M and rejoice when good films get awards deserved. If appreciation is generally better. And if they win an Oscar, better for the Oscars, the arch-prostituted degenerate institution. In this case, the film ennobles the prize.
I've seen in a cd pirate, and I've seen three times already. It is a home remedy until the DVD comes out. The films that I like, such as books, re-look and see without getting tired, on the contrary. End up being a part of my little world, images, characters, scenes, sound and words. This, for example, I have it on file and I guess until I apetecerá re-view.
The actor, Colin Firth, has only a remote resemblance to the character, the discrete George VI, characterized very well, but the value of their interpretation is the same character in the movie, with the history of the script base. But I was struck by the admirable characterization Helena Bonham-Carter does the Queen Elizabeth: ultra studied by a series of movements and details of expression (tics, eyes, head turns, posture, hand and foot) manages to recreate much beyond the script, costumes and makeup the character played. If C. Firth have given the Oscar, the Bonham-Carter is owed.
The doctor, either. The others, too. Michael Gambon highlight by Jorge V.
But I would like to stress this in particular: When the movie rating, its contents, summarizes the values \u200b\u200bshow, improvement, control and complex circumstances, the sincerity of the relationship, warmth, trust, friendship.
But with all that the film is a vivid historical drama home, with two planes, or two spheres: A man and a family who recomposed his personal life and the life of a nation, a state / as a kingdom the brink of bankruptcy of its corporate identity for the vanity of one man who will not take personal responsibility, moral, familial, institutional and national levels, unless the conditions are that he proposes, their own needs above all and everything. Two concepts, a crucial juncture with two outcomes in parallel paradox: The frustration of an enigmatic personality, attractive, fascinating, but hesitant at the decisive moment, and the affirmation of a latent character, suffering, conscious and responsible beyond its self-acknowledged limitations.
And by the hero, the heroine, which is the epos, the queen Elizabeth of the Bonham-Carter, as necessary, so realistic, so circumspect, so pragmatic, so flexible in its firmness. I do not judge the characters of the real story, but I read in the excellent representation that makes the film a few figures on a few original types mentioned: A story about a time in history that a nation weighed about a family and its short history: Some surrendering frivolous vanity, leaving a trail of disappointment and discouragement, others assuming that they will play with sustained, encouraged to foster hope and encouragement.
I love the British cinema. And the actors. The unmistakable style of his films, television series, which can be imitated, but not beyond. Without distorting the history, expose - within the film industry - with truth, respect and dignity.
+ T.
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