Posted on 7/27/10 11:42 AM
Since directed "The Hours" (2002), Stephen Daldry was a new film to its viewers. After all, both his previous long as his first production (for those who did not know or remember, "Billy Elliot", 2000) were very well received by critics and audiences hungry for reflection and good stories. Not for nothing did Daldry received Oscar nominations for best director for his two experiences behind the camera. Six years since the narrative triptych based on the work of Virginia Woolf, he brings "The Reader" (The Reader), plus an incisive and revealing film, dealing with the weight of choices, especially when the chief of these choices is the complete omission before a lamentable. It is an adaptation of the novel by Bernhard Schlink, made by screenwriter David Hare, also responsible for the screenplay for "The Hours."
Everything begins with a rainy afternoon, and London-style, in the 30s. Michael (at that stage, played by David Kross) is returning home after another day studies, when he meets Hanna Schmitz (Kate Winslet once again faultless), a rude woman and at the same time, for that lovely young woman. At this first moment, the film shows how the chronicle of the birth of a boy's love for a woman some years older than him, a commonplace that can take the most imprudent and hasty to classify "The Reader" as another movie love. Misconception. The romance of Michael and Hanna is not stepping up to an idyllic backdrop, referring to the fairy tales.
It works by checking train tickets. It is taciturn, and when he decides to speak, not of the most likeable. It's like always wanted to hide under a shell that insulates the world to some extent, allowing only contact is necessary. After meeting Michael, her monotonous life seems to gain a wider color palette, especially when he begins to read works of world literature into it. The two begin to meet to spend long evenings together, while Michael recite huge passages of classical texts and Hanna plunges into the stories he hears. There is a secret kept under lock and key for her, but which the viewer is not slow to suspect: Hanna is illiterate. When their relationship is beginning to look more serious, she is moving in the opposite direction, rejecting the presence of the young.
During this phase of the film, there are many bold scenes between the protagonists, considered by some free, but they show themselves entirely in her nakedness, and reveal the beauty of its interpreters. Winslet is one of those actresses who, in addition to its dazzling pattern, offers brilliant and superb performances, which make the public stick eyes on her, and no longer get them. The Academy seems to already know this for a while but just decided to reward her after the sixth statement, precisely because "The Reader". Before, she had been nominated for "Sense and Sensibility" (1995), "Titanic" (1997), "Iris" (2002), "Eternal Sunshine of the Spotless Mind" (2004) and "Little Children" (2006 ). All indications were worthy, and his win for "The Reader" is a belated recognition of the voters. But fortunately, it happened.
She also took the Golden Globe for the role. In turn, Kross is a young actor who has been showing his talent for some time. He's been cast in a movie that even before Winslet, the aforementioned "brih of an eternal mind without memories." Just as she is a beauty that draws attention, and can transmit the insecurity and the outpouring of a boy who discovered the first love. His eyes reflect this mix of feelings with remarkable skill. With the end of his affair with Hanna, those same eyes are transfigured into dejection.
Time presses, and Michael Hanna and remain separate, but her memory through his thoughts. Adult, Michael is now played by Ralph Fiennes, also in an impeccable construction as an actor. Until one day, they reecontram in an extremely unpleasant situation: the prosecution of war crimes in a court. Hanna is one of the accused of collaborating with the Nazi regime, encouraging the extermination of thousands of Jews in concentration camps. Faced with the attestation of savagery, Michael finds himself confronted by even more with his past Hanna, at the time that he was still a boy in search for any type of discovery. Now he is a lawyer with a reputation, and he knows the secret of Hanna, which may help her get rid of the conviction. She herself prefers to omit the fact, why be ashamed of not knowing how to read. But Michael prefers to remain silent and not act on behalf of women who had once loved.
This is the core of "The Reader". The movie focuses on this moral dilemma in which Michel is, and raises the questin on the part of the responsibility that we have on the fate of others. When we decided to keep the truth for ourselves, we may be making the wrong choice most of our lives. Daldry has become a specialist in portraying people living a life that is not what they want. As the title character of "Billy Elliot" and the women of "The Hours," Michael does not have the life they want, and this implies always carry with them a spark that dissatisfaction and unhappiness. A filmography of the director, made up of three long now, is therefore a treaty of the errors of each of suffocation and that the apparent lack of output generated in those who do not identify themselves more.
Posted on 7/27/10 11:36 AM
A thriller that has come to redefine the genre, with heartfelt scares, and a climão best final of all time.
