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|53 reviews in total|
The humble people of the countryside, mostly, not want anything to live
at peace with his family and neighbors. Caring for chickens, planting
your garden and extract the milk of the cow daily what help them raise
their children, are your greatest aspirations. They send their children
to school only because they understand that being illiterate involves
some limitations, but most are content to learn the skills that help
them survive in communion with the earth, plants and animals.
The farmer did not understand much -or want to know- about politics, armed groups, no war, let alone understand the worries of power, expropriation and exile that encourage so many men who seem to have been dead soul. But, one day, the sun illuminating the land is colored gray, the rivers and crystal clear water not only flows but, every now and then, drag the dead body of someone who sided or simply refused to stand with one, and in the mountains, the wind does not blow with his characteristic freshness but ill-fated day brings news full of despair.
But in the midst of so much pain and distress, children are happy knowing that not everything is perfect. Encouraged the game, the color of the valleys and mountains, the proximity of their pets, the affection of his parents ... and above all, friendship.
It is in this environment, where the life of Manuel, the son of Ernesto and Miriam, for whom football has a great meaning, and whose father feels that "the community has nothing to do with the thing they (guerrillas and paramilitaries )". Julián is the big boy friend who collects different types of bullets that have cracked their land. And Genaro, whom they call "Little Light" is the albino child who trying to convince someone - without reason- that for this feature, your life expectancy will be short.
Results of a long wait and a few frustrations, "COLORS OF THE MOUNTAIN" It was like those who spend bamboo growing roots long, drawing directions, and calculating the size of the sky, and then emerge with impetus and glory. And then, reaffirms that the great and worthy is almost always the result of an big effort.
Emotional and convincing interpretations of those small, without any acting experience, won a huge natural. Well, once more, Hernán Méndez (recycleman memorable in "La primera noche"), as the loving father of small Manuel. And good for Natalia Cuellar, the beautiful teacher who seeks to restore hope of peace to children.
This is one of the best, poignant and true stories are told in Colombian cinema. Any recognition that can be made will be well deserved.
Trabucco is an assassin on salary who, with the hope to retire to an
island, is doing his now more difficult work: it must eliminate three
witnesses of the Mafia in a sounded case that is now in the courts.
Both first they are resolute with a pair of small gifts, but the third
party is being so well protected that their heads until increase the
supply to him so that follows ahead. For Trabucco everything is to
but, to the Ramona Hotel where it finishes settling, and almost
following the steps to him, Victor Clooney arrives, a desperate man
because he left to his family woman on the other, and now this one
feels attracted by the director of an eccentric sexology's clinic where
in addition it works. Clooney -located in the room of alongside- plans
its suicide thus and, the plans of both intersect by an unusual
destiny, which ends up developing a "miraculous profligate" and
friendship as it is seen in the future.
Taking as departure point a theater work of the writer and director Francis Veber, Billy Wilder secures a satisfactory goodbye with a framework of black comedy that shines of grace and enchantment by different flanks. First, the personages are very well clarified with those crossings of brings back to consciousness where the destructive thing is surprised the constructive thing, and solidarity brings hope when the hopelessness arises.
Like in the other films that the pair did with Wilder, Walter Matthau is without scruples of unsuspected softness and of a magical luck against its bad intentions, mainly if he is understood that not to prevail in the evil which you wish to commit it is always a great gift of the good fortune. And Lemmon Jack is the good-natured plenty of illusions, whose hopes shine falls to the floor while it strives to recover them. Both shine precise, contained in his and with that immense histrionics that is so little in the cinema.
Secondly, history conjugates with wisdom that game of the destiny that sometimes interferes of way surprising - although misunderstood and attributed to the chance, to throw one to us one little hand before our foolish decisions. The dialogs around the Wilder and the Diamond of always, and the austere environment adjustment, thought to only give the indispensable thing, that to the aim and end, of the ostentation in a film, never will emanate what it does not own the argument and but they ask to him Emmerich.
Billy Wilder, Jack Lemmon and Walter Matthau, already fulfilled his and are in our heart as beings very appreciated by their wonderful genius and the many pleasing moments whereupon cheered our life. And they also are in the history of the cinematographic art, making Gallic of his immense talent and its dignity to all test.
To live a beautiful love story need not ostentatious, or clipping or
anything that exceeds what is innate in man... The only thing needed is
given unconditionally from within, from the sincerity, respect,
kindness is to be... prodigal in clean words, in looks transparent and
edifying proposals. To live an unforgettable love story, you must not
look for it, and only you feel that you are willing (to) give you when
you feel entirely, before you, is crossed that being that, like a
stroke of fate, feel he's the one.
