AVALIAÇÃO DA IMDb
6,8/10
71 mil
SUA AVALIAÇÃO
Um viajante mariachi é confundido com um criminoso assassino e deve se esconder de uma gangue determinada a matá-lo.Um viajante mariachi é confundido com um criminoso assassino e deve se esconder de uma gangue determinada a matá-lo.Um viajante mariachi é confundido com um criminoso assassino e deve se esconder de uma gangue determinada a matá-lo.
- Prêmios
- 7 vitórias e 4 indicações
Jaime de Hoyos
- Bigotón
- (as Jaime De Hoyos)
Ramiro Gómez
- Cantinero
- (as Ramiro Gomez)
Jesús López
- Viejo Clerk
- (as Jesus Lopez)
Luis Baró
- Domino's Assistant
- (as Luis Baro)
Poncho Ramón
- Azul's Rat
- (as Poncho Ramon)
Fernando Martínez
- Azul's Rat
- (as Fernando Martinez)
Jaime R. Rodríguez
- Moco's Men
- (as Jaime Rodriguez)
Enredo
Você sabia?
- CuriosidadesTo warn people he was filming, Robert Rodriguez would place a sign at the end of the street he was shooting on. He wrote it in English so no one would understand what it meant.
- Erros de gravaçãoFairly early in the movie, Azul insists he only killed six of Moco's men, while Moco insists ten and the other four are credited to El Mariachi. Actually, Azul is responsible for the death seven of the men (the three hitmen in the opening, four in the bar) and Mariachi is responsible for three (two in the truck, one beside, leaving one unconscious).
- Citações
[last lines]
El Mariachi: [voiceover] All I wanted was to be a mariachi, like my ancestors. But the city I thought would bring me luck brought only a curse. I lost my guitar, my hand, and her. With this injury, I may never play the guitar again. Without her, I have no love. But with the dog and the weapons, I'm prepared for the future.
- Cenas durante ou pós-créditosTurtle... Tito La Tortuga
- Versões alternativasIn addition to the subtitled version, Columbia had an English dubbed version prepared for home video release in the United States.
- ConexõesEdited into The Anti-Hero's Journey (2004)
- Trilhas sonorasGanas De Vivir
Written and Performed by Juan Francisco Suarez Vidaurri (as Juan Suarez)
Avaliação em destaque
More "grindhouse" than Planet Terror; an exercise in low budget, exploitation thrills
Having experienced director Robert Rodriguez's most recent film, the zombie horror pastiche Planet Terror (2007) - which was sold as a double bill with Quentin Tarantino's femme-exploitation revisionist film Death Proof (2007) as a modern-day homage to low-budget 70's drive-in cinema - I couldn't help but feel somewhat disappointed by its obvious disregard of the low-budget format in favour of CGI, explosions and A-list cameos. Now, although Planet Terror was hardly a big budget affair, it was clearly the work of an experienced filmmaker with his own studio and facilities and a collection of superstar friends willing to turn up and do a couple of days work at a reduced fee. However, with this, his first film, Rodriguez creates a perfect example of the grindhouse ethos in a more contemporary sense; i.e. a violent, low-budget exploitation picture with a minuscule cast of mostly no professional actors and with almost every single technical role carried out by the director himself.
Unlike Planet Terror - which is a good film and one that I did enjoy - the final result here is lively and inventive, with none of the generic clichés and nodding irony of that more recent project. It not only shows the efforts of low-budget film-making at its best, but uses the same shortcomings of low-budget film-making to its advantage. In this respect, it reminds me of something that Roger Corman might have produced in the 1970's, with the exploitative reliance on violence and the corruption of innocence as its central theme, and the excitement and imagination that permeates the direction of Rodriguez from the first frame to the last. The film can obviously be approached as a minor-key riff on the very noir-like notions of mistaken identity, small-town corruption and the vision of the mysterious gunslinger, with Rodriguez creating his own blend of "Mexploitation" cinema that would continue with the bigger-budgeted sequel/re-make Desperado (1995) and the third instalment, Once Upon a Time in Mexico (2003), which just might be the director's best film (or at least, the most entertaining). You can also see certain parallels with a film like From Dusk till Dawn (1996) and the proposed Machete (2008), though really; these films come nowhere near the verve, grit and vitality of the film in question.
If you can get past the technical limitations, the use of the Spanish language and the reliance on non-professional actors, then El Mariachi (1992) is a great film. Not a masterpiece, but simply a great film; one that offers entertainment value and some genuine no-budget ingenuity and - if watched with the added bonus of the director's commentary function - an effective, makeshift film school. I suppose you could always disagree that the film is more successful as a result of the low-budget, as I guess there are some elements here that audiences might see as shoddy or indeed comical due to the lack of funds and experience. Nonetheless, the film really does use these limitations to further the story and the occasional moments of light comedy, not to mention the creation of those enigmatic dream-sequences, which Rodriguez claims were shot simply to use up the last few feet of film on each reel. It all works though, creating a film that is wild, violent, funny, charming and above all else, unpredictable.
Unlike Planet Terror - which is a good film and one that I did enjoy - the final result here is lively and inventive, with none of the generic clichés and nodding irony of that more recent project. It not only shows the efforts of low-budget film-making at its best, but uses the same shortcomings of low-budget film-making to its advantage. In this respect, it reminds me of something that Roger Corman might have produced in the 1970's, with the exploitative reliance on violence and the corruption of innocence as its central theme, and the excitement and imagination that permeates the direction of Rodriguez from the first frame to the last. The film can obviously be approached as a minor-key riff on the very noir-like notions of mistaken identity, small-town corruption and the vision of the mysterious gunslinger, with Rodriguez creating his own blend of "Mexploitation" cinema that would continue with the bigger-budgeted sequel/re-make Desperado (1995) and the third instalment, Once Upon a Time in Mexico (2003), which just might be the director's best film (or at least, the most entertaining). You can also see certain parallels with a film like From Dusk till Dawn (1996) and the proposed Machete (2008), though really; these films come nowhere near the verve, grit and vitality of the film in question.
If you can get past the technical limitations, the use of the Spanish language and the reliance on non-professional actors, then El Mariachi (1992) is a great film. Not a masterpiece, but simply a great film; one that offers entertainment value and some genuine no-budget ingenuity and - if watched with the added bonus of the director's commentary function - an effective, makeshift film school. I suppose you could always disagree that the film is more successful as a result of the low-budget, as I guess there are some elements here that audiences might see as shoddy or indeed comical due to the lack of funds and experience. Nonetheless, the film really does use these limitations to further the story and the occasional moments of light comedy, not to mention the creation of those enigmatic dream-sequences, which Rodriguez claims were shot simply to use up the last few feet of film on each reel. It all works though, creating a film that is wild, violent, funny, charming and above all else, unpredictable.
útil•20
- ThreeSadTigers
- 19 de mai. de 2008
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Detalhes
Bilheteria
- Orçamento
- US$ 7.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 2.040.920
- Fim de semana de estreia nos EUA e Canadá
- US$ 312.528
- 28 de fev. de 1993
- Faturamento bruto mundial
- US$ 2.040.920
- Tempo de duração1 hora 21 minutos
- Cor
- Proporção
- 1.78 : 1
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