Fred, a composer and conductor, is now retired. Mick, a film director, is still working. While Mick scrambles to finish the screenplay for what he imagines will be his last important film, Fred has no intention of resuming his musical career. But someone wants at all costs to hear him conduct again.
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[For lovers, for cinéphiles, for film students, for emotional folk; for You & Me] THE most meaningful, beautiful (*listens to MGMtT's The Youth* I wonder if the film's title comes from this song...) and emotional film of 2015 so far (Have not yet seen the new films of Malick, Tarantino, Zulawski, etc). In another Malick-less year (knight of cups was given limited distribution) many directors chose to channel Malick
Gorgeous images, but the dialogue is so forced and contrived that I felt sorry for all of the fine actors involved. Is it supposed to be ironic that Keitel plays a film maker who has lost his spark? I hope that Sorrentino recovers his.
2h d'ennui, 4 stars monumentales, 1 belle arnaque. == 1 star for CAINE,another for KEITEL, who have a few good lines to say. Unfortunately the rest of it are pompous clichés as big as the Swiss mountains where this international production was beautifully shot. If you add eternally gorgeous FONDA & MARADONA, you have a boring, endless movie, cleverly unavoidable due to the presence of these cinema living legends.
This pile of rubbish won several "prizes for the pretentious". It could do with the attention of a good pair of shears to leave at least an hour on the cutting-room floor. To be fair, the photography is nice and Michael Caine does his old duffer routine well. Jane Fonda looks like a dog. Star of the show though is the morbidly obese Diego Maradona who looks like Michelin Man on a bad day. Worth seeing for that alone.
Diyalog yazmak zor iştir. Acemi birisinin ellerinde kolaylıkla hüsrana dönüşebilir. Görülüyor ki Avrupa'nın genç yönetmenlerinin üstadların filmlerinden ders almaya ihtiyacı var. Ben de yönetmene, derse Allen'ın ''Blue Jasmine'' filmi ile başlamasını öneriyorum. Sinema sadece görüntü yönetmenliği değil çünkü.
Sorrentino is under magical and absurd moments, sometimes authentic, many empty, unlike "The Great Beauty" this film lacks the fluidity with which connects the viewer with the espactectador lost in poetry.
Forced poetry, that looks good, it means a lot, but does not connect.
A wasted performance by Paul Dano.
Sorrentino's second foray into English language filmmaking is a serious improvement on the first (This Must Be The Place) with this reflective film that examines the creative soul and the impact it has on family and friendships. Visually the film is sumptuous and where the film is light on story it excels in performance. Turns by Rachel Weitz, Paul Dano and especially Harvey Keitel are quite noteworthy.