lo hizo, y ésa es la toma que quedó en la película. Después de
hacerla, temblaba y lloraba tanto que tuve que abrazarlo. No tenía
técnica alguna, era pura intuición. Cuando la cámara se encendía,
siempre decía la verdad”. Running on Empty de Sidney Lumet, otra
película central, es una rareza que marca la diferencia entre el
Hollywood de hoy y el de ayer nomás: es la historia de dos activistas
que, en los ‘70, pusieron una bomba en un laboratorio militar que
producía napalm; en el presente están en la clandestinidad y cambian
constantemente de identidad y domicilio, con sus hijos a cuestas. A
pesar de ciertas concesiones en el guión (los protagonistas nunca
mataron a nadie), la mirada de Lumet sobre los terroristas es
comprensiva, idealista, incluso celebratoria, imposible de reproducir
hoy en tiempos del eje del mal. La prueba es el personaje de Phoenix,
el hijo mayor, que deja a sus padres para ir a la universidad (ellos
nunca volverán a verlo). La impresión es que será un hombre
maravilloso, piadoso e inteligente. Running on Empty es una película
audaz y es notable que un actor de diecisiete años pudiera interpretar
no sólo a un chico comprometido con la elección de vida de sus padres,
sino también al fracaso de una generación; es un film casi autobiográfico.
Pero es Mi mundo privado la película a la que Phoenix le puso el
cuerpo, y el alma. Mike Waters, su personaje, pertenece al panteón de
las creaciones viscerales, en el límite con la realidad. Compuso una
canción para la película con su banda Aleka’s Attic –también era
músico–, una balada country preciosa llamada “Too Many Colours” que
suena cuando Mike, su personaje, el taxi boy que sufre de narcolepsia,
se entera de que puede ser hijo de una relación incestuosa.
El director Gus Van Sant contó, años después, que no había pensado en
ese taxi boy como un personaje gay. La escena central es con Keanu
Reeves, alrededor de una fogata, en un alto junto a la carretera. La
improvisación de Phoenix tomó por sorpresa a todos: “Yo podría amar a
alguien aunque no me pagara”, le dice Mike a Scott (Reeves). “Te amo,
y no me pagas. Tengo muchas ganas de besarte.” La leyenda reza que en
el set de Mi mundo privado Phoenix empezó a experimentar con drogas y
tuvo un romance con Keanu, al que llamaba “mi Romeo”. Van Sant
concede: “River se comprometía, y no podía hacer un personaje con el
que no se involucrara. Quiso que Mike fuera gay, quiso redimirlo. Y lo
River Phoenix no pertenece al panteón de actores que murieron jóvenes
y se convirtieron en leyenda, y es difícil explicar por qué. ¿Le tocó
ser el chivo expiatorio? Quizá. Pero se convirtió en un icono
marginal, cuyo culto emerge en lugares inesperados. En una canción de
Milton Nascimento, “Carta a un joven Ator”, escrita después de que el
brasileño quedó hipnotizado por la actuación de Phoenix en La costa
Mosquito: “Si te encontrara algún día/ tendría que confesarte que vi
tus películas demasiadas veces/ para descifrar tus ojos”. En una
canción del primer disco de Rufus Wainwright, “Matinée Idol”:
“Cualquiera que haya visto esa belleza está marcado por la muerte”. En
una canción de Red Hot Chilli Peppers, “Trascending”, escrita por su
amigo, el bajista Flea: “Que se vayan al carajo las revistas/ La
maquinaria ecologista/ La avaricia legal/ el mundillo inexistente”.
Los fieles del culto Phoenix sienten que perdieron a un actor que no
se presentaba como un mártir, pero era capaz de usar su soledad y su
angustia para humanizar a los personajes, jugando en los límites del
artificio. Gus Van Sant explica así el romance de Phoenix con la
cámara: “En cine, importa lo que muestra el rostro del actor. En los
que son realmente buenos, lo que se ve es dolor. Eso transmitía River:
una hermosa desdicha”.

AuthorMessage #31206
katsSubjectRe: Argentine Article about River
PostedSun, Mar 07, 2004 06:10AM GMTMethodWeb-Site
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Hi Ana,

Sorry I didn't get back to you sooner.
Thank you very much for sharing the article with us.
It has a very special feeling, and I don't remember any other article
dwelling as much on the fact that Hollywood does its best to forget River,
while it's tur that you could expect they would use the 10th anniversary of
Oct. 31, 1993 as a marketing occasion to launch a DVD set or something.
I think the journalist is very right about it. It's not very often that
there is any mention of River anymore, and when there is, it's brought up by
journalists, not by actors or people from the movie business. And honestly,
I wouldn't attribute a lot of this silence to respect. There was never any
respect involved in that business when money can be done.
He just seems to be taboo. Which is sad, because when you think of it, James
Dean and Marylin Monroe had as much responsibility in their own death that
he had, and they're celebrated icons.
But I figure the difference is that people don't think they will die of a
car crash, or taking sleeping pills is not illegal. Why they just won't face
or don't want to be publically associated to drug use.

Take care,

> Hello,
> This is Ana, from Spain. I have not written since a lot of time. I
> hope you all are very well.
> I am writing because last week I found in a Argentine e-magazine, this
> article about River Phoenix and the 10 years of his death. I want to
> know what you think about it.
> I have translated it into English with Google. I have also attached
> the original version in Spanish, if anyone speaks Spanish. If you want
> to go directly to the website, the address is:
> Bye,
> Ana.
AuthorMessage #31238
river_chrisSubjectRe: Argentine Article about River
PostedSun, Mar 07, 2004 12:30PM GMTMethodWeb-Site
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Hi Kats and Ana
Its very "difficult to be a myth or legend these days.
The only real legends the world knows today is Marilyn
Monroe, Elvis Presley and James Dean. However I do
believe that River is going to be an icon and legend
in time. Both Marilyn and James were no legends when
they died, but after years without them,and more and
more people still talking and became fans of the their
legends were born. I think the same is about to happen
with River. Just look at ourselves in ATW. Many of the
members and fans are young and were just kids when
River died, but they idolize him and love him, and
talk about him, and now we`re trying to give him a
star, thats how legends are created. Many of the
articles that I have about him from recent time speaks
about him as a icon and a fallen angel, and almost
every article I`ve seen about Joaquin says hes the
brother of the late teenage hero River Phoenix, so Im
sure he will be a legend soon. Its the same thing with
Princess Diana, who probably was the most famous
person in the world. Even she didn`t became a legend
at once but today she really is one, just after 7
I also read in a magazine a while ago that River
Phoenix was the most popular website or name to search
on the net.
He has to be remembered for eternity. He was so good
and talented that he cant be forgotten and never will
Take care

Yahoo! Mail ( - Gratis: 6 MB lagerplads, spamfilter og virusscan

president of the river phoenix fan club
AuthorMessage #31254
HeleneSubjectRe: Argentine Article about River
PostedSun, Mar 07, 2004 04:20PM GMTMethodWeb-Site
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It's great to see you back here. You're that Spanish girl with the
beautiful voice. I totally remember that. I hope you've had fun
while you've been away. I will read the article as soon as I can. I
just wanted to welcome you back in this post. Know that you were

AuthorMessage #32087
bigstarSubjectRe: Argentine Article about River
PostedThu, Mar 25, 2004 02:20PM GMTMethodWeb-Site
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Hello Helene!!

I remeber you too.

I'm happy today because I'll go to London tomorrow. But just for the
weekend to see the city.


Total Messages: 6 Page 1 of 2
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