There are those movies that appear every few years to redefine the genre in which they are contained. The suspense was no longer the same, showing only movies or deaths or else could not create climates strong enough to keep viewers glued to their seats. Then in 1999, M. Night Shyamalan is included in this list of renovations and a crisis of new ideas that Hollywood has been undergoing in recent years, The Sixth Sense exploded.
The film kind of came out of nowhere, with a low budget and not even half the promised his success. With an original script, Shyamalan could have Bruce Willis in the lead role. The director (who makes cameo roles as a doctor at the hospital) did not believe that the superstar would accept the role when he sent the script, but proving to be an intelligent and challenging, he accepted the role. And in my opinion, is his best work ever. The same goes for Shyamalan, who despite having made good movies in recent years (Unbreakable and Signs), neither of them reaches the feet of his great classic.
The performances are perfect, indisputable. But there's one thing to point out: Haley Joel Osment. The couple simply destroyed all that was then, throwing himself to the world as the greatest revelation in terms of actors. Today continues to successfully work in both films (such as Artificial Intelligence and Current Good) as voicing great games (Kingdom Hearts, Sora giving life to the protagonist).
Malcolm Crowe (Willis) is a renowned psychologist who, after a night in an award for its achievements in the profession back home with his wife, both a bit over the top in the drink. In the fourth, a former patient, who failed with Malcolm treatment, not helping, try the law into their own hands, baleando. No, not here Willis grabs a machine gun and a rocket launcher and goes alone against an entire army in search of revenge. It's a movie much more delicate and complex.
Six months later, recovered from the incident, he has a new patient, Cole Sear (Haley Joel Osment), a youth with social problems with all who surround you. He has a gift not too nice, that keeps it to himself, never shared this information with anyone, leaving his mother and Malcolm even more confusing to figure out what's wrong with the boy. He knows that, even telling the truth, nobody will believe him.
With the unfolding of the plot, Malcolm is fully committed (and lost) in the case. Size commitment enables a parallel drama: the risk to the marriage of Malcolm, as the lack of attention to his wife to bother. The scene where Cole tells her gift for Malcolm turned icon suspense today, perhaps one of the most classic scenes in history. It's exciting, poignant and macabre at the same time, this is such a mixture is possible.
Technically it is a perfect movie. The picture is dark and well planned with the camera angles, always with the best shots perfectly lit. The makeup is fantastic phantoms, widening further the involvement and the reality situation in which the ghosts appear. The climate is quite scary, the songs bristle every hair from their bodies and the screams are part of the story of anyone who assists in a very involved. I'm not saying it's the best of the genre, because although well done, not innovated as the films of Alfred Hitchcock's genius.
The Sixth Sense came to redefine the current suspense. It has parallel stories, many scares, a fantastic climate, perfect performances, music, completely engaging and the best end of all time. Of course I still had not commented, the most avoided it because of so fantastic it makes you want to tell, but I would be the spoiling for those who had not yet seen. Porting, watch and immediately know what I'm talking about. Along with Fight Club and American Beauty as my Top 3 of the best films of 1999.
Posted on 7/27/10 11:35 AM
Great direction, performances priceless, clever script and an unforgettable soundtrack. These ingredients are very well harmonized to "Mellhor is Impossible" a touching movie.
We started the movie with the MONSTER (there is no other word that defines best) Jack Nicholson implying with the neighbor's dog. Thereafter, in Melvin's personality is presented masterfully by Nicholson. A person who uses sarcasm to ward off all around him and has a series of compulsive disorders that worsen her interaction with society. In the midst of so many people, only Carol (the waitress - Helen Hunt) can cope with the crank.
A series of events invade the life of Melvin who is forced to change their routine. Something that makes you suffer, because their disorders enslave them into your routine.
We believe that the interpretation of Nicholson will fall and begin to surprise us even more. To whom would this merit? James Brooks, who had directed Nicholson very well in "Terms of Endearment"? The script? Nicholson's talent? What we are witnessing is a perfect fit. Its austerity is beginning to be broken by the coexistence with the neighbor's dog. We see that Melvin starts to deliver, but that attempts to indoctrinate against it. The changes are worse for him, when Carol can not go to work to care for her sick son. He is desperate because he can not have lunch if not anted it. But we have an initial interest in male / female. We have a whim of their disorders that do offer help to the child so she can return to work. Carol initially confuse things, but Melvin logo shows "nicely" that his only concern is that she return to work.