With a perfect match, the wonderful Judy Garland and Robert Walker efficient, both small in stature but big in heart, an original story of marriage Paul and Pauline Gallico, as simple as dry leaves that sit around a tree, but as great as your ability to see the human potential and the infinite love that two people can translucid simple and common. In times of war, Grand Central Station New York, is a soldier named Joe Allen, who has two days off before traveling to Europe to be part of the war there. Oblivious to the city, Joe feels adrift... until a small incident, puts it in the presence of a young office worker named Alice Mayberry. Alice and Joe. Joe and Alice. Two names that abound in the streets and seem lost in the crowds.
But these two things modest, will take us down a path where we can see no pink roses, a black and white world that looks full of color sensitivity and tenderness. And with them, other unique and lovely human beings we will realize the warmth, generosity and simple greatness that abounds on every street.
Vincente Minnelli is beyond the scope colorful, almost ostentatious, that characterized many of his films (especially musicals) to enter, with deliberate modesty, in a deep and meaningful story that many of those of high complex budget and paraphernalia, which financed the MGM. And hence arise after the marriage Minnelli-Garland, soon to spawn at that phenomenal voice of the great Liza Minnelli.
If you are of those who get to see beauty in the strong wall of an old adobe house, a bent branch tree about to fall or a drop falling intermittently rippling in a small pond, "CLOCK" will come to you soul.
Maxim Gorky was right when he wrote: "All that is truly wise is simple and clear."
Film within film. A success story written by a man who was orphaned as
a child, spent a long time between streets and orphanages... until he
became a millionaire selling sugar. After losing his fortune, he went
to Hollywood where, challenging a director of Universal, decided to
write a novel: "Not as a Stranger", which describes her experiences in
the orphanage, and soon became a hit record sales. In this follow two
dozen works, most successful and made into films, excelling "The
Carpetbaggers" by his strong narrative and the construction of
characters that give a precise account of this strange, fascinating,
complex and yet deplorable world power. Harold Robbins is his name.
In this glittering film version, made by Edward Dmytryk with all the required solvency a project of this type: Luxury rooms, precise alignment of 30' years, splendid music, full color photography and a cast of renowned, the race to the dazzling economic power of a man who reminds us, inaccurate but intentionally, extremely well-known Howard Hughes, is captured with a vigor is maintained from beginning to end, and a handful of characters that imposes an effective framework for a class marked by careerism, opportunism, the compulsive desire for money and their ability to trample on anyone to get away with such with it.
The most significant in this environment is that Dmytryk, insurance and Robbins, reveal a fair appreciation of their characters and give them the best arguments to explain their actions, to understand their false starts and we get to see them as what they really are: extremely fragile beings, working to do and get hurt, and capable of doing everything, absolutely everything... except happiness.
George Peppard, recreates with great destination for a man with a personality, in principle, enviable: defined, direct, with clear objectives, always ready to take the reins firmly and take the consequences of their actions. But that also bears its inevitable and heavy shadow: passes over anyone, without ambassy gets rid of one who serves or fails to serve, is male chauvinist and promiscuous, and has a lust for power that knows no bounds: "get master of the world "should be among its purposes. And it endorses the deal: Baker, Ladd, Ashley, Cummings.. unobjectionable.
This is a brilliant film that overwhelms us and impacts.
There can be nothing other than the law of causality, in just two days,
I get access to two concatenated curiously films: "The Clock" and "ONE
WONDERFUL Sunday". Both titles have a literal translation as "the
clock" seems refer to the happiness that is sometimes seen against
time, speaking of "one wonderful Sunday", in relation to history tells
us Kurosawa, it's almost an irony. Minnelli's film is optimistic,
hopeful, capable of viewing the lovely existence. The work of Japanese
-evident replica of one that was made two years earlier, and which has
several related elements: two common people, first meeting in a public
place, linear adventure during the day, meeting with others with whom
shared different experiences, simple narrative... - is pessimistic,
sees the world with grief and a sense of injustice permeates
everywhere. So Kurosawa thought then: "The world is a great battlefield
- he said-. The bad living constantly at war, while the good room for
live or work". If we are to believe the Japanese master -and this is
what I think-, the film is an autobiography in code. And proof is
always speaking in his scripts, participated in the assembly and
carefully chose his protagonists. The rest was his world view... and
pessimism was disturbed for a long time.
The language used by Yuzo and Mazako, the young couple who dreams of making a house, having a home and start a small business, realizes his feelings and explicit and hopeless message that we want to leave the director: "All I know is torment", "I'm a wild dog", "All right now live badly", "Do not be optimistic when you look to the future"...
