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 Barefoot Contessa, The / Contessa scalza, La / Босоногая графиня

Режиссер: Joseph L. Mankiewicz

Продюсер: Joseph L. Mankiewicz

Страна: USA

Жанр: Drama

Год выпуска: 1954

Актеры: Humphrey Bogart (as Harry Dawes), Ava Gardner (as Maria Vargas), Edmond O'Brien (as Oscar Muldoon), Marius Goring (as Alberto Bravano), Valentina Cortese (as Eleanora Torlato-Favrini (as Valentina Cortesa)), Rossano Brazzi (as Count Vincenzo Torlato-Favrini), Elizabeth Sellars (as Jerry), Warren Stevens (as Kirk Edwards), Franco Interlenghi (as Pedro), Mari Aldon (as Myrna), Bessie Love (as Mrs. Eubanks), Diana Decker (as Drunken blonde), Bill Fraser (as J. Montague Brown), Alberto Rabagliati (as Nightclub proprietor), Enzo Staiola (as Busboy)

Эйва Гарднер в роли графини, "обнаружившей" свой титул во второсортном ночном клубе фламенко в Мадриде. "Обнаружителей" было трое: Хамфри Богарт, сценарист и режиссер; решительно настроенный член группы анонимных алкоголиков Эдмонд О Брайен, он же нервный и постоянно покрытый потом пресс-агент и сводник; а также Уоррен Стивенс, богатый продюсер. Гарднер идеальна на своем месте, излучая вокруг женский магнетизм, заставляя все действие вращаться вокруг нее. Богарт великолепен весь фильм; он ведет роль спокойно и с максимальной эффективностью во всех поворотах и скачках интригующего сюжета. Иногда, кажется, что персонажи, выписанные ярко и остро, говорят слишком много, но в диалогах так много цинизма, остроумия и даже мудрости, что, впрочем, свойственно аморально богатым и аморальным клеветникам. Говорят, что Манкевич сказал, что ни один из персонажей не взят из жизни. Он ответил так, когда его спросили, не был ли образ богатого продюсера списан с Хауарда Хьюза.
"Оскар" за лучшую мужскую роль второго плана (О Брайен).
Номинация за лучший сюжет и сценарий. (Иванов М.)

It's been stated - often in these very pages - that film is a visual medium. Nothing wrong with that until you start thinking about all those 'Movie-Quote' books that are gradually becoming a mini industry. Any genuine film buff worth his or her salt can quote a minimum of forty per cent of the DIALOGUE from 'Casablanca' but I've yet to hear even ONE gush over the opening montage despite the fact that it was shot by Don Siegel or talk in reverential terms about camera angles, pans, dolly shots, etc. I am, of course, speaking about the buff-in-the-street, the genuine movie buff whose only object in seeing a movie is sheer enjoyment, as opposed to the academic and/or film 'scholar' who has chosen to make a living out of writing obscurely about film rather than stack shelves at Safeways. So, here we have a dialogue-heavy movie and given that the dialogue was penned by Mank - the man who gave you 'A Letter To Three Wives' and 'All About Eve', but remains perhaps better known as the guy who had the chutzpah to rewrite Scott Fitzgerald (Mank was producer on 'Three Comrades' on which Fitzgerald received his sole 'screenplay' credit) - we know going in that it will be out of the right bottle. In fact for some, myself included, Mank's name as writer-director was the major selling point though Bogie and Ava Gardner are not exactly chopped liver. In the event it IS the dialogue that one takes away from this movie, none more pertinent that Oscar Muldoon's bitter sense of betrayal on learning that Maria has every intention of appearing at her father's murder trial ...'there WILL be a cornet solo on Wednesday night'. If the film is ultimately disappointing it is only because it promised an examination of a warts-and-all Hollywood, in the tradition of Sunset Boulevard, The Bad And The Beautiful, etc and changed course halfway through to concentrate on the eponymous character AWAY from Sunset and Vine. Of course in one way you could argue that Mank was wise to adopt this tack because after all WHO or WHAT COULD compete with Wilder and Minelli who, between them, said pretty much all there was to say about Tinseltown Behind Closed Shutters. What remains is a richly cynical look at Hollywood and the Jet Set conveyed concisely via Bogie's voice-overs (so much for a visual medium) and a virtuoso turn by Eddie O'Brien which really DID deserve its Best Supporting Actor Oscar - from one Oscar to Another, as you might say. Mank (Joe, that is) like his elder brother Herman, excelled at brittle dialogue and at his best (Wives, Eve)gave us durable masterpieces, this just misses but is still worth hearing, if not seeing. 7/10

Время: 124 мин
Дисков: 2 шт
Video format: XviD
Audio format: MPEG Layer 3 (MP3)/MPEG Layer 3 (MP3)
Разрешение: 576x432
Размер: 691+688 Mb
Перевод: Закадровый перевод актерский,English
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