Jose Pozo - Donkey Xote - 2007

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Publicado em 21/04/2012 por LiloEntertainment

Produzido pela Espanha e Itália e com a direção de Jose Pozo ("El Cid, The Legend"), o longa-metragem de animação conta a história de Rucio, que, cansado da pacata vida que todos parecem levar em La Mancha, não hesita nem um segundo quando surge a oportunidade de viver uma grande aventura.

O Cavaleiro da Meia-Lua desafiou Dom Quixote para um duelo sem precedentes. Agora só falta convencer Rocinante, um cavalo muito folgado que prefere muita sombra e água fresca a sair galopando pelas planície de Castela. Mas esses aventureiros vão enfrentar muitos perigos nessa jornada, principalmente o misterioso cavaleiro Sinister.

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SEXTA-FEIRA, 29 DE MAIO DE 2009

Cinema: Donkey Xote

Depois que Pixar, Disney e DreamWorks provaram ao planeta que o segmento de longa metragens em animação pode ser extremamente lucrativo, todo mundo saiu a campo para tentar tirar sua casquinha. É o caso, por exemplo, da produtora italiana Lumiq e das espanholas Bren e Filmax, que uniram suas forças para realizar Donkey Xote, uma sátira ao clássico Don Quixote, de Miguel de Cervantes.

Aqui, a história é contada sob o ponto de vista de Rucio, o burrico de Sancho Pança. Ele, ao lado do “colega” Rocinante (o cavalo de Don Quixote) e seus respectivos donos, acabam se metendo em novas aventuras, depois que o sempre obsessivo Don Quixote resolve novamente ir à procura de sua misteriosa amada Dulcinéia. A ação se passa num momento em que Quixote já está praticamente aposentado e que – por causa de sua fama difundida nos livros de Cervantes – todos os cavaleiros querem ser igual a ele.

O grande problema – como quase sempre acontece nas novas animações - é o roteiro. Ou a falta dele. Com a crescente queda nos preços de hardwares e softwares, atualmente não é mais nenhum bicho-de-sete-cabeças realizar uma animação de boa qualidade técnica. E, neste aspecto, Doneky Xote é bastante satisfatório, com belos traços, personagens carismáticos e boa movimentação. Há até cenários inspirados no grande pintor espanhol Francisco de Goya.

Mas se a técnica anda cada vez mais apurada, não há dinheiro que compre um roteiro genial, coisa que ultimamente parece ser prerrogativa “exclusiva” da Pixar. Sonolenta, a trama do animado é confusa, sem emoção e, pior, não faz rir. Nem adultos nem crianças. Falta a grande idéia, a jogada genial, o inusitado. Diante de uma história tão desinteressante, fica até menor o fato do personagem principal ser quase uma cópia deslavada do Burro da DreamWorks, o amigo do Shrek. E de haver um leão que é quase igualzinho a Scar, o tio do Rei Leão, da Disney... Se pelo menos o roteiro de Donkey Xote “imitasse” um pouquinho também as belíssimas tramas da Pixar, tais pecados seriam melhor perdoados.

(celso sabadin*)

* o multimídia e querido amigo celso sabadin é autor do livro autor do livro vocês ainda não ouviram nada – a barulhenta história do cinema mudo e jornalista especializado em crítica cinematográfica desde 1980. atualmente, dirige oplaneta tela (um espaço cultural que promove cursos, palestras e mostras de cinema) e é crítico de cinema da TV gazeta e da rádio bandeirantes.

http://nomundoanimado.blogspot.pt/2009/05/cinema-donkey-xote.html

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Rafael Gil - D. Quixote da Mancha (Don Quijote de la Mancha) - 1947

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Publicado em 16/05/2012 por MrElvolido

Nenhuma descrição disponível.

Don Quixote de la Mancha (orig. Spanish title Don Quijote de la Mancha) is the first sound film version in Spanish of the great classic novel by Miguel de Cervantes Saavedra. It was directed and adapted by Rafael Gil and released in 1947. A huge undertaking for Spanish cinema in its day, it was the longest film version of the novel up to that time (over two hours), and very likely the most faithful, reverently following the book in its dialogue and order of episodes, unlike G.W. Pabst's 1933 version and the later Russian film version, which scrambled up the order of the adventures as many film versions do. Characters such as Cardenio, Dorotea, and Don Fernando, which are usually omitted because their respective subplots have little to do with the main body of the novel, were kept in this film.

The film, which starred Rafael Rivelles as Don Quixote and Juan Calvo as Sancho Panza, featured a youngFernando Rey as Sanson Carrasco and popular Spanish actress Sara Montiel as Antonia, Quixote's niece. The music for the film was composed by Ernesto Halffter, and the movie was shot on location in La Manchaand other Spanish regions.

