Raised in a strict religious household in Michigan, writer/director Paul Schrader studied theology at Calvin College and didn’t see a movie until he was in his late teens. His stern background would fuel many of the themes throughout his career: downbeat stories of characters who violently break down in oppressive situations. Transfixed by the cinema and encouraged by critic Pauline Kael, he moved to Los Angeles and became a film scholar at U.C.L.A. He wrote movie reviews for newspapers, edited the magazine Cinema, and wrote the highly influential critical essay “The Trancendental Style: Ozu, Bresson, Dryer.” After a period of heavy drinking and serious depression, he sold his first screenplay, The Yakuza, a Japanese thriller co-written with his brother, Leonard, and Robert Towne. The next year, Schrader wrote Taxi Driver, the grim tale of urban alienation. Taxi Driver started his successful collaborative relationship with director Martin Scorsese, another… read more
A powerful film that plays with the existence of hatred and revenge as it exists in a man's memory and delusion (or, in fact or story, as Dafoe's character puts it). Schrader does an incredible job crafting the story about generations of abuse and Nolte really sells his character's descent into paranoia and aggression. The beautiful camera work and snowy landscapes captured the quiet violence of the story.
Xerife de meia idade, amargurado, empacado numa vivência medíocre, toma todas as decisões erradas para tentar sair do buraco em que se encontra - falhando, sobretudo, em escapar da influência do pai abusivo alcoólatra, com quem se assemelha mais do que gostaria de admitir. Schrader impacta com um estudo seco de fragilidades internas que condenam ao fracasso mesmo quem deseja transcender as próprias limitações.
Nick Nolte was nothing short of brilliant in his role as a man scarred by the past but let affect his present. As a child, he was physically and mentally abused by his father brilliantly played by the late James Coburn. I have seen evil in all shapes and sizes through films and with this, Nolte and Coburn are like two sides of what alcoholism does to anyone. Nolte shows his scars and Coburn still inflicts them.
At Cargo, Simon Rothöhler marks Nick Nolte's 70th with the scene above: "Two men between two turbines, two actors in an unevenly matched