And here is when produces a latent content maybe not perceived by Kurosawa and safe invisible for the common viewer- what allow to validate this dark film as suitable only for a psychoanalytic or spiritual session: Are your thoughts that determine your reality. Joe and Alice, Minnelli's characters, to emerge in light of their hearts, love and solidarity, gave way to the goodness of the world and reality relocate to teach all the good that surrounds us when we live with love. But Yuzo and Mazako, covered with skepticism and failure, of helplessness and ill advised to your fellow, saw the world who wanted to see. In this life is relentless and, of course, fair.
Only when you change your way of thinking, saying and doing, will change all that you get from life. Because reality is constructed at every moment and always seems how you the conceive.
From this point of view, this film is only useful for adult minds.
Imagine that, a beautiful afternoon, you're on a lonely road, and
suddenly, to the contrary, come see a girl (or boy, as your sexual
attraction) which draws you deeply respect: She has very bright eyes,
precious ears, hair beautifully adorning his head, a... that is, the
rest of his body will be seen well worth it. But once you start to
listen, and just an hour ago, you start to realize that she's
frivolous, cranky, repetitive, dull... and two hours later, when she
decides to terminate the meeting that took you, you'll disappointed
because this beauty will fatuous was insignificant.
The same example can have it with you thought buying a house or a car that will dazzle. There are things that have a great looking, but they are hollow or frustrating when it gets into the enclosure. And then completely disappointing and meaningless.
So is this movie of our beloved John Ford. It all starts with desire: beautiful scenery, a sparkling picture, famous actors... but then, after giving the mission to the shift command, we began to witness a long march in which the only thing interesting is a Southern girl with the air of a traitor (and a "little thigh" certainly better than wing) that crosses their path. The rest is to see the larger-surgeon Kendall (a bland William Holden) to attend one, two, three, four... to fiiiiiiive patients. And see Colonel Marlowe (an indigestible John Wayne) show rough with everyone who crosses his path.
Has spent one and half hour movie... and the enemy remains a ghost. Never we see, the conflict is against the wind, and the has Marlowe himself (although it seems to be against Kendall) because him never forgive what some doctors did to his wife. And I must not talk about what goes on, but could not be more inane.
And to top it all, from time to time, and with subtlety, release the reactionaries that leaves a bad smell standing at the anti-slavery, when we see that the single slave in the film, lives happily so, and until her has condemned the Union soldiers. And the smell escapes anti-Indian when I see that Kendall reluctantly applied a poultice in a patient, Marlowe said contemptuously: "¡Method of Cheyenne!, ¡Green mold!, Green bullshit!".
"THE HORSE SOLDIERS"... ¡Pure foolishness!
A man of integrity, principled, and always inclined to the pursuit of
existential awareness, owes allegiance only to God, love and truth. But
a king, clung to the privileges of power and allegiance, he should just
maintain her loyalty to the throne by any means, because when you fall
into the trap of the "superiority" betray everything is easier to give
Strangely, while admirable, in this wonderful film directed by Peter Glenville, is that we see the king, Henry II, as a man who recognizes the friendship where it is given and the value almost to the limit their own interests.
The relationship that exists between him and his friend Chancellor, then the archbishop of Canterbury, Thomas Becket, contains the most remarkable, moving and mixed emotions conflict we've seen for a long time in a cinematographic work. Dialogues sharp, deep, capable of removing the duality in man shaken containing its grandeur and fragility. A vivid performances until they touch the depths of its characters (Magnificent Peter O'Toole and Richard Burton), a historical recreation of great rigor, and the most perfect photographic record by Geoffrey Unsworth.
What shines in the film are two human beings with all its contradictions, its nuances and its capacity to face the world to defend a friendship that, in the exercise of what is right, you may find your own limits. The work brings to transcend the epidermis of their glorious characters, and permeates the soul, senses the heart and weaves a "historical" event that deserves to be remembered forever.
We are in the eleventh century. We live an era of confrontation between the Normans in power a regime of oppression fed exclusive, and the Saxons (Germanic people who settled in England since the V century), which repel, without more resources, a king is "an eternal teenager intent only to their pleasures." But when the power wants to play with the will of human beings come when unfailing, which shall be the strangest and unexpected surprises.
"Becket" is gorgeous film that renews the stamp of permanence to film art.
For the benefit of man and of all mankind, evolution is a constant in
our existential process. And in the same way that our cells are
constantly renewed, so do our thoughts and ideas about life are
transformed or changed substantially, as new experiences, other
feelings, and greater and clearer knowledge, are shaping our baggage.
