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Desejo e Reparação (Atonement)


Bob Harris
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Criticas novas

 

"This year's first contender: Atonement

 

 

After

seeing it I am pretty sure Knightley is a top contender for Best

Supporting Actress honors. Also James McAvoy could have a shot at Best

Actor. Additional nominations for Make-Up, Cinematography, Editing

(though I found it a bit confusing at times), Adapted Screenplay,

Costumes and Art Direction are in the cards, quite possibly even Best

Picture and Director. The women in the screening I attended absolutely

adored the movie."

 

Fonte: http://www.worldofkj.com/forum/viewtopic.php?f=16&t=33799

 

"I just saw Atonement yesterday, and seen as it is one of the buzzy

Oscar titles, here are some random thoughts (I'll soon organise them

into a coherent review):

 

-Keira Knightley is probably the finest

actress of her generation and her Cee is a fully formed and captivating

individual despite the fact she is not given much to work with

-Directors keep underusing both Romola Garai and Vanessa Redgrave

-James McAvoy will finally be nominated for an Oscar

-The

film is unashamedly British and even has some sequences in French - no

kowtowing to the US market with their fear of subtitles and their

difficult understanding of antiquated British English

-The film's

music is fantastic, using cues from both the diegetic and non-diegetic

sound sheets to spring off into all sorts of marvelous concoctions -

plus this must be one of the first instances that I am aware of that a

sound integrated into a score is actually telling part of the story (if

you pay careful attention)

-Christopher Hampton's screenplay is very

literal (except for the, er, epilogue) but knows how to incorporate all

sorts of fancy details that made the novel so rich

-The film runs 2h10 but is too short, especially the ending is rushed

 

Overall, though... wow!! what a movie!"

 

Fonte: http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=169623081&blogID=300054483

 

lizzybennet2007-08-16 14:44:52

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Não são bem críticas né? Comentários de 'público' mesmo.

 

Ainda assim' date=' excelente impressões... Mas que o epílogo seria complicado de retratar... Eu já imaginava. 16
[/quote']

 

Verdade verdade!! 06

 

E um dos caras fala sobre a Edição um pouco confusa. Absolutamente normal. É um vai-e-vem no livro que.. só lendo. 06

 

Realmente, livro é bem vai e vem!

Mas ambas foram bem positivas e isso já me anima muito.

Só achei estranho o primeiro menino comentar que Keira talvez tenha uma indicação por Atriz Coadjuvante. Mesmo a participação dela sendo bem maior na primeira parte do livro, ainda assim não creio que seja papel de atriz coadjuvante o dela.

 

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Também não acredito em coadjuvante não (apesar de também acreditar que ela teria mais chances como).

 

Aliás' date=' quero acrescentar... Já vi um monte de gente usando Atonement na assinatura. 05
[/quote']

 

Sim, ela teria mais chances. É esperar pra ver.

Quanto as assinaturas eu tambem vi! hehehehe! Fiz a minha hoje 05

 

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Mas a Cecília é a coadjuvante na história' date=' os dois protagonistas são Robbie e Briony, ela é um dos elos que os unem.[/quote']

Para mim, são três protagonistas. Não acho ela tão coadjuvante. Talvez, a menos participativa. O problema é que Briony é interpretada por três atrizes diferentes.. Então.. Será Atriz Coadjuvante para Vanessa, Saoirsen e Romola. Aliás, apesar de preferir que Keira concorresse como Coadjuvante, seria loucura quatro atrizes de um mesmo filme tentarem uma mesma categoria (Apesar de Vanessa não ter chances).  
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Mas a Cecília é a coadjuvante na história' date=' os dois protagonistas são Robbie e Briony, ela é um dos elos que os unem.[/quote']

 

Sim sim. Mas pelo visto no filme eles focam mais na Keira. Fora o fato de Briony ser interpretada por 3 atrizes, como o menino lá disse...é complicado quando se tem 3 atrizes fazendo um mesmo papel.

Mas se for seguir o livro a Cee ficaria como coadjuvante mesmo.

