Martin and Hazel Quarrier are small-town fundamentalist missionaries sent to the jungles of South America to convert the Indians. Their remote mission was previously run by the Catholics, ...
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Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Brazilian baroque. The young son that ran from his dominant family, descends into decadence and then returns to the nest. With melodramatic themes of tyrannical fathers, incest, fierce ... See full summary »
Luiz Fernando Carvalho
Juliana Carneiro da Cunha
Following a newspaper ad, ordinary women tell part of their life stories to director Eduardo Coutinho, which are then re-enacted by actresses, blurring the barriers between truth, fiction and interpretation.
Martin and Hazel Quarrier are small-town fundamentalist missionaries sent to the jungles of South America to convert the Indians. Their remote mission was previously run by the Catholics, before the natives murdered them all. They are sent by the pompous Leslie Huben, who runs the missionary effort in the area but who seems more concerned about competing with his Catholic 'rivals' than in the Indians themselves. Hazel is terrified of the Indians while Martin is fascinated. Soon American pilot Lewis Moon joins the Indian tribe but is attracted by Leslie's young wife, Andy. Can the interaction of these characters and cultures, and the advancing bulldozers of civilization, avoid disaster? Written by
Producer Saul Zaentz first tried to make this film in 1965, only to find that MGM owned the rights. He kept trying to buy them every time there was an administrative change at MGM up until 1989 when new studio heads Jay Kanter and Alan Ladd Jr decided that MGM would not be making the film. Zaentz still had to pay $1.4 million for the rights. See more »
In "At Play in the Fields of the Lord", the remarkable Hector Babenco (Pixote, Kiss of the Spider Woman) paints a portrait of disillusion and despair on a canvas of sun-dappled green.
This is no mere tract on the consequences of cultural imperialism, but an examination of the myriad ways in which human folly, ignorance and arrogance (with an assist from the heedless juggernaut of Nature) conspire to overcome idealism, innocence, and the fragile constructs of civilization. This is not a "feel-good" flick, but it is a powerful and affecting one.
The actors involved--including Tom Berenger, Aidann Quinn, John Lithgow and Daryl Hannah (!)--all give intelligent and well-modulated performances. And, once again, the astonishing Kathy Bates blows everyone else away with her wrenching turn as Quinn's reluctant (and ultimately devastated) wife.
The film is long, dark and stubbornly pessimistic-- but also visually lush and emotionally cathartic; ultimately, the viewer will find it unforgettable.
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