Also to me, in adolescence, I liked "DJANGO". This presence of strong loner willing to face them all, and these almost Gothic images, the coffin that slides along the muddy streets, I found it shocking and, incidentally, quite commendable. For years, I remembered as one of the best spaghetti-western, among the many he had seen in my younger years.
Now, several decades later, video falls into my hands... and, almost as an experiment, I have been encouraged to see again. And damn that made sense! Because I've proved, once again, what little remains of that boy in my teens. And I'm glad to be seeing life differently, and that excited me no vengeance, no supermales move me or surprise me with unbelievable situations. I love it that Django is a wicked and ruthless as the bad guys, and that the only thing that differentiates the largest Jackson, is that him is northern and this is southern.
Now I realize what it is tiring and routine that plagued camera zooms and close ups, and also came to the conclusion that if someone wants to find out which is the western Europe where there are more dead, "DJANGO" could be one of the options. It is so harmful to young people lacking in affection and values, because it assumes the killing as a pleasant game. Something like Max Payne 60. No wonder the coffin to Nosferatu, and the Ku Klux Klan red, and the crosses on the graves.
¿What about the female role? Reduced to monosyllables and with a deadpan that crushes. To Mrs. Nusciak his dialogues were served in a telegram.
I'm sorry, my friend Franco Nero, but your most celebrated film is already part of ideological backwardness. And now I plead for the forgetting shelter.
Do not know about you but as far as I am concerned, since a child I
loved that movie heroes were marginal and risky to steal from the rich
and give to the poor. The bank robbers, who without firing a shot-safes
to leave the applause encouraged me, and anyone who exposed their lives
to bring dignity to the people, deserved a good place on the corner of
my heart grateful. Robin Hood was the prototype, and then met the
Crimson Pirate the Captain Blood... up to this trendy Raffles who,
besides being a famous cricketer, occasionally steals in an art
gallery, in an ostentatious jewelry or steals any aristocratic lady a
necklace, then, does one need to return, so, so, it will pay the
reward. That is, a thief returner. Steal with elegance, but pretend.
And what we love about Raffles is that it is a handsome, elegant, well spoken, courteous and able to get along great even with the hound that pursues him ready to catch it as a good salmon. Meanwhile, love and ends up making her an accomplice to the same woman who, one day, also get into the heart of Hood and even the same Blood ¿Do you can believe it? Well, I'll explain in case anyone is not up to date: David Niven ago Raffles "The thief cracksman" as he signs his messages of farewell. And Olivia de Havilland, the love with Erroll Flynn in "The Adventures of Robin Hood" and "Captain Blood", is now Gwen, the girl who wins back the heart of the hero of the day. And that is how: beauty, sweetness, consistency and accessibility. A donut with whipped cream.
The film is charming, curious tricks, sharpness of wit and some other really funny situation. The story catches without difficulty and you feel quite at ease with a handful of delightful characters. Believe me, is a detective film... and there's no bad, almost everyone is honest. No for nothing, the same story was made into a movie-in just 23 years-in four successful cases.
On August 9, 1945, six years into the bloodiest war concocted by
governments of major powers, the humble Japanese people -that had
nothing to do with the decisions of their barbarous rulers- he got up
after another night marked by anxiety and terror. For the past six
months, dozens of cities were being bombed by allied forces prepared to
uproot every trace of fascism. And just three days before the most
terrible bomb that has come to know humanity, had been released by the
U.S. against the people of Hiroshima, killing 180,000 people with it,
most of them, innocent civilians.
Around noon, a beautiful and loving lady, look forward to her husband who, at that time, was in the city of Nagasaki. When the clock struck at the stroke of 11:00 am, she was out of the house looking at the mountains that separated the place where he was the father of her children. Two seconds later, heard, this time very close, another terrifying explosion as three days before, he did believe that had opened wide the gates of hell. A huge mushroom of fire and smoke curled over the mountains in the center of Nagasaki and an satanic eye kept on your retina the image of all those around him. About 80 thousand civilians, without any role in the conflict, were killed instantly and in the course of the year. It was Harry S. Truman' gift, to account for the "power" of the American nation.
46 years after of this insucess, the director Akira Kurosawa tried to do an act of reflection, forgiveness and reconciliation, hatred against any lag still persists in the minds of people. And a grandmother, the woman who was waiting for the husband who never returned and never was able to identify among charred corpses, feels that he has erased any resentment in his heart, but still thinks with pain in man she loved. Four grandchildren accompany now and the memories will come to your mind as a choice between a trip to Hawaii is put on the table.
For unlucky, this is a timid film of little relevance and visual plot, and that does not achieve sufficient strength and sensitivity that we had used the master Kurosawa. The presence of Richard Gere gives very little, and the film dissolves without the emotional impact that we hoped we would.
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