yusufpiskin
Entrou em jun. de 2012
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British filmmaker Scott Chambers revisits J. M. Barrie's Peter Pan in the third installment of his long-gestating The Twisted Childhood Universe (TCU).
This aspect of re-adaptation warrants particular attention. While the mention of Peter Pan might first conjure the cartoonish iterations popularized by Disney, the character originally conceived in 1902 by the Scottish novelist and playwright J. M. Barrie is, in fact, quite steeped in the gore tradition.
(Peter Pan, the book, has frequently faced accusations of racism due to its often barbaric depiction of Native Americans. However, some researchers and writers have argued that the book should be evaluated within the context of the era in which it was written. This issue is largely absent from contemporary versions of the book and its cinematic adaptations.)
Those who follow the young filmmaker Scott Chambers, barely past his thirtieth birthday, will already be familiar with his characterizations and color palettes, and this film maintains a consistency that should satisfy his established audience.
Martin Portlock delivers a quite satisfactory performance as an actor who appears to have thoroughly internalized the narrative.
Another name to note in the film is Peter DeSouza-Feighoney. Having already accrued credits in numerous gore productions at a young age, one hopes that DeSouza-Feighoney will emerge as a significant actor in the genre's future.
This aspect of re-adaptation warrants particular attention. While the mention of Peter Pan might first conjure the cartoonish iterations popularized by Disney, the character originally conceived in 1902 by the Scottish novelist and playwright J. M. Barrie is, in fact, quite steeped in the gore tradition.
(Peter Pan, the book, has frequently faced accusations of racism due to its often barbaric depiction of Native Americans. However, some researchers and writers have argued that the book should be evaluated within the context of the era in which it was written. This issue is largely absent from contemporary versions of the book and its cinematic adaptations.)
Those who follow the young filmmaker Scott Chambers, barely past his thirtieth birthday, will already be familiar with his characterizations and color palettes, and this film maintains a consistency that should satisfy his established audience.
Martin Portlock delivers a quite satisfactory performance as an actor who appears to have thoroughly internalized the narrative.
Another name to note in the film is Peter DeSouza-Feighoney. Having already accrued credits in numerous gore productions at a young age, one hopes that DeSouza-Feighoney will emerge as a significant actor in the genre's future.
My initial viewing of Willow and Wind (1999) prompted me to declare it a masterpiece, a sentiment only amplified by subsequent viewings, leading to a profound affection for the film.
It appears that the filmography of Mohammadali Talebi is replete with masterworks, and this particular picture is decidedly among them.
To begin with, the very fact that this is a Japanese-Iranian co-production renders it inherently compelling; indeed, the opening moments treat the viewer to distinct Japanese melodies.
Beyond the sheer brilliance of the cinematography, the hallmarks of Iranian cinema - those naturalistic performances - are among the details that elevate this film to a singular status.
The screenplay, penned by Houshang Moradi Kermani, whose name had previously eluded my attention, coupled with the exceptional directorial acumen of Mohammadali Talebi, swiftly secured this film a place among my most cherished.
It appears that the filmography of Mohammadali Talebi is replete with masterworks, and this particular picture is decidedly among them.
To begin with, the very fact that this is a Japanese-Iranian co-production renders it inherently compelling; indeed, the opening moments treat the viewer to distinct Japanese melodies.
Beyond the sheer brilliance of the cinematography, the hallmarks of Iranian cinema - those naturalistic performances - are among the details that elevate this film to a singular status.
The screenplay, penned by Houshang Moradi Kermani, whose name had previously eluded my attention, coupled with the exceptional directorial acumen of Mohammadali Talebi, swiftly secured this film a place among my most cherished.