Joseph L. Mankiewicz - Autópsia de um Crime (Sleuth) 1972

banda sonora - inglês 

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Enviado por moh1612 em 03/04/2011

A man who loves games and theater invites his wife's lover to meet him, setting up a battle of wits with potentially deadly results.

Milo Tindle and Andrew Wyke have something in common, Andrew's wife. In an attempt to find a way out of this without costing Andrew a fortune in alimony, he suggests Milo pretend to rob his house and let him claim the insurance on the stolen jewelry. The problem is that they don't really like each other and each cannot avoid the zinger on the other. The plot has many shifts in which the advantage shifts between Milo and Andrew. 

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Sleuth is a 1972 mystery film, an adaptation of the Tony Award-winning Sleuth by British playwrightAnthony Shaffer. The screenplay was adapted by Shaffer. Directed by Joseph L. Mankiewicz, the film starsLaurence Olivier and Michael Caine.

Sleuth is a 1972 mystery film, an adaptation of the Tony Award-winning Sleuth by British playwrightAnthony Shaffer. The screenplay was adapted by Shaffer. Directed by Joseph L. Mankiewicz, the film starsLaurence Olivier and Michael Caine.

Shaffer was initially reluctant to sell the film rights to the play, fearful it would undercut the success of the stage version. When he finally did relent, he hoped the film would retain the services of Anthony Quayle, who had essayed the role of Wyke in London and on Broadway. Alan Bates was Shaffer’s pick for the part of Milo Tindle. In the end, director Mankiewicz opted for Olivier and Caine.

When they met, Caine asked Olivier how he should address him. Olivier told him that it should be as "Lord Olivier", and added that now that that was settled he could call him "Larry". According to Shaffer, Olivier stated that when filming began he looked upon Caine as an assistant, but that by the end of filming he regarded him as a full partner.

The film is noted for its prop-cluttered set designed by Ken Adam, quasi-baroque music score by John Addison, and its Oscar-nominated performances from Olivier and Caine.

The film was nominated for Academy Awards for Best Actor in a Leading Role (Michael Caine and Laurence Olivier), Best Director and Best Music, Original Dramatic Score. Olivier won the New York Film Critics award for Best Actor as a compromise selection after the voters became deadlocked in a choice between Marlon Brando and Al Pacino in The Godfather after Stacey Keach in Fat City won a plurality in initial voting and rules were changed requiring a majority.

Shaffer received an Edgar Award for his screenplay.

The film was the second to have its entire credited cast (Caine and Olivier) nominated for Academy Awards after Who's Afraid of Virginia Woolf in 1966 and the first where all of the actors in the film were nominated. (Virginia Woolf featured uncredited bit parts by actors playing the roadhouse manager and waitress.) This feat has been repeated only by Give 'em Hell, Harry! (1975), in which James Whitmore is the sole credited actor.

The production team intended to reveal as little about the movie as possible so as to make the conclusion a complete surprise to the audience. Hence, a false casting at the beginning of the film consisting of fictional people playing roles that do not exist, as well as a fictional actor credited as Doppler. This "game" not only serves as irony, but continues to deceive new audiences. The same trick was pulled in the original stage version.

Much of the story revolves around the theme of crime fiction, as written by Dorothy L. Sayers (Lord Merridew = Lord Peter Wimsey) or Agatha Christie, whose photo is included on Wyke's wall, and how it relates to real-life criminal investigations. Class conflict is also raised between Wyke, the long-established English country gentleman, compared to Tindle, the son of an immigrant from the working-class streets of London.

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

banda sonora - inglês
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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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Frederico Fellinni - Roma - 1972)

banda sonora - italiano # dobrado em castelhano

Enviado por CinemaAnnaMagnani em 20/12/2011

Nenhuma descrição disponível.