Great interpretation also Greg Kinnear who plays a homosexual without resorting to mannerisms annoying constantly used in these types of interpretations. Besides Cuba Gooding Jr. has an interesting character with a personality important for the development of the film. All characters in the film are justified, and there are not free. The script plays, seems parade. We are lacking in cohesive and interesting itineraries. And this gives us showing that the simplicade and common sense can arise divine works.
Where the interests of Helen Hunt began to appear, I began to disagree with the grandeur of the film. There she begins to present itself as a woman alone and helpless. Seeing that Melvin is wary of his son, begins to feel deep gratitude. I thought that from that moment the film starts to unravel. But this divine script once again gives us a trick. Carol begins to feel concern as a woman. And everything is shown in a gentle way and fun to watch. I confess that until I was in love with Melvin. Never found the beautiful Nicholson (mainly because he has the eternal face of Joker), but it is amazing how when he gets back to the charming restaurant in a suit. Nicholson was really neat. And the following scenes are filled with wonderful dialogue. Always expect big pearls sadism of his mouth. And for me, one of the best scenes takes place at dinnertime. After Melvin finish doing one more rude commentary (this time referring to the way you're dressed like), Carol orders him to give a compliment. Then he starts to run wildly that has psychiatric problems and need to take pills, but hate taking pills and not preventing it gets good. Soon afterwards, says to see Carol started taking pills. At the moment all is quiet and just think: He spoke a dozen zucchini meaningless. And when asked about the loved one that kind of compliment it was, he replied: "You make me want to be a better person." It is beautiful to witness something so beautiful come from someone as hateful. Of course, he soon disrupts again. But the message the movie leaves us is that there is perfection. Even with all the obstacles, the better is impossible.
Melvin makes us laugh. Makes us angry. It makes us cry. Brings out our pity. And above all shows us that love is one of desperate humanity.
Posted on 7/23/10 11:15 AM
Wars tend to serve as a starting point for major stories in cinema. The latest fighting, the Iraqi conflict, has been explored recently, but no work was actually able to make a record and astounding natural on the intricacies of military occupation in a country where the enemy is not an army, but Yes, insurgents prepared to give his life for the sole purpose of killing the occupants, however that not all combatants Americans agree with the reasons for which they are forced to face death every day.
War on Terror is devoted to showing the last days in Iraq of a detachment of elite specialist in disarming bombs and attacks in the investigation of the use of this artifact. Meticulous approach in daily life of these soldiers, the film seems almost a documentary of the astounding daily lives of men who agree with the uncertainty of arriving alive at the end of the work and attending the trivialization davida, not realizing that sometimes that feeling already is rooted in themselves.
In that sense, the character played by Jeremy Renner is the richest and interesting. Escaping the stereotype of the sergeant who despises substitute and mistreats his inferiors in the line of command, the script explores the personality of a man who mixes pleasure with fighting with moments of pure humanity and that, therefore, generate compassion for the viewer understand the love that man for their work. And that is why the end of the War on Terror has become so emblematic.
Jeremy explores the richness of his character and makes it even more interesting through her expressive performance and sober, even bringing to life a complex character and could, depending on the composition, arouse antipathy in the viewer. Its performance is outstanding and contributes to one of the main features of the feature: the unforgettable interpretations. Anthony Mackie, interpreter Sarborn sergeant, already appears as a man wearing that, like the signs of the film, counting the days to leave Iraq. And as the story progresses, the character increases their degradation and Mackie conveys the emotional wear sergeant without saying much. The soldier Eldridge, played by Brian Geraghty, is what transpires over their feelings, their outsourcing partners have reached their limit and condemning all the time, even between the lines, that war he considers absurd.
The wealth in the compositions, and who would qualify the squad for the awards for best collective performance of the year, would probably not be achieved if it were not the work of director Kathryn Bigelow, who dominates the narrative elements with precision. Bigelow explores the features of camera seamlessly, creating an atmosphere of constant tension to the show to the public peace impossible in a war, even in moments of leisure - games that are often associated with violence, such as games where the pleasure greater strike blows against the companions of posting.
Besides a portrait of the conflict, War on Terror is a competent demonstration of man's nature that put in danger and extreme risk, often lose their humanity to act on primal instincts such as aggression - physical or psychological - or be overcome by feelings of hatred. Sometimes leaving aside the humanity, even when such behavior is not a consequence of the pressures of a war, but rather because in a battle to find the ideal space to let emerge the most primitive instincts of man, without it transformed into a feeling of guilt.