E realmente, Keira teria bem mais chances na categoria de coadjuvante! E olha eu aqui falando sem ter visto o filme ainda hehehehehe

lizzybennet2007-08-16 21:22:09

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Mas a Cecília é a coadjuvante na história' date=' os dois protagonistas são Robbie e Briony, ela é um dos elos que os unem.[/quote']

 

Para mim, são três protagonistas. Não acho ela tão coadjuvante. Talvez, a menos participativa. O problema é que Briony é interpretada por três atrizes diferentes.. Então.. Será Atriz Coadjuvante para Vanessa, Saoirsen e Romola. Aliás, apesar de preferir que Keira concorresse como Coadjuvante, seria loucura quatro atrizes de um mesmo filme tentarem uma mesma categoria (Apesar de Vanessa não ter chances).  

 

Eu acho que o pessoal do filme deve investir na canditadura de coadjuvante para Saoirsen, o fato dela ter sido escolhida como protagonista de "Uma vida interrompida" lhe dá um grande buzz e a Briony de 13 anos é a mais importante das fazes dessa personagem e a mais complexas.

Eu duvído que irão investir na candidatura da Keira como coadjuvante, ela já esta sendo apontada como atriz principal e pelo número de fotos que já foram divulgadas do filme (85% só dela) não há dúvidas que derão um destaque bem maior a Cecília do que para Briony.

Ainda acho que o McAvoy pode supreender nas premiações.03
Garbage2007-08-17 21:38:30
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Eu acho que o pessoal do filme deve investir na canditadura de coadjuvante para Saoirsen' date=' o fato dela ter sido escolhida como protagonista de "Uma vida interrompida" lhe dá um grande buzz e a Briony de 13 anos é a mais importante das fazes dessa personagem e a mais complexas.

Eu dúvido que irão investir na candidatura da Keira como coadjuvante, ela já esta sendo apontada como atriz principal e pelo número de fotos que já foram divulgadas do filme (85% só dela) não há dúvidas que derão um destaque bem maior a Cecília do que para Briony.

Ainda acho que o McAvoy pode supreender nas premiações.03
[/quote']

 

 

Sim sim.

Quanto a uma indicação do McAvoy eu acho bem provável mesmo!

Pode ver que todas as criticas e comentarios até agora citaram ele dizendo sobre uma possivel indicação. Torcerei 05

 

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Gente!

 

Estão sabendo que o filme, aqui no Brasil se chamará Desejo e Reparação né? 07

 

Entãooo. Mandei um e-mail para a Paramount criticando a escolha do título nacional do filme. Perguntei o motivo da não escolha de apenas Reparação e que gostaria que o filme tivesse o nome tradicional.

E já tive uma resposta!!!! 05
Eles disseram que encaminharão o e-mail para a Paramount Latina, que é responsável por tais decisões. Acrescentaram dizendo que a nossa opinião é importantíssima.

Mandem e-mails reclamando do título!

[email protected]
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Nova crítica, não tão positiva. 04

 

review: Atonement (Venice 2007)

 

 

 

Written by Boyd van Hoeij   

Saturday, 18 August 2007

Atonement%20film%20reviewAfter enchanting the world with his first feature film, a masterful and refreshing adaptation of the Austen literary classic Pride & Prejudice, the 35-year-old British directorial prodigy Joe Wright again teams up with his star actress Keira Knightley for another accomplished adaptation of a British literary work: Ian McEwan’s Atonement. Closely following the novel (adapted for the screen by playwright Christopher Hampton), Atonement is a fully formed pleasure of a film that only really stumbles in its editing and its closing moments, compressing McEwan’s haunting epilogue into too small a sequence to allow especially those unfamiliar with the novel the time to fully absorb its devastating meaning. Like Pride & Prejudice, this film could prove an awards magnet and do respectable though probably not spectacular business. It opens the Venice Film Festival on August 29. (Minor spoilers follow.)