Roma, also known as Fellini's Roma, is a 1972 semi-autobiographical, poetic film depicting director Federico Fellini's move from his native Rimini to Rome as a youth. It is formed by a series of loosely connected episodes. The plot is minimal, and the only character to develop significantly is Rome herself. Peter Gonzales plays the young Fellini, and the film features mainly unknowns in the cast, but includes uncredited guest appearances by Anna Magnani, Marcello Mastroianni, Feodor Chaliapin, Jr., Alberto Sordi, Gore Vidal, John Francis Lane, Elliott Murphy and Fellini himself. The appearances by Marcello Mastroianni and Alberto Sordi were deleted in the later copies of the film and in VHS and DVD editions. .
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Fellini repeatedly contrasts Roman life in wartime Fascist Italy with its counterpart in the early 1970s. The wartime scenes emphasize the congregation of neighbors in Rome's public places such as street restaurants, a variety show, and a bomb shelter. With the exception of hippies and a conversational scene with Fellini bemoaning the loss of Roman life with radical students, the analogous congregations of the 1970s are between automobiles and motorcycles. Fellini makes a comparison between the parade of prostitutes at wartime brothels and a fantasy runway fashion show featuring clerical garb and a papal audience.(Wikipedia)

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Pasolini - Os Contos de Cantuária - ( I Raconti di Canterbury) - 1972

banda sonora - italiano # Legendas - inglês

Enviado por DionisioFulciSerling em 21/12/2011

Regia Pier Paolo Pasolini

con Hugh Griffith Franco Citti Laura Betti Ninetto Davoli Joséphine Chaplin Alan Webb Tom Baker Vittorio Fanfoni Anita Sanders Vernon Dobtcheff Jenny Runacre Philip Davis

Os Contos de Canterbury (it: I Raconti di Canterbury) é uma obra da escola do cinema italiano de 1972 de Pier Paolo Pasolini baseada nos contos eróticos de Geoffrey Chaucer, escritos no século XIV, e consagrado com o Urso de Ouro no Festival de Berlim, em 1972. Filmado em locações na Inglaterra, com deslumbrante cenografia de Dante Ferretti e trilha sonora de Ennio Morricone, o grande diretor italiano celebrou o sexo de maneira bem humorada, numa atmosfera ao mesmo tempo mágica e rústica, retratando, inclusive, uma representação do inferno com claras influências do pintor neerlandês Hieronymus Bosch. (Wikipedia)

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Bill Meléndez, - Volte Para Casa, Snoopy (Snoopy, Come Home! ) - 1972

Enviado por BradSnoopy97 em 21/12/2011

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Snoopy, Come Home! is a 1972 animated musical film, produced by Cinema Center Films, National General Pictures and Lee Mendelson Films, directed by Bill Meléndez, and based on the Peanuts comic strip. The songs it whould be Jerry Goldsmith score but was Rejected by Richard M. Sherman and Robert B. Sherman. The film marks the on-screen debut of Woodstock, who had first appeared in the strip in 1951. 

 The film was first broadcast on TV Friday, November 5, 1976 as a CBS Special Film Presentation. It was released on DVD in anamorphic widescreen in the U.S. on March 28, 2006, by Paramount Home Entertainment/CBS Home Entertainment (CBS owned Cinema Center Films, which co-produced the film). Other than Snoopy's Reunion, it is the only filmed Peanuts production not to have "Charlie Brown" in the title. (Wikipedia)

Sarah Maldoror - Sambizanga - 1972

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Enviado por hikore em 09/01/2012


Domingos is a member of an African liberation movement, arrested by the Portuguese secret police, after bloody events in Angola. He does not betray his companions, but is beaten to death in prison, and not knowing he is dead, his wife goes from a prison station to another, trying in vain to know where he is...

Sambizanga is set during Angola's struggle for liberation from Portuguese domination, and tells the story of Maria Xavier's search for her husband, a worker, who has been imprisoned and tortured by the secret police. Focusing on her day-to-day existence during the struggle, Maria's physical journey gradually also marks the awakening of her political consciousness.

Guadeloupean-born director Sarah Maldoror was married to one of the leaders of the Angolan struggle for independence and devoted her filmmaking career to raising international awareness of the African liberation struggles.

An ambitious film by a highly accomplished filmmaker, Sambizanga won the first prize at the 1972 Carthage Film Festival.

With: Domingos de Oliveira, Elisa Andrade, Jean M'Vondo, Dino Abelino, Benoît Moutsila, Talagongo, Lopes Rodrigues, Henriette Meya, Manuel Videira, Ana Wilson

Desde finais dos anos 1960, os registos sobre a guerrilha anticolonial efectuados pelo Departamento de Informação e Propaganda do MPLA e os filmes Monangambê (1971), e Sambizanga (1972), de Sarah Maldoror, inspirados em obras de Luandino Vieira, antecipam um cinema de intervenção que se vem a consolidar com a independência do país.