Posted on 7/23/10 06:58 AM
The taste of watching a movie well done is one of the most indispensable. With each passing year, with the growing need for renovation and disposability that affect humans, finding a story that captivates and entertains without compromising the intelligence becomes more difficult.
Therefore, "Juno" should be hailed as an exemplar of contemporary films and stylishly directed and with actors at gunpoint to give the viewer the best in terms of memorable scenes and a plot that holds the attention.
The second film from Jason Reitman (of not less intelligent "Thank You for Smoking") captures the daily life of Juno MacGuff (Ellen Page), a smart adolesecente who knows very well what they do not want from life, but whatever ... An afternoon of boredom, decides to have sex with sweetheart occasion, and this reckless act, comes - surprise! - An unwanted pregnancy. Since then, the couple will have to deal with the grim reality for her to carry a child in her belly for the next nine months.
In their impatience with the new situation arises the idea a bit unexpected to end their "problem": to deliver the child who is not even born for adoption. With the help of best friend, decides to take care of his impressive plan. Search in the newspapers a couple interested in adopting a child, and find after a long search for what seems to be the perfect match for it to give the baby. Come into play, to stay with the child, the friendly Vanessa and Mark, quiet two thirtysomethings who do not see the time to be parents of the child that Juno waiting.
However, nothing is as easy as it may seem, and complications are - indispensable ingredients in a movie that I value - that allow the moments of climax of the film. Mark, who at first seems delighted with the idea of being a father, is slowly showing that, perhaps, still not fully ready for the new condition. The impression remains that it is more interesting to continue for a time amid the musical instruments strumming something melancholy songs. His behavior shows little maturity, as the true father of the child, awkward Paulie Bleeker (Michael Cera, a young talent).
Both are poles in the corresponding tortuous path traveled by Juno. The desire to hit at what they do is also a point of intersection between the two characters. That just bothers unpreparedness and near Mark Vanessa Juno, creating a very friendly chemistry between the two, before anything.
It is noteworthy that one of the features that the title character has to offer is his sarcasm, translated into fine shot of humor and witty. Responsibility of Diablo Cody, former stripper who won the Oscar for original screenplay for the film and caused a frenzy about it. Without letting the action slips into sentimentality or the bullshit, she found the perfect balance between a well-constructed narrative and entertainment for young people. Not always this alchemy is obtained, point to Diablo.
The scenes are mostly of a lovely lightness and grace, and the supporting cast also do the trick, as is the case of JK Simmons and Allison Janney, respectively the father and stepmother Juno. Despite the relatively brief appearances on stage, they both like, and by how much enter their valuable different opinions on the unfolding events. The Sting, Reitman, who has already shown that came with a filmography still short, but relevant. Amid the flurry of new directors taking by storm the Hollywood year after year, is not always easy to distinguish who is really worth it for those who only have to present a collection of incipience.
The final scene, the actors playing the guitar, is a remarkable simplicity, and realism also visible. Crowns the efforts and dedication of everyone involved to bring the audience a story which should actually watch, proving that still makes good movies nowadays. It is decreed, therefore, that youth is definitely not rhyme with jerk.
Posted on 7/23/10 06:54 AM
The financial crisis that has befallen the world in 2008 and 2009 led the United States to a real gap, not just financial, but also credibility. After all, the planet's biggest economy showed its weakness by losing themselves in the lack of aggressive speculative capitalism. Like a domino, piece by piece was falling, affecting large banks, medium, small companies to reach the entire population. Thousands lost their jobs. The crisis led to reflect not only economic but also emotional. And this is one of the themes in the great work from director Jason Reitman, Love without scales.
The first ten minutes already rely entirely premise: Using aerial imagery of several American cities, the opening track of runs and shows the opening credits. And it is flying from city to city that lives the protagonist Ryan Bingham (George Clooney), who meets an unpleasant job: he is an employee of a company that lays off people from their jobs when the companies themselves do not have the courage to do it . Ryan lives to and fro, parking a few days of the year in one place. It extretamente methodical (or practical in this case), has gold cards of hotels and desires a personal brand: being a record of frequent flyer miles on American Airlines, who is faithful. These comings and goings, sometimes for Ryan to give lectures on the weight we give to our lives (an interesting analogy with a backpack ...) and also to find a minimal human connection with someone who also lives there and here , the hostess Alex Goran (Vera Farmiga).