It did not fare as well in the United States, where it opened in 1949, as it had in Spain. In its American runs, it was whittled down to a more customary length of 107 minutes. (Wikipedia)

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Rafael Álcázar - Las Locuras de D. Quixote - 2006

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Enviado por Tttristiaanimi em 08/11/2011

"La libertad, Sancho, es uno de los mas preciosos dones que a los hombres dieron los cielos..,con ella no pueden igualarse los tesoros que encierran la tierra y el mar.., 

Por la libertad, asi como por la honra, se puede y debe aventurar la vida. "

Don Quijote de la Mancha.

G. W. Pabst - Aventuras de D. Quixote (Adventures of Don Quixote) - 1933 (Cervantes)

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Enviado por ArtFilmsAnimation em 21/05/2011

http://www.zazzle.com/gayriot

Adventures of Don Quixote (1933) is the English title of a film adaptation of the classic Miguel de Cervantes novel, directed by Georg Wilhelm Pabst, starring the famous operatic bass Feodor Chaliapin. Although the film stars Chaliapin, it is not an opera; however, he does sing three songs in it. It is the first sound film version of the Spanish classic. The supporting cast in the English version includes George Robey, René Donnio, Miles Mander, Lydia Sherwood, Renée Valliers, and Emily Fitzroy. The film was made in three versions -- French, English, and German -- with Chaliapin starring in all three versions.

The producers separately commissioned five composers (Jacques Ibert, Maurice Ravel - who wrote three songs -, Marcel Delannoy, Manuel de Falla and Darius Milhaud) to write the songs for Chaliapin; each composer believed only he had been approached. Ibert's music was chosen for the film, but this caused him some embarrassment as he was a close friend of Ravel's. Ravel considered a lawsuit against the producers. He dropped the action, and the two composers remained close friends.

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Changes in Plot:

The film condenses the novel significantly and scrambles up the order of Quixote's adventures. There are several changes. Quixote is "dubbed" a knight not by an innkeeper, but by a traveling actor who is appearing as a king in a play that Don Quixote mistakenly believes to be real. As in the later 1957 Russian film version of the novel, the attack on the windmills is moved to near the end of the film. The mill workers are seen returning from their labor, and unlike the novel, Don Quixote is caught up by the windmill but not thrown. The windmill is stopped by the mill workers, who then assist Sancho is carrying Quixote down. The final scene is the most radically changed of all. Totally defeated, and brought home imprisoned in a cage, Don Quixote sees that his niece, the village priest, and Sanson Carrasco (who in this version is the niece's fiancee, as in Man of la Mancha) have burnt his beloved books of chivalry. The shock literally kills Don Quixote; he collapses and dies in Sancho's arms, while the townsfolk, who only a few moments prior, were laughing and jeering at him as he sat in the cage, are deeply moved and now kneel in respect for the dead "knight". In a bit of trick photography, the pages of the original 1605 edition of Cervantes's novel arise from the flames rather than being consumed by them - a sign that Don Quixote has achieved immortality.

Dulcinea, who actually appears in the film, is depicted as a not-too-bright milkmaid, and cruelly, she is among those who laugh the hardest when Don Quixote is brought back in a cage.

Don Quixote's name is actually Don Quixote in this version. He is never referred to as Alonso Quixano.

Trick photography in the film:

The film makes several striking early uses of trick photography. Immediately after the opening credits, we see a page of a medieval romance, and the figures on it seem to come to animated life. (This is deleted on some prints.) The windmill sequence, in which Don Quixote is lifted into the air by the sails, actually gives the impression that Chaliapin himself has been caught up by the windmill, not a dummy or a stunt double. It is an impressive achievement by 1933 standards, and was imitated both in the 1957 screen version of Cervantes's novel and in the 1972 film version of "Man of La Mancha". And the scene in which the pages of the novel seemingly arise from the flames has already been mentioned. (Text from Wikipedia)

Arthur Hiller - O Homem de la Mancha (Man of La Mancha ) - 1972

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Enviado por professorluiscarlos em 25/08/2011

Nenhuma descrição disponível.

