Reviews written by registered user
|6 reviews in total|
It takes special skills for this enterprise: telling a fairy tale in
Matrix times, with no famous actors involved and with a low budget
available. There are moments in this movie when you think that it will
fall definitely into ridicule. But it never does, thanks to the huge
care of the director. Some action scenes are really innovative and the
script is very well written.
And now the best: if you decide to keep on watching it after the first 20 minutes (if you don't particularly like fairy tale stories you'll be tempted to quit), you will be rewarded with a different, fresh, tender and dynamic approach into telling grown-ups a moving tale of their childhood. Worth seeing it, no doubt.
In the center of the plot there's a girl who can use magic realism to
transform her life and the life of people living around her. But this
is just as far as I can get with the comparison to The Fabulous World
of Amélie Poulain. Because then comes the best.
In this movie you will face not only the benefits of this power but above all the desperation in it. The alienation in it. And the violence in it.
Turns out to be something much closer to real life, and real dreams and frustrations. It's not sweet, it's just big. Deserves to be watched for sure.
Back to the beginning of the 20th century, the countryside of the
Iberian peninsula was controlled by land tenants who enjoyed a set of
privileges that would be considered more typical of the middle ages
than of modern times. As for example, having enslaved families working
on their farms.
Now this is obviously an issue that 2 actual European Union countries like Spain and Portugal don't like to be reminded of. Nobody likes to remember that less than 50 years ago this was still a reality. So with time it became a non-issue, an unsponsored reality.
What Camus does with this movie is remarkable. Not only by his technique and the end result of this film, but mainly because it gives voice - and more importantly, it gives images - to this hundred of anonymous stories that were never portrayed before with such care.
A must see.
The story about Fátima and what ever happened those days in Cova da
Iria are one of the most fascinating stories of the 20th century.
However for some strange reason it was not able to move good directors
and production teams to build a project around it. It sure deserves it.
As for this movie, there isn't much to tell. It takes the traditional story that has been told countless times since 1920's, with no particular insight at all. The photography is horrible and it comes to being surreal at some points. It takes the same narrative path that many others productions took. But what is really annoying about this movie is that in 1997 you do have the capacity to build a perspective about it. Well this one hasn't. Better, it does: the Disney - fairy- tale perspective that for sure will not dignify the potential of this fascinating story.
*** This review may contain spoilers ***
I don't particularly like Isabel Coixet's movies, but I can accept that
her pulse fits well when screen playing dramatic, intimate novels.
However, if you let her free to compose her own script, it's a
disaster. This movie is a disaster. It takes borrowed scenes from Wim
Wenders, Taylor Hackford (only An Officer and a Gentleman's final scene
can compete with this movie's final scene) and Sofia Coppola (Lost in
Translation is haunting this movie every second). The dialogs make no
sense, the characters make no sense and what's even worse - her
apparent goal of paying an homage to Tokyo is completely frustrated:
this movie could be set in any other city, you don't even notice the
influence of Tokyo.
Don't waste your time, as I wasted mine.
A friend convinced me to watch this movie and it quickly became clear
that I was witnessing one of those moments cinema was created for:
meaningful dialogs, unforgettable characters, luxurious photography,
British stage acting tradition, but above all, a great plot. Living
exuberantly committed to his life, V brilliantly reminds us the
pleasure and strength of knowing the part we wish to play in the big
movie - and his rhetoric is absolutely focused on our time.
Maybe its just an update of an endless struggle that the movie industry has captured more than once in different generations. Still, with so many things diverting our attention it is refreshing to be surprised by a tradition of though that sometimes seems to no longer exist.