This life is nearly perfect for Ryan. But two things will force him to revise his philosophy of life: the wedding of her sister, Julie (Melanie Lynskey) and changes in the company where Ryan works proposed by an employee in its infancy, Natalie (the cute Anna Kendrick). This proposal provides that "demitidores" stay on land and fulfill its function by computer, to wipe travel costs. Ryan does not like the idea and, worse still, the fact of having to serve as a teacher for Natalie, who has yet to learn how to dismiss a person.
Based on the novel by Walter Kirn, Up in the Air, director Jason Reitman shows a maturity invejabilíssima and his third film, reaches a climax that few directors have achieved in so little time. The script is undoubtedly the best year so far, both the perfect tract of the issues as presented by the dialogue and comic situations. The sequence in which Ryan arranges his bag, heads for the airport and boards the plane is something unique, fast-paced shot and choreographed. Other scenes are bright and perfect comic timing by the good conversations that the characters slows, as in Ryan's first trip to the airport and Natalie when Natalie takes off her boyfriend by a torpedo or conversation between Ryan, Natalie and Alex.
But the movie is not just humor. He is fantastic in addressing issues that yield good dramatic scenes. Firstly, we can mention the issue of isolationism, the figure of Ryan, who adopts perfect as his philosophy of life, where he lives in an airplane, has no wife or children (or plan to have) and not fixed abode. Another theme is the human relations, especially between Ryan and Alex, in that both sought in their relationship an outlet in their nomadic lives (and this is even clearer in a surprise revelation about Alex). Finally, we mention the taste that each have accommodation. Ryan demonstrates adherence to routine. Has long worked in the company. And not like anything when a girl begins to start changing things to try to climb the career and so impress the boss.
But the big story of the film is a reflection of the financial crisis. Beginning with the use of testimonials from people who were fired, they appear loose in several sequences. The most interesting is that these people are real, are workers who lost their jobs during the crisis. The company itself Ryan is a curious show of the capitalist system: no matter what happens, someone always wins in this system. So much that celebrates the head, why more and more will be fired from the company will profit. Although there see it in the plot, there is no any kind of proselytism, but a fact, so to speak, the crisis itself.
Reitman does more than genius in Juno. Everything that was perfect in his previous film gets more strength here, from the brilliant performances by the delightful soundtrack. George Clooney continues to mature and always making great performances. It's an amazing sequence of great works, culminating in his third Oscar nomination in five years. Vera Farmiga as a bridge for humanity Ryan shows great competence in that role also earned her an Oscar nomination. But who shines is the cute Anna Kendrick, who played Natalie Keener. After venturing into rotten Twilight, Anna comes so brilliant in this role irresistible.
Love without scales is a great panel on financial crisis, isolationism and on philosophy of life. Well played and beautifully directed, opens to perfection the decade and well balances humor and drama. There is no way not to like from start to finish. It is cinema of truth, as it must be.
Posted on 7/22/10 12:31 PM
Here lie the broken bones of L. B. Jefferies.
Well, but is no longer the master of suspense!
There are no surprises, no disbelief. Rear Window is just one more masterpiece that goes straight to the account of the English film director Alfred Hitchcock proving what everyone already knew: One of the most brilliant directors and complete the film never delivered a work so original and masterly (pardon rhyme) like this.
Is easy to understand how huge, but at the same time simple "Rear Window" can be, even with Sir Alfred behind the camera. It has great scenes of suspense, or a song schematic and far less gruesome murders, espionage and suspicion. No, I did not go mad. I know very well that the film has it all and then some, but not the way it was before, or at least as it became known after the suspense of Hitchcock. 'Rear Window' abuses and uses of exquisite originality of a screenplay by John Michael Hayes, both in character development and in curious situations that show a different and fun people's daily lives, taking the opportunity to present the other characters, though not have an active participation in long, help him to become a much more interesting and excellent.
