In this luminous tale set in the area around Sarajevo and in Italy, Perhan, an engaging young Romany (gypsy) with telekinetic powers, is seduced by the quick-cash world of petty crime, which threatens to destroy him and those he loves.
What could be better for the village than a scenic railway to bring in the tourists? What could be worse for tourism than war? Luka builds the railway and shuts his eyes to war. Then Luka's wife runs off with a musician and his son is called up to the army. Luka's life is a war zone. Then he meets Sabaha..
A young man grows up in Sarajevo in the 1960s, under the shadow of his good, but ailing father, and gets attracted by the world of small-time criminals. They hire him to hide a young ... See full summary »
An Innuit hunter races his sled home with a fresh-caught halibut. This fish pervades the entire film, in real and imaginary form. Meanwhile, Axel tags fish in New York as a naturalist's gofer. He's happy there, but a messenger arrives to bring him to Arizona for his uncle's wedding. It's a ruse to get Axel into the family business. In Arizona, Axel meets two odd women: vivacious, needy, and plagued by neuroses and familial discord. He gets romantically involved with one, while the other, rich but depressed, plays accordion tunes to a gaggle of pet turtles.Written by
Greg Pribyl <firstname.lastname@example.org>
The backing music used in the 'dinner party' scene between Axel (Depp), Paul, Elaine, and Grace, is a piece by jazz musician Django Reinhardt. The same piece was used in the "river dance" scene in Chocolat (2000), where it is performed on guitar by Johnny Depp. See more »
Since the movie took about a year to shoot, Axel's hair length changes drastically throughout the film. In the beginning, when he talks to Paul up until when they arrive at Leo's house, his hair is longer than in the next few scenes when he spends time with his uncle. It's long again when he starts staying at Elaine's house. See more »
The end credits read: "Any reference to Cadillac dealerships or dealers is purely fictional. The Cadillac automobile was selected for the film because it was and continues to represent the epitomy (sic) of American automobile design." See more »
Originally released in Europe at 142 minutes. The USA version was cut down to 119 minutes but the complete version was also released theatrically. Only the short version is available on video in the USA. See more »
It's very rare that I see a movie that is truly, in all aspects, perfect.
For example, while The Princess Bride ranks pretty high on my list of movies I'd want to spend the rest of my life watching, I fully realize that the camera angles and special effects of that movie are just plain bad. And while Fear & Loathing In Las Vegas gets a perfect 10 from me, it still completely lacks plot. And so on.
Arizona Dream, however, is different.
The last movie I saw that was truly, in all aspects, perfect was Dog Day Afternoon, a 1975 true story starring Al Pacino and Chris Sarandon. For the longest time, it's been my obsession, my movified bible, everything other movies should aspire to be. And as of today, Dog Day Afternoon finally has competition in my personal top ten: Emir Kusturica's masterpiece very near surpasses Lumet's vision of captivating dialogue, insane details, and dodgy man-groping.
Let's change the subject for a bit. Do you know the scene in Gilliam's Twelve Monkeys, where Bruce Willis is in his cage, and a hamster is running inside a wheel in the corner? Don't say yes, because you don't. It's inaudible. It's impossible to see. But it's there. Kusturica, much like Gilliam, is willing to make his world more detailed than your wildest dreams. His backgrounds are filled with symbolism and surrealism, his dark corners filled with soft puppies. And like Gilliam, he can make you cry with laughter, your only worry in the world being, 'how will I remember all these great quotes in the morning?'
But unlike Gilliam, Kusturica has the power to, barely a scene after the happy happy joy, make you sit there in stunned silence, your number one worry in the world being, 'how will I get my brain to understand the sheer tragedy that is unfolding here?'. Your will find yourself thinking, 'how do I get my mind to comprehend how perfectly this music fits the dialogue?'. Your eyes will follow the camera angles, the expressions of the insanely lovable characters, the many things happening in foreground and background-and you know, you just KNOW, that you will have to watch the movie again, and again, and again.
If you're a fan of movies such as Big Fish and Amélie, movies about people finding happiness and warmth in a world of surreal ambition, Arizona Dream will be your next obsession. But even if you think massive explosions and a grunting Bruce Willis are the only thing that can make a movie worth watching, you will still want to give this movie a chance- for the 'explosions' it causes will far, far surpass anything you've EVER experienced before.
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