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Directed by	Arthur Hiller
Produced by	Arthur Hiller Saul Chaplin Alberto Grimaldi
Screenplay by	Dale Wasserman
Based on	Don Quixote de la Mancha by Miguel de Cervantes
Starring	Peter O'Toole Sophia Loren James Coco Harry Andrews John Castle Ian Richardson
Music by	Mitch Leigh (musical) Laurence Rosenthal(incidental music)
Cinematography	Giuseppe Rotunno

Man of La Mancha is a 1972 film adaptation of the Broadway musical Man of La Mancha by Dale Wasserman, with music by Mitch Leigh and lyrics by Joe Darion. The musical was suggested by the classic novel Don Quixote de la Mancha by Miguel de Cervantes, but more directly based on Wasserman's 1959 non-musical television play, I, Don Quixote, which combines a semi-fictional episode from the life of Cervantes with scenes from his novel.

The film was financed by an Italian production company, Produzioni Europee Associates, and shot in Rome. However, it is entirely in English, and all of its principal actors except for Sophia Loren are either British or American. (Gino Conforti, who plays the Barber, is an American of Italian descent.) The film was released by United Artists. It is known in Italy as L'Uomo della Mancha.

The film was produced and directed by Arthur Hiller, and stars Peter O'Toole as both Miguel de Cervantes and Don Quixote, James Coco as both Cervantes' Manservant and Don Quixote's "squire" Sancho Panza, and Sophia Loren as scullery maid and prostitute Aldonza, whom the delusional Don Quixote idolizes as Dulcinea. Gillian Lynne, who later choreographed Cats, staged the choreography for the film (including the fight scenes).

Gino Conforti, as the barber, is the only member of the original Broadway musical cast to repeat his role for the film, though James Coco also played that role, briefly, on Broadway.

The fact that the film had gone through several directors and screenwriters, and that Peter O'Toole and Sophia Loren, who were not singers, had replaced Richard Kiley and Joan Diener in the leading roles, may have influenced the critics' reactions to the film at the time, although it has been proven by the success of films like The Wizard of Oz and Laura that a change in actors and directors need not affect the response to a film. Upon release, and for several years afterward, the film of Man of La Mancha received overwhelmingly negative reviews, notably from Time Magazine, which not only did not consider the film worthy of a full-length review, but even threw in some criticism of the original stage production into the bargain. They referred to the film as being "epically vulgar", and called the song The Impossible Dream "surely the most mercilessly lachrymose hymn to empty-headed optimism since Carousel's "You'll Never Walk Alone."^[3] Newsweek, in its review, opined that "the whole production is basted in the cheapest sentiment. Everyone gets a chance to cry over poor Don Quixote".Leonard Maltin still gives the film a BOMB rating in his annual Movie and Video Guide, stating "Beautiful source material has been raped, murdered and buried".

Roger Ebert, who gave the film two stars, stated: "Now it's almost obligatory to cast a musical with people who can't sing or dance - and make no pretensions to. At least when we were getting Natalie Wood, we were getting Marnie [sic] Nixon's voice. If there's anything worse than dubbing in the voice of a non-singer, its not dubbing the voice of a non-singer." Mistakenly assuming that Peter O'Toole sang his own songs in the film, Ebert went on: "What favor were they doing us when they let us hear Peter O'Toole sing? Richard Harris is better, and he's no good. He can't sing, that is, but at least he can read lyrics. O'Toole masticates them."

On the other hand, Vincent Canby of The New York Times stated that the film was "beautifully acted", and both Peter O'Toole and James Coco received Golden Globe nominations for their performances. The film, according to Dale Wasserman in his autobiography The Impossible Musical, fared well financially in its first week, but ultimately did poorly at the box office. Over the last few years, however, the film's reputation has somewhat improved, as evidenced by favorable online reviews from writers such as Phil Hall, and viewers as well as critics are more responsive to it.

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Don Quijote de Orson Welles (1955-1992) (Orson Welles y Jesús Franco)

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Enviado por Bivania2 em 25/12/2011

Regia: Orson Welles

- Seceneggiatura: Orson Welles, da un romanzo di Miguel de Cervantes y Saavedra

- Anno: cominciato nel 1955, durato 14 anni e lasciato incompiuto; nelle sale dal 1992

- Durata: 114'

Il più celebre dei grandi film incompiuti: il Don Chisciotte che Orson Welles non riuscì a completare in 14 anni e che Jesus Franco, che con lui collaborò, ha faticosamente ricostruito e montato. Don Chisciotte è il film più controverso della carriera di Welles: iniziato nel 1955, autoprodotto e mai terminato per questioni finanziarie, ha visto la luce solo nel 1992, grazie all'edizione curata dal maestro del brivido Jess Franco, regista spagnolo specializzato in cinema di genere.

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Don Quixote is an unfinished film project produced, written and directed by Orson Welles. Principal photography was between 1957 and 1969; while test footage was filmed as early as 1955, second-unit photography was done as late as 1972, and Welles was working on the film on and off until his death in 1985.