And to be attractive, Hayes wrote a story, which in my view, is humbly brilliant. And she tells how Jeff (James Stewart), a journalist who begins to suspect that one of his neighbors front is involved in the murder of his wife, an invalid woman. The movie starts impressing. The shutters of the flat, Jeff open up in a perfect analogy to the theaters of that era, whose curtains reveal the big screen from the bottom up. And the camera will show the vision he has of his window. As the title itself, quite leaky, the photographer has a panoramic view of the windows of the neighbors, noting where can their activities. Contrary to what may seem, Jeff is not a tramp character, who spends all day sitting in his chair, eavesdropping on the lives of others. In fact, he is a character worthy of pity, for it was the victim of a workplace accident in which she broke her leg, and is strictly prohibited and even unable to move. To make matters worse his situation, his broken leg itches, he has to resort to the help of a wooden spoon, always ready at his side. And as if that were not enough, is simply an infernal heat, and the poor guy with his leg in plaster for three weeks while the neighbors sleep in underwear, open windows or, on the balcony of their apartments. Jeff is visited constantly by Stella, the always magnificent, coincidentally, in roles of maid Thelma Ritter, who with his upright and sincere dialogue, the actress knows how to make one, ensures the laughter of the spectators. Besides the leaky also employed, the journalist has a relationship with the beautiful Lisa Carol Freemont, played by future princess of Monaco, Grace Kelly. She, who want to take a step beyond the broken leg of Jefferies in dating, is thoughtful, hardworking and well dressed. And it is more of a day that goes by without Jeff do anything because of his leg, and since the heat is once again unbearable, he sees no other way to entertain other than watch their neighbors in order to have a little fun. And of those glances out the window, he sees a woman from downstairs, alone, dressed elegantly to have someone who she pretends to be there. One dancer, who is visited by several men, and is rehearsing their steps of lingerie, a newly married couple, a neighbor pianist who always makes holiday, another couple who has a dog, and a peddler, who is married with a sick woman. In one of the hottest nights he can not sleep, he realizes that his wife was gone, out of nowhere, while the man made several trips out of the apartment overnight. Brooding with whatever has happened, Jeff begins to suspect that this mysterious man has murdered his wife, and cut it into pieces, dissolving it slowly.
After dwell much telling the synopsis of the film, and praising me almost to the point of telling details rather than very important, I will analyze the work of Hitchcock's genius. The British director has a performance just perfect and daring. Abusing the originality, he commands the scenes and all are masterfully, and fun, with a mixture of generalized tense in the air. Throughout the film, the camera simply does not come from inside the apartment of Jefferies. And rightfully so, Hitchcock allowed a smart move with photography, with music and with the assembly, allowing for unusual situations. A night light that enters through the windows of the apartment of the protagonist is as intense as the light of day, and play with shadows and penumbra of a feeling of warmth even for those who are watching.
The action of the film itself takes to arrive, but when it finally comes, is like an incantation. The roads conducted by the script until the moment of climax is brilliant and consistent, leaving the viewer as never stuck to his chair. And as already mentioned, during this scene so eagerly awaited by the public, photography is once again impeccable, barely revealing the face of one of those present, while the other is completely enveloped by moonlight, (in) tense.
Now the movie is almost all of the performances. James Stewart is once again bright, charismatic and perfect. One of the most sublime actors in film history is simply priceless, with ways of speaking and expressing s report all their suffering and unable to walk, he also gives a concert as a friend and intelligent man, and that has nothing fool. One interpretation humble but extraordinary. Who follows the same line is the beauty Grace Kelly, besides being one of the most beautiful faces of the film (you can see that the film collects icons of the cinema), she is charming, quiet, gentle, passionate and charismatic, which actually seems to be the dominant feature of the characters in "Rear Window." Besides the couple, Thelma Ritter have again very good and Wendell Corey as the detective's friend Jeff, who is also great.
Rear Window is a unique masterpiece of Hitchcock, a thriller of the highest quality that deserves to be seen, reviewed ongoing times. The sensation of seeing a film like this: tense, funny, interesting and original, is inexplicable.
Posted on 7/22/10 09:31 AM
"You must remember this ..."
It's amazing the fact Casablanca already have more than 60 years and still thrilling. That's because the standards of romantic movies have changed somewhat, but both with the passage of time it is hard to really understand why this movie is still so wonderful. Curious that, like all great production, this long experienced numerous problems before it is finalized. It was a different script that arrived every day at the hands of the team, players rushed to finish their shares for, well, go shoot other long (this movie was considered a secondary), and so on, in an almost endless list of complications.
Rick (Humphrey Bogart) owns a popular bar located in Casablanca, Morocco, escape route for those wishing to escape the war and then to Europe. He takes his business with skill, no problems with the guards and taking the necessary security to their customers, all packed with the most beautiful songs played by Sam (Dooley Wilson), his faithful - and perhaps only - friend. Just love it when a lot of unresolved past (Ilsa, played by Ingrid Bergman) arrives at his bar, he must decide whether or not to help her escape along with her husband important.
He is Victor Laszlo, played by star Paul Henreid. Famous actor at the time, only accepted this role 'secondary' in exchange for their name appear at the top of the poster. However, despite being a role considered 'secondary' (after all, the main story is the same between Rick and Ilsa), its importance within the frame is huge. He is the mill that makes the waters of history go. Because of the main story happens, it is because of the characters' lives is changed, it is because of the film is the conclusion he has.
