NOTE IMDb
7,0/10
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MA NOTE
Ajouter une intrigue dans votre langueRomance, politics, sex and humor all collide during two men's 11-year journey of passion, self-discovery and adventure.Romance, politics, sex and humor all collide during two men's 11-year journey of passion, self-discovery and adventure.Romance, politics, sex and humor all collide during two men's 11-year journey of passion, self-discovery and adventure.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 3 victoires et 1 nomination
Christina Hempstead
- TV Reporter
- (as Christina Cameron Mitchell)
Histoire
Le saviez-vous
- AnecdotesFalcon Lair Estate served as the setting for much of the film. This historic site once was home to Rudolph Valentino, Doris Duke, Gloria Swanson.
- GaffesIn the "1977" segment, the beer can has a modern-day pop-top.
- Citations
Beverly: So, Alan tells me you're a homosexual.
Tommy Ballenger: Only because there was nothing good on television.
Beverly: Well, I just find it so intriguing.
Tommy Ballenger: Not always, Liberace for example.
Beverly: Liberace is a homosexual?
Tommy Ballenger: Sadly, yes.
- ConnexionsReferenced in 2005 Glitter Awards (2005)
- Bandes originalesBang a Gong (Get It On)
Written by Marc Bolan
Published by Tro-Essex Music International
Performed by T. Rex
Courtesy of Muscadet Productions, Inc.
Commentaire à la une
A Fine Film
I'm well into my mid-30s, and grew up during the age of Reagan and AIDS, which I mention in critiquing this wonderful film, as the lone value of growing up during the 80s was that EVERYTHING became political, and such a setting does teach the value of context.
And in this light, this is a baby-boomer film, the product of a generation older than myself. It's also a moving human drama - a great piece of American indie film that deserves something greater than 'niche' marketing - expressing the history of a movement and the people behind it (in some ways at least) as a living thing, not something read from a history book. Setting up the story as a romantic comedy of sorts, THE TRIP includes classic themes (road movies, which themselves are often modern recastings of ever-valid mythology) as it sweeps from the pre-Watergate 70s to the late 1980s. Incorporating news footage and topical references (seen previously in films as trite as FORREST GUMP, or as brilliant as WEST BEIRUT) marks the passage of time, and offers the maturation of gay politics and philosophy as an ever-present backdrop, and the very short - and touching - final scene, in both symbolic and literal fashion, makes clear the aim of a film like this: to entertain, but also communicate the lessons and truths of a culture across generations. THE TRIP does this beautifully, never falling into didacticism, and it's faith in honest humanity never wavers.
Some remarkable performances - Julie "I Like 'Em Big & Dumb" Brown makes a hysterical appearance, and Alexis Arquette's supporting role is entertaining as well. As a director, Swain is solid in his control of the material, and has a knack (reminiscent of John Sayles) for giving ordinary human settings meaning and not overlooking small details. Like Sayles, he's very un-flashy, preferring a sweet intelligence that lingers long afterwards.
And in this light, this is a baby-boomer film, the product of a generation older than myself. It's also a moving human drama - a great piece of American indie film that deserves something greater than 'niche' marketing - expressing the history of a movement and the people behind it (in some ways at least) as a living thing, not something read from a history book. Setting up the story as a romantic comedy of sorts, THE TRIP includes classic themes (road movies, which themselves are often modern recastings of ever-valid mythology) as it sweeps from the pre-Watergate 70s to the late 1980s. Incorporating news footage and topical references (seen previously in films as trite as FORREST GUMP, or as brilliant as WEST BEIRUT) marks the passage of time, and offers the maturation of gay politics and philosophy as an ever-present backdrop, and the very short - and touching - final scene, in both symbolic and literal fashion, makes clear the aim of a film like this: to entertain, but also communicate the lessons and truths of a culture across generations. THE TRIP does this beautifully, never falling into didacticism, and it's faith in honest humanity never wavers.
Some remarkable performances - Julie "I Like 'Em Big & Dumb" Brown makes a hysterical appearance, and Alexis Arquette's supporting role is entertaining as well. As a director, Swain is solid in his control of the material, and has a knack (reminiscent of John Sayles) for giving ordinary human settings meaning and not overlooking small details. Like Sayles, he's very un-flashy, preferring a sweet intelligence that lingers long afterwards.
utile•52
- davidals
- 27 févr. 2004
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- How long is The Trip?Alimenté par Alexa
Détails
Box-office
- Montant brut aux États-Unis et au Canada
- 306 567 $US
- Week-end de sortie aux États-Unis et au Canada
- 13 774 $US
- 11 mai 2003
- Montant brut mondial
- 306 567 $US
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