In the opening sequence set in a children’s room in a splendid mansion in the British countryside circa 1935, the camera pans gently upwards from a trail of animal puppets worthy of Noah’s Ark on the richly carpeted floor to a chair for grownups on which the petite 13-year-old Briony Tallis (Saoirse Ronan) strains herself to reach all the letters on the typewriter on her desk. Accompanied only by the sound of that typewriter and without a word spoken as yet, the director has already established some of the story’s major themes: the importance of writing, the importance of a point of view (in this case the point of view of a child who would like to pretend she is older) and the difficulty for said child to complete the task she has set herself with the means she has chosen, which are made for adults, not children.  

Like in Pride & Prejudice, in which for example the dance sequences were completely integrated into the story, Wright again not simply uses period detail to decorate the frame but injects it right into the very fabric of the story, making it an indispensable part of the events that occur rather than an inconvenience that only the art department needs to deal with. This approach even extends to the music, as Dario Marianelli’s lush score playfully incorporates various diegetic sounds, of which the thematically important typewriter is only the most obvious. The work of cinematographer Seamus McGarvey (The Hours) and production designer Sarah Greenwood (Pride & Prejudice) is as sensuous as in Wright's first film.

In adapting the novel, Hampton stays very close to the original and finds place for an amazing amount of detail without making the whole seem cluttered. He also retains the decidedly British flavour of the language and even some of the dialogues in French. Atonement is really two stories in one and these two-stories-in-one in their turn happen on two different planes (the second plane is squeezed into the film's coda). There is the story of Briony’s older sister Cecilia or Cee (Keira Knightley), who has returned from Cambridge and feels increasingly drawn to Robbie (James McAvoy), the son of one of the numerous maids of the Tallis household (Brenda Blethyn), whose college tuition has been generously paid for by the family. Despite the class differences, Robbie seems to feel the same, and during the stifling midday heat of summer electricity crackles between the two as Cee climbs out of the fountain she jumped into to recover part of a broken vase and Robbie cannot do anything but stare.

There is also the story of Briony herself, who sees the events at the fountain from behind a window in the house, not fully understanding what is going and made even more suspicious by a too-candidly phrased apology note Robbie writes for Cee not much later. When events before and during dinner spin out of control, Briony will have accused Robbie of a crime he did not commit, locking him away behind bars for years until he gets an early leave to serve in France in WWII, where the story picks up again as both 18-year-old Briony (now played by Romola Garai) and Cecilia have become nurses in different hospitals and Robbie makes his way to Dunkirk through war-torn France.

As in the book, the film takes care to present the early events from points-of-view close to different characters and Wright and his editor Paul Tothill backtrack several times to show a different take on the same events (most notably the events at the fountain and a continuation of Cee and Robbie’s mating dance in the library not much later). In book-form it is easier to juggle two perspectives at the same time, but on film this does not fully work; is it really necessary for a full understanding of all the characters’ positions to show events twice? A flashback that further explains the relationship between Robbie and Briony is also awkward, inserted at a seemingly random moment that gives it undue prominence as an explanation for later events. Certainly Wright could have relied on his talented actresses to show that their characters are more complex than what this scene suggests?

 

And what fine actresses they are! Knightley is again in top shape, showing that her Oscar nomination for Pride & Prejudice was no accident, though her character is very different here. She has not a whole lot of material to work with but fills the screen with a magnetic presence (reminiscent of the Hollywood stars of the 1940s and 1950s) that nevertheless leaves her enough room to simply be the character. Saoirse Ronan is equally impressive as the young Briony, while Romola Garai as the older Briony sustains the difficult mid-section of the film with a restrained force that belies the fight being fought in her conscience (her scene with a dying French-speaking soldier, played by Jérémie Renier in a cameo, however, is strangely mute).  