Funny that the pages of the script came at the hands of players every day, and look we're not talking about George Lucas! Jokes aside, this was because the writers worked tirelessly on the script, every day, and had no end to history until shortly before the sequence to be filmed. This came to irritate Ingrid Bergman, who always asked the writers: "For whom should I show more love?" And heard a "Interpret ambiguously. When we have an end, you'll be the first to know" in return.
And is not that worked out? The result is a romantic at first, a woman arrested in the past but can not stop looking to the future. One of the most remarkable performances in movie history, even Ingrid treat this as just a movie - part ironies, the one that people remember most today. Whenever was a pause during the shooting, ran to the phone to see how the negotiations were in their participation in For Whom the Bell Tolls, "which today is much less known than Casablanca.
Obvious that Humphrey Bogart is no leading man, but next to Ingrid Bergman, who is not more charming? The man with wounds of the past, which must decide by a great love or a greater cause for all is undoubtedly his best performance on screen. Just compare his interpretation with the numerous remakes and adaptations to the TV - no other actor could smell the dust from Bogart. What was left Rick immortalized his acid humor and way of dealing scoundrel everyone and everything, but without ever seeming overbearing or obnoxious. It is the most perfect school of anti-heroes in Hollywood.
Another interesting character and has great presence in the film is Captain Renault. His scenes are funny, outrageous, and show how it all worked well in Casablanca. Conrad Veidt (the bacaninha The Man Who Laughs) makes a cameo as Major Strasser, and Sydney Greenstreet as Signor Ferrari appears. Names that have strengthened the work, even if she did not need any of that to be great.
Even with so much change and uncertainty in the script, is an impressive number of extremely intelligent dialogues at the right time of the film. Who ever heard of "I have my eye on you, girl" and numerous other passages of the film? It's a delicious mash of action, police drama and, most striking of all characteristics, the novel. An 'I love you' does not sound corny here. You love the old-fashioned, packed and digested the best way possible, even after so long. A film that could be dated, after all, is set during World War II. But instead of focusing on time, only the characters live, then its timelessness is in stock, not the environment.
As it was a smaller movie studio, Casablanca experienced major problems, mainly in the budget. All taken from letter by Michael Curtiz, who was never so well with actors, but as a coach, there was no other director like. Impressive camera movements, coupled with a beautiful photograph that increases quite expressive contrast between black and white, makes it even more unforgettable. What about the final sequence, an airplane made of wood and dwarves, to scale the scene, never reflected in the public eye? He really was a genius, and how to solve problems along the production is an example to the present day.
As I said, it is difficult to understand why Casablanca is as good, even over many years. Maybe by remarkable characters, dialogues, unforgettable, the romanticism constant for the technical unparalleled ... The range of options are open, it is only you to decide which option seems most appropriate. Honestly? The decision will matter little, after all, Casablanca is eternally fascinating as a whole.
Posted on 7/19/10 06:48 AM
An amazing movie, amazing, stunning and innovative from the standpoint of most effective tool and at the same time frightful: marketing.
Few days of launch, we are all hoping to see a movie spectacular, revolutionary, because that was what we saw in all the newspapers, magazines and articles about cinema. But while sitting in front of the big screen and start watching Avatar, I suffered a great disappointment, watching a movie so hyped for so little. Yes, it's a movie with great special effects and stunning, but there is nothing Briganti. For those who've watched other movies in 3D, you know that Avatar is not going well beyond them.
Not going into details of the plot, since most people have seen the film, however I will mention important points: the performances of actors in the work do not outweigh any other blockbuster, the plot is excellent and much less novelty, and the script is median, and nuisances with cliches contained in a Twilight, for example.
But woe unto you ask me, and because they made such a fuss over this movie? The answer is simple, Marketing. A film with a budget of half a billion U.S. dollars could not let this injury, so we have a tool so effective advertising. How many times you did not buy a product that is needed? How many times have switched an appliance, in perfect condition, with one featuring a new function (detail you never used it)?
With all this emphasis on the media the film achieved its goal, beat box office records (in my view, questionable. At the time of Titanic, the half-price at the movies cost $ 2.50 and now costs $ 9.50. Anyone with a basic knowledge of finance and economics knows that if adjusted for inflation in the sector during Titanic would be well ahead of Avatar). But consider the movie as good enough to win best picture Oscar is too much, even though he did not. You have to see because the visual is spetacular, but it´s only this.
