st-shot
Entrou em nov. de 2006
Bem-vindo(a) ao novo perfil
Ainda estamos trabalhando na atualização de alguns recursos do perfil. Para ver selos, classificações detalhadas e pesquisas para este perfil, acesse versão anterior.
Avaliações3,2 mil
Classificação de st-shot
Avaliações1,2 mil
Classificação de st-shot
No one is more infamous and respected in the Casbah than Pepe Le Moko ( Jean Gabin). The international jewel thief is a wanted man however and the serpentine paths make for an impenetrable maze that keeps Pepe safe from authorities. Unfortunately Pepe has his weak spots for diamonds, women and Paris that an inspector Slimane, (Lucas Gridoux) who has developed a relationship with Le Moko, will eventually trip him up. Enter Gaby (Mirielle Balin) and memories of Paris.
Gabin is a bit of French Bogart, capable of being cold and kind, cynical and sentimental. Dominating a rogues gallery with authority, his concession to romanticism spells his doom.
Julien Duvivier directs with a claustrophobic intensity, overcrowding nearly every scene with a variety of mugs and molls excellently played in particular by Gridoux, Line Noro as Ines and Fernand Charpin as Regis.
The cinematography of Jules Kruger and Marc Fossard does a fine job of making its way around corners and capturing the dramatic shadows of the famed but enigmatic location which in its own way shares top billing in this tragic romance/crime hybrid.
Gabin is a bit of French Bogart, capable of being cold and kind, cynical and sentimental. Dominating a rogues gallery with authority, his concession to romanticism spells his doom.
Julien Duvivier directs with a claustrophobic intensity, overcrowding nearly every scene with a variety of mugs and molls excellently played in particular by Gridoux, Line Noro as Ines and Fernand Charpin as Regis.
The cinematography of Jules Kruger and Marc Fossard does a fine job of making its way around corners and capturing the dramatic shadows of the famed but enigmatic location which in its own way shares top billing in this tragic romance/crime hybrid.
In his earliest starring role, Al Pacino acts as if he's been shot up with horse tranquilizer in Panic in Needle Park. One non-stop rant from start to finish of a New York heroin addict determined to game the system, it's a rather challenging watch to hang with him and his compatriots in a state of mostly nod heaven and the heebie-jeebies anxiousness of pursuing the score.
Helen (Kitty Winn) is a lost girl in a big city looking for attachment and not finding it from an aloof artist boyfriend (Raul Julia). A simple act of kindness attracts her to Bobby (Pacino) a heroin addict, scammer with a slight touch of charm that Helen becomes attracted to. The pair hook up and she gets hooked and it's all downhill from there.
Pacino's frenetic act grows wearisome after a period of time while Winn subtly takes over the picture with tragic consequence befalling her. She gives a quietly powerful performance of a young girl in descent.
Director Jerry Schatzberg does not sugar coat in anyway shooting mostly in the dark, all his characters whether on the side of right and wrong, surly, cynical and out for number one. He does a fine job of capturing dehumanizing NYC and its herd like congestion of noise and neon but he asks a lot for the viewer to hang with this crowd too long amid their degeneracy with redemption nowhere in sight. Panic is one dark and depressing ride.
Helen (Kitty Winn) is a lost girl in a big city looking for attachment and not finding it from an aloof artist boyfriend (Raul Julia). A simple act of kindness attracts her to Bobby (Pacino) a heroin addict, scammer with a slight touch of charm that Helen becomes attracted to. The pair hook up and she gets hooked and it's all downhill from there.
Pacino's frenetic act grows wearisome after a period of time while Winn subtly takes over the picture with tragic consequence befalling her. She gives a quietly powerful performance of a young girl in descent.
Director Jerry Schatzberg does not sugar coat in anyway shooting mostly in the dark, all his characters whether on the side of right and wrong, surly, cynical and out for number one. He does a fine job of capturing dehumanizing NYC and its herd like congestion of noise and neon but he asks a lot for the viewer to hang with this crowd too long amid their degeneracy with redemption nowhere in sight. Panic is one dark and depressing ride.
There's a Faustian bargain afoot in this modern day noir/fantasy from 1949. Alias Nick Beal is an odd pairing of both moods that never establishes its footing convincingly in either.
District attorney Joe Foster (Thomas Mitchell) is an above board pol whose recent case success has elevated his status to being considered for a governor run. Enter "agent" Nick Beal (Ray Milland) who can lock it up with some key evidence to bolster his run. Foster bites and Beal sweetens the deal with a waterfront floozy (Audrey Totter) posing as a society dame to further corrupt him.
Nice to see dependable supporting actor Mitchell in the lead and he meets the challenge. Milland smoothly plays the sly, suave, snake with his usual sure handed grasp while Totter is a little more complex and Geraldine Wall placidly grounded.
Nicely lensed by Lionel Lindon, especially to enhance the nebulous Beal, the plot remains far fetched in the harsh world of noir, the outcome more Capra than Wilder.
District attorney Joe Foster (Thomas Mitchell) is an above board pol whose recent case success has elevated his status to being considered for a governor run. Enter "agent" Nick Beal (Ray Milland) who can lock it up with some key evidence to bolster his run. Foster bites and Beal sweetens the deal with a waterfront floozy (Audrey Totter) posing as a society dame to further corrupt him.
Nice to see dependable supporting actor Mitchell in the lead and he meets the challenge. Milland smoothly plays the sly, suave, snake with his usual sure handed grasp while Totter is a little more complex and Geraldine Wall placidly grounded.
Nicely lensed by Lionel Lindon, especially to enhance the nebulous Beal, the plot remains far fetched in the harsh world of noir, the outcome more Capra than Wilder.