quinta-feira, 31 de maio de 2012

John Ford - A Cavalgada Heróica (Stagecoach) - 1939

banda sonoa - inglês . . 






Enviado por  em 05/02/2012
Western sem legendas com John Wayne

Stagecoach is a 1939 American Western film directed by John Ford, starring Claire Trevor and John Wayne in his breakthrough role. The screenplay, written by Dudley Nichols and Ben Hecht, is an adaptation of "The Stage to Lordsburg", a 1937 short story by Ernest Haycox. The film follows a group of strangers riding on a stagecoach through dangerous Apache territory.
Although Ford had made many Westerns in the silent film era, he had never previously directed a sound Western. Between 1929 and 1939, he directed films in almost every other genre, including Wee Willie Winkie (1937), starring Shirley Temple. Stagecoach was the first of many Westerns that Ford shot using Monument Valley, in the American Southwest on the Arizona-Utah border, as a location, many of which also starred John Wayne. In Stagecoach the director skillfully blended shots of Monument Valley with shots filmed at Iverson Movie Ranch in Chatsworth, California, and other locations.
The screenplay is an adaptation by Dudley Nichols of "The Stage to Lordsburg," a short story by Ernest Haycox. The rights to "Lordsburg" were bought by John Ford soon after it was published in Collier's magazine on 10 April 1937. According to Thomas Schatz, Ford claimed that his inspiration in expanding Stagecoach beyond the barebones plot given in "The Stage to Lordsburg" was his familiarity with another short story, "Boule de Suif" by Guy de Maupassant. Schatz believes "this scarcely holds up to scrutiny" and argues that a more likely inspiration was Bret Harte's 1892 short story "The Outcasts of Poker Flat."
Ford's statement also seems to be the basis for the claim that Haycox himself relied upon Guy de Maupassant's story. However, there appears to be no concrete evidence for Haycox actually being familiar with the earlier story, especially as he was documented as going out of his way to avoid reading the work of others that might unconsciously influence his writing, and he focused his personal reading in the area of history.

Stagecoach has been lauded as one of the most influential films ever made. Orson Welles argued that it was a perfect textbook of film making and claimed to have watched it more than 40 times during the making of Citizen Kane.

  • C'est le film qui révéla John Wayne au grand public. Il allait devenir pour une quarantaine d'années la figure emblématique des westerns américains.
  • Ce sont des Indiens Navajos qui ont joué les Apaches dans le film.
  • L’album de bande dessinée La Diligence (1968), quarante-septième histoire de la série Lucky Luke par Morris (dessin) et René Goscinny (scénario), met également en scène certains ingrédients de ce western : une diligence transportant un échantillon de personnages de l’Ouest (cocher fruste, joueur professionnel, représentant de commerce, cocotte) voyage de relais en relais et doit faire face à des indiens belliqueux.
  • De 1935 à 1949, le réalisateur italien Michelangelo Antonioni exerça le métier de critique de cinéma. Voici ce qu'il écrivit, à propos de La Chevauchée fantastique : « Après ce film il faut vraiment placer John Ford, narrateur et psychologue-né, parmi les plus grands metteurs en scène contemporains. […] Mais ce dont on devrait parler longuement, c'est le style avec lequel Ford a rendu tout cela […] Ford est revenu à la forme ancienne, au muet, mais à un muet qui contient toute la richesse des autres expériences, y compris de la bande son. Cette dernière, dans La Chevauchée fantastique, joue un rôle admirable : le motif qui revient avec la vision de la diligence, les cris du cocher et tous les autres sons et voix sont d'une précision absolue ; la précision, d'ailleurs, signifie surtout poétique, choix concis des éléments de la narration et de l'enchaînement rythmique. » (Cinema, 25 novembre 1940) (Wikipedia)

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Michael Powell e Emeric Pressburger - Um Conto de Cantuária - (A Canterbury Tale i) - 1944

banda sonora - inglês
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Enviado por  em 25/01/2012
Nenhuma descrição disponível.

A Canterbury Tale is a 1944 British film by the film-making team of Michael Powell and Emeric Pressburger. It stars Eric Portman, Sheila Sim, Dennis Price and Sgt. John Sweet; Esmond Knightprovided narration and played several small roles. For the postwar American release, Raymond Masseynarrated and Kim Hunter was added to the film. The film was made in black and white, and was the first of two collaborations between Powell and Pressburger and cinematographer Erwin Hillier.
A Canterbury Tale takes its title from The Canterbury Tales of Geoffrey Chaucer, and loosely uses Chaucer's theme of 'eccentric characters on a religious pilgrimage' to highlight the wartime experiences of the citizens of Kent, and encourage wartime Anglo-American friendship and understanding.
The film is notable for its many exterior shots showing the Kent countryside, as well as extensive bombsites in Canterbury itself, so soon after the infamousBaedeker raids of May/June 1942 which had destroyed large areas of the city centre. Many local people, including a lot of young boys, were recruited as extras for the extensive scenes of children's outdoor activities such as river 'battles' and dens. The Cathedral itself was not available for filming as thestained glass had been taken down, the windows boarded up and the organ, an important location for the story, removed to storage, all for protection against air raids. By the use of clever perspective, large portions of the cathedral were recreated within the studio by art director Alfred Junge.
The film's visual style is a mixture of British realism and Hillier's German Expressionist style. But this is harnessed to a neo-romantic sense of the English landscape. This sense that 'the past always haunts the present' in the English landscape was a powerful theme that would be mined by countless British novelists and film-makers from the 1960s onwards.
Described as 'morally weird but forever English', its characters, rare for mainstream cinema, play out their moral choices instead of merely verbalising them


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