With much less than that amount of money you can make a beautiful film, addictive, amazing special effects or better than Avatar. I think a crime today (with such misery, diversity of ills and environmental degradation at alarming levels) spend so much money on an empty movie.
Posted on 7/19/10 05:01 AM
Chance is more common than we think, or it may serve to show interveção something divine? Roughly speaking, Magnolia seems to play with the two possibilities. Only a director with immense ability, as is P. T. Anderson to soar so high these "dilemmas" in the everyday conflicts of modern society (or postmodern, for those who prefer). Magnolia reaffirms what is already practice: The turn of the century. XXI was the most fruitful period in good movies in Hollywood history.
Beginning in the prologue, which serves more as an example of the narrator to come, three stories of deaths involving bizarre coincidence, for there the tragi-comic and they are a kind of urban legends, seem to point to a sense that the chances in the movie seems to prove a paradox: the coincidences point to a kind of predestination. Suggesting that behind these coincidences there was a "force majeure", a regulatory order.
Then we are taken through several stories where situations of his characters are always crossing. Frank T. J. Mackey (Tom Cruise) is a kind of presenter sexual orientation program for men in search of a field on the chicks. Frank is the son of Earl Partridge (Jason Robards), an old producer of TV programs, with cancer and dying, care for his nurse Phil Parma (Philip Seymour Hoffman). Linda Partridge (Julianne Morris) is the wife of Earl, she married the crown of this for the money, but to see him on his deathbed regrets what he did, filling of guilt for having betrayed several times the producer with other men, she gets to propose to the lawyer who somehow cancel its share of the inheritance. Jimmy Gator (Philip Baker Hall) is an old host of "What do kids know" where adualtos compete against children. Stanley Spector (Jeremy Blackman) is the boy genius who is the program for weeks, without missing one and two weeks to beat the record set by Donnie Smith (William H. Macy), who became a frustrated to grow. There is still also the figure of curring cop Jim (John C. Reilly) that doing a survey at the behest of neighbors at the home of Claudia Melora Walters), daughter of Jimmy Gator. This, Anderson's script will work with each personality extreme insight through most daring features of Montage, Film, incluondo always in the process the fantastic soundtrack, which is placed at the same time as the characters converse, note that leave the more than three hours of film tiresome, resources that come into play when needed. They say to write the Roadmap Magnolia Anderson was inspired by the music of Aimee Mann, a singer friend of his, to tell this exciting day of nine people from Los Angeles.
A movie full of plots and characters so complex would require much of Directors, Anderson knew something that dominate masterfully, without disappointing to all fans of director who had already demonstrated their differential in 1997 with Boogie Nights - Pleasure Unlimited. Anderson beyond beautiful camera movements and the lavish closeups, uses much of the long and complex taken. Stand out like the uam of Pulp Fiction, where he keeps his camera fixed inside the kitchen of Claudia as this conversation with the officer Jim in the room, or at the time the director follows several characters as they walk the corridors of the station television - a brilliant use of steadycam.
That said, another issue that raises the strength of Magnolia are the interpretations. All are impeccable, which proves that Anderson was able to exploit the maximum ability of its actors. Given such good performances, the highlight is just because of Tom Cruise, who reaffirmed his talent as an actor, both in the situation where it appears as a presenter arrogant sexist, or when we see how the son she thought hated her father. Hoffman makes a shallow role, but it is safe, Julianne Moore, is also good, showing all the desperation that was going through your character (there were even some who said she is crying too), meet the other actors as I said, with security their roles.
Technically the whole style and daring, so that this style of editing scenes comes to winning the sympathies of some recent productions, as evidenced by the oscarizável Crash - No Limit and Babel.
Accordingly, the soundtrack is beautiful, the song "Save Me" Written and Performed by Aimee Mann, a friend mentioned to Anderson, the Academy Award for Best Original Song.
All these elements are already components of a good movie, however, which raises the level of Magnolia masterpiece is the poetic gift in the last 30 minutes, I refrain from entering into details, but it is implied in the forward that movie Anderson , the director shows how genius is a scene of frogs makes a parallel with Old Testament passages, such passages, which help to explain too much of the anguish of the characters is a kind of ritual, where the author suggests, who leads watch and even more, Magnolia is one of those movies that we watch more than once to understand or reinforce their meanings, we find that the Director was leaving clues that contain a whole relationship with the final scene. Something amazing, a thing of genius.