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Re: Effie Gray, con Dakota Fanning (Richard Laxton, 2015)
yo la vi hace tiempo online, justo nada mas enterarme que salía david suchet (hercules poirot) y no está nada mal la trama, las actuaciones geniales, sobretodo de los malos que son odiosos
Re: Effie Gray, con Dakota Fanning (Richard Laxton, 2015)
Vale, sale en DVD el 6 de noviembre.
"¿Qué importa como me llame? Se nos conoce por nuestros actos."
Re: Effie Gray, con Dakota Fanning (Richard Laxton, 2015)
La peli, escrita, producida y co-protagonizada por Emma Thompson, está disponible en HD en Netflix España. Estupendos Derek Jacobi y Julie Walters. Teniendo en cuenta que no se llegó a estrenar aquí y sólo salió en DVD... ¡corred insensatos!.
Muy recomendable.
PD: El compositor Patrick Doyle, viejo amigo de Thompson desde los 80, tiene un papel breve de sacerdote (¡lo ha vuelto a hacer, enchufe!). Curiosamente, no compone la música de la cinta.
Última edición por Branagh/Doyle; 12/03/2017 a las 04:02
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Effie Gray, con Dakota Fanning (Richard Laxton, 2015)
jajajaja, si Patrick Doyle es lo primero que se oye y se ve en el trailer puesto en este hilo. No me había dado cuenta.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Effie Gray, con Dakota Fanning (Richard Laxton, 2015)
Since the movie has been delayed a number of times and Doyle has been working simultaneously on two projects at the same time as Cantelon was scoring this one, it most likely just got impossible for him to do for scheduling reason.
Eso explica por que la partitura no es de Doyle. Algo similar debió ocurrir en la secuela de Nanny McPhee.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
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