segunda-feira, 4 de junho de 2012

Jean Renoir - A Fera Humana (La Bête Humaine) - 1938

banda sonora - francês # dobragem - castelhano
.



Enviado por  em 22/01/2012

La Bête Humaine (English: The Human Beast and Judas Was a Woman) (1938) is a film directed byJean Renoir, with cinematography by Curt Courant. The picture features Jean Gabin, and is based on thenovel of the same name by Emile Zola.
Frank S. Nugent, film critic for The New York Times, gave the film a positive review even though he felt uncomfortable watching the film, writing:
It is hardly a pretty picture, dealing as it does with a man whose tainted blood subjects him to fits of homicidal mania, with a woman of warped childhood who shares her husband's guilty secret of murder... It is simply a story; a macabre, grim and oddly-fascinating story. Sitting here, a safe distance from it, we are not at all sure we entirely approve of it or of its telling. Its editing could have been smoother—which is another way of saying that Renoir jerks his camera, jumps a bit too quickly from scene to scene, doesn't always make clear why his people are behaving as they do. But sitting here is not quite the same as sitting in the theatre watching it. There we were conscious only of constant interest and absorption tinged with horror and an uncomfortable sense of dread. And deep down, of course, ungrudged admiration for Renoir's ability to seduce us into such a mood, for the performances which preserved it

The drama is partially set "on a train that may be thought of as one of the main characters in the film."

----------

Orson Welles - A Sede do Mal (Touch of Evil) - 1958

banda sonora - inglês # dobragem - castelhano
.

.


Enviado por  em 05/12/2011
Un agente de la policía de narcóticos (Heston) llega a la frontera mexicana con su esposa justo en el momento en que explota una bomba. Inmediatamente se hace cargo de la investigación contando con la colaboración de Quinlan (Welles), el jefe de la policía local, muy conocido en la zona por sus métodos expeditivos y poco ortodoxos. Una lucha feroz se desata entre los dos hombres, pues cada uno de ellos tiene pruebas contra el otro.

There are two stories as to how Welles ended up directing Touch of Evil. Charlton Heston recalled that Welles was originally hired to act in the film only, not to direct or write. Universal was keen to secure Heston for the lead, but he wanted the studio to confirm the director before he signed on. After learning that Welles was in the cast, Heston expressed his greater interest in starring if Welles were directing. The other story is that Welles had recently worked with producer Albert Zugsmith, known as the "King of the Bs", on a film called Man in the Shadow and was interested in directing something for him. Zugsmith offered him a pile of scripts, of which Welles asked for the worst to prove he could make a great film out of a bad script. At the time, the script was calledBadge of Evil, after a Whit Masterson novel on which it was based. Welles did a rewrite and took it into production. After a decade in Europe during which he completed only a few films, Welles was eager to direct for Hollywood again, so he agreed to take only an acting fee for the role of Quinlan.[3][4]
A number of notable actors pop up in minor roles. Dennis Weaver plays a mentally unbalanced night clerk at an isolated motel. Welles liked Weaver as Chester on TV's Gunsmoke and worked closely with him on his part, which was shot on a three-day hiatus from the TV show. Zsa Zsa Gabor, who appears briefly as the impresario of a strip club, was a friend of the producer. Welles's old friend Joseph Calleia portrays Quinlan's betrayed partner. Many of the actors worked for lower wages just to make a film with Welles. Marlene Dietrich's role was a surprise to the producers and they raised her fee so they could advertise her involvement. Welles' friend and Mercury Theater colleague, Joseph Cotten, appears uncredited as a police officer.
Janet Leigh recalled how Welles asked for input from the actors in the cast:
"It started with rehearsals. We rehearsed two weeks prior to shooting, which was unusual. We rewrote most of the dialogue, all of us, which was also unusual, and Mr. Welles always wanted our input. It was a collective effort, and there was such a surge of participation, of creativity, of energy. You could feel the pulse growing as we rehearsed. You felt you were inventing something as you went along. Mr. Welles wanted to seize every moment. He didn't want one bland moment. He made you feel you were involved in a wonderful event that was happening before your eyes."[5]
Welles wrapped production on time, delivered a rough cut to Universal, and was convinced that his Hollywood career was back on the rails. However, the film was then re-edited (and in part re-shot) by Universal International pictures. The editing process was protracted and disputed, and the version eventually released was not the film Universal or Welles had hoped for. It was released as a B-movie, the lower half of a double feature. The A-movie was The Female Animal, starring Hedy Lamarr, produced by Albert Zugsmith and directed by Harry Keller, whom the studio had hired to direct the re-shot material in Touch of Evil. The two films even had the same cameraman, Russell Metty. Welles's film was given little publicity despite the many stars in the cast. Though it had little commercial success in the US, it was well-received in Europe, particularly by critics like future filmmaker François Truffaut. 

In 1993, Touch of Evil was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The film was placed #64 on American Film Institute's 100 Years, 100 Thrills.
The opening scene is replicated midway through Brian De Palma's 1974 camp musical film Phantom of the Paradise. De Palma's version involves a prop car on a theatrical stage being pushed out of the wings with a time-bomb in the trunk and an increasingly panicky blonde passenger. The novel approach here is that De Palma's take was shot in split-screen with Paul Williams's Swan character and the Phantom alternately observing the histrionics from the balcony and proscenium, respectively.  (Wikipedia)


---

Billy Wilder - Testemunha de Acusação (Witness for the Prosecution) b- 1957 (Agatha Christie)

banda sonora - inglês # dobragem - castelhano
.



Enviado por  em 22/02/2012


Witness for the Prosecution is a 1957 American courtroom drama film based on a short story (and laterplay) by Agatha Christie dealing with the trial of a man accused of murder. This trial film was the first film adaptation of the story, stars Tyrone Power, Marlene Dietrich, and Charles Laughton, and features Elsa Lanchester. The film was adapted by Larry Marcus, Harry Kurnitz and the film's director Billy Wilder.


-------------------------

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

banda sonora - inglês
.
 


Enviado por  em 25/08/2011
Nenhuma descrição disponível.


.

Directed byArthur Hiller
Produced byArthur Hiller
Saul Chaplin
Alberto Grimaldi
Screenplay byDale Wasserman
Based onDon Quixote de la Mancha by
Miguel de Cervantes
StarringPeter O'Toole
Sophia Loren
James Coco
Harry Andrews
John Castle
Ian Richardson
Music byMitch Leigh (musical)
Laurence Rosenthal(incidental music)
CinematographyGiuseppe 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.

----.------

domingo, 3 de junho de 2012

Giuliano Montaldo - Os Demónios de S. Petersburgo (I demoni di San Pietroburgo) - 2008

banda sonora - italiano " legendas - português
.


.




Parte da conturbada vida do escritor Fiódor Mikhailovich Dostoiévski é contada, o sofrimento vivido por Dostoiévski: os anos de trabalhos forçados na Sibéria, a rejeição dos outros presos, que o tinham como um intelectual que traiu o movimento, e as dificuldades financeiras. Período que Dostoiévski escrevia sob pressão de um editor que o obrigava a produzir compulsivamente. Foi nesse período difícil que ele conheceu “Anna Grigorievna Snítikin”, uma estenógrafa com quem se casaria mais tarde.

Enviado por  em 26/08/2011
Nenhuma descrição disponível.

--