 

But the real revelation of Atonement is James McAvoy (The Last King of Scotland), whose Robbie is so convincing that it is no wonder that Cee doesn’t care he is not from the same class as she is. His natural charm and utterly honest demeanour are a wonder to behold and are especially noteworthy in the film’s single best scene, in which Robbie and Cee meet again for the first time after his imprisonment, in a noisy canteen somewhere in wartime London. Neither of them speaks much, but the way McAvoy and Knightley play the crude, untold emotions of this long awaited and much dreamt about encounter is simply heartbreaking.

 

It is this scene, combined with the sequence at the fountain that could make Robbie and Cee one of the major romantic screen couples of the new millennium and that sells their entire romance, their tragedy and everything that follows. Even the film’s rushed handling of the coda-with-a-sting cannot diminish the force of these two lovers and their much-earned right to be together, forever.  

 

Resumindo: O crítico elogia bastante as atuações, e aspectos técnicas. Mas critica e MUITO a edição. Disse que há momentos confusos, desnecessários, cosntrangedores e prolixos, que poderá deixar o expectador inapto a compreender a trama. Afirmou que o final é bastante sucinto e não causa o impacto da obra. Completando, acha que ganhará muitos prêmios técnicos, mas está longe de ser sensacional.
Rike2007-08-18 16:37:38
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E começou...

 

i saw it today in a special London screening.

Here are my thoughts:

overall it is a beautiful' date=' artistic piece. amazing music (choreography?) and cinematography

great storytelling and attention to detail.

the cast were superb:

james mcavoy is really growing as an actor, and deserves his first nomination for this.

keira knightley is also excellent - amazing screen presence and chemistry with macavoy

she is notably absent in the middle of the film, and you long for her to return

it IS a lead performance, simply because the love story element of the story is taken to the end - rather like rachel Weisz in the constant gardener

Saoirse/Ronan/Redgrave:

Saoirse steals the movie in a sense - a very confident reading
Ronan gives a very fine performance, and, for me is oscar worthy
Redgrave, however, totally owns this character, and nails it with the final 10 minutes of the movie

therefore Redgrave should be nominated, but I'm sure this debate will go on and on

Overall it is more of an ensemble piece....

A


I predict:

Picture
Director
Actor
Actress
Supporting Actress (one of the Brionys)
Music
Cinematography
Adapted Screenplay[/quote']

 
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Just seen it too.

WOW. I had high expectations, and was completely overwhelmed. Fantastic performances, haunting score, beautifully filmed and smartly told, and exceptionally moving. I laughed at least 5 times, cried 4...and held my breath in wonder more times than i could count. Its an excellent adaptation, a perfect cinematic reflection of the novel, but also a fantastic film in its own right.

In terms of awards...The Times wrote today that it was unlikely that a better film would be seen at Venice, that it is the best British film for a long time...and i completely agree. It is certainly better than all last years best picture nominees. I'm not certain about categories for acting, the 3 Brionys are all great, Keira too (and probably just has about enough impact story-wise for a Best Actress). James McAvoy for Best Actor certainly.

I was most impressed with the end, which personally i found pitch perfect, and the overlapping narrative style. The film was surprisingly playful in tone (at the beginning at least), but delicately heartbreaking also. It wasn't overplayed in any way. And the scene at Dunkirk is something special, as is the scene in the cafe. And the entire first section...okay, if i'm going to be naming the great scenes, i'd run out of room.

If there is one big criticism its this....too short. At 2hrs, most films would be perfect, but i just want more of it. Of all of it. In fact, i think i might start counting the days till i can see it again.

131313131313

 

 

Just back from preview FANTASTIC, almost true to the book apart from the ending, James MaCavoy is outstanding, Brionys are wonderful. Want to see it again NOW!!!!! Soundtrack is fabulous...the same as the trailer. You will love it.Joe Wright has done it again.

05

 

E um comentário MUITO animador do The Times sobre Atonement.

 

The Venice film festival, where The Magic Flute was shown last year, opens on August 29. I’d be amazed if the jury finds a better film than Atonement. I cannot think of a better British movie in years. Unlike most of our home-grown efforts, it is big-scale, yet intimate when it needs to be.

 

161616161616
Rike2007-08-19 18:44:45
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