Sanjana lives in a big city along with her husband and two daughters. But things are not quite rosy as the couple faces a disastrous situation in there life which leads to divorce. Sanjana ... . You can read more in Google, Youtube, Wiki
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Wil S (br) wrote: One of the most touching coming of age films I've ever seen. Even if you don't care for foreign language films or reading subtitles, this film defies language. Simply beautiful.
Sarah C (br) wrote: So the concept was interesting. Surprise, surprise, the psychology major wanted to watch a movie about a guy with multiple personalities. But the agnostic wasn't so enthused.
TMS S (ru) wrote: Love this movie. One of those movies you watch with family and laugh and have a good time
christopher h (nl) wrote: where can i see this movie at
Monica M (es) wrote: The ending with the boys grown way up and throwing Maps' ashes was a little corny, I thought, but otherwise it's a really good movie.
Amy D (nl) wrote: Couldn't even finish this one it was so bad.
Mike D (jp) wrote: If the board game 'Clue' were a movie (and I realize it already was), 'Gosford Park' would fit its pieces nicely thanks to its delicately constructed plot and unique personalities portrayed by its cast. The 2001 Best Picture Academy Award-nominated film had a limited audience both while in theaters and after the fact, but it deserves some attention for a few reasons.The film, which was directed by Robert Altman (Mash, A Prairie Home Companion), is set in the pre-war English countryside, where a wealthy group of guests are hosted at a manor for a weekend party of hunting, games, singing and...murder? Some of 'Gosford's strengths include its witty-yet-smart dialogue, ability to paint a picture of two very different classes and humanize them (servants and aristocrats) and its killer cast (no pun intended). Maggie Smith and Michael Gambon (both paired together before their 'Harry Potter' days) lead the impressive performances, with a young Ryan Phillippe and Kelly Macdonald also delivering in somewhat surprising ways.Again, the "tale of two cities" setup for this film works well, as we get to follow the series of events through the eyes of both the upper and lower classes as clues are revealed during the hunt for who's responsible for the event that brought all the fun and games to a standstill. While much of the film is shot within the enormous home, the cinematography is still respectable, and adds to the feeling that the film indeed is set years back in time. But perhaps the best part of 'Gosford' is the character development - especially among the servant class, which helps humanize these people in a way that many films do not.By the end of 'Gosford Park,' the events of the film are pretty believable, and while there really is no true resolution, audiences strangely are okay with how things turn out. That is just one sign of a truly well-done piece of cinema.
Jamie T (ag) wrote: True labors of love in the cinema are a tricky thing, because the passion the filmmakers feel for the material can be lost on the viewer. AMERICA, AMERICA had the potential to be a three-hour love letter to Elia Kazan's uncle, whose long and difficult journey allowed their family to move to America. Instead, it's a surpassingly fine film, one which earned Kazan well-deserved Oscar nominations for Best Picture, Director, and Screenplay. It's a shame he didn't win (he did get the Golden Globe for Best Director), and a greater shame still that the film was a box-office disaster, and thus was almost totally forgotten, finally being released on a beautifully restored DVD this past Tuesday. On the DVD, an admirer of Kazan's pleads the viewer to spread the word about this film and help it find an audience. I'll do my best.Kazan's script and direction mix passion and restraint beautifully, as the film never lingers on obscure family matters (even at 168 minutes, it's very well-paced), and he chooses not to glorify his uncle, Stavros Topouzoglou, showing how many of his misfortunes are due to his own failings. He picked a young Greek actor, Stathis Giallelis, to play Stavros, and Giallelis, if a bit hammy at times, powerfully conveys Stavros' passion and inner conflict. He appears in almost every scene, and while the colorful supporting cast frequently steal the scene, his performance is a most appropriate center to the film. Kazan tells the story quite simply (a few flashbacks towards the end aside), and his script, while bearing a couple of gaps, is intelligently written and engaging. The picaresque nature of the story allows, as mentioned before, for a succession of colorful characters, and all are powerfully acted. Frank Wolff makes a fine early impression as Stavros' Armenian friend, Vartan: unfortunately, his screen-time is quite brief. Harry Davis and Elena Karam are utterly convincing as Stavros' aged parents, particularly Davis as the frail old man who, despite being frustrated by his son, loves him and trusts him to save the family from Turkish oppression. Estelle Hemsley has an amusing bit as his sardonic grandmother, living in the mountains, dispensing folk wisdom (with a New Yorkish accent, no less); Lou Antonio is wonderfully slimy as a conman who plagues Stavros, calling him "my brother of the road", and stating that "what's mine is yours, and what's yours is mine", to which Stavros notes, "But you have nothing." Salem Ludwig is fine as the lazy cousin who finally propels Stavros into the good graces of Sinnikoglou (Paul Mann), a wealthy merchant, who secures Stavros' betrothal to Thomna (Linda Marsh), his daughter.Mann, best known for playing Lazar Wolf in FIDDLER ON THE ROOF, is absolutely wonderful here, as the lusty, warm-hearted merchant; his monologue about how he and Stavros will grow old and fat together is masterful, and should have won him an Oscar (he was nominated for a Globe). Marsh, also Globe-nominated, is equally fine, also dazzling with a monologue where she unloads her fears about Stavros' overpowering dream to reach America (justified, as it turns out); tortured by her perception of her own plainness, perhaps even by her father's overbearing nature (his agreement with Stavros prevents him from taking Thomna to America). Katherine Balfour is strong as Sophia, the neglected wife of Aratoon Kebabian (Robert H. Harris), who starts an affair with Stavros, which continues on the voyage to America, before the discovery of the affair leads Kebabian to mock Stavros and threaten him with deportation back to Turkey; Balfour and Harris both have excellent monologues, Balfour's tinged with longing and loneliness, Harris' with scorn and smugness.As Hohanness, the tubercular drifter who Stavros helps and who later helps Stavros get into America (I won't divulge what exactly he does, but it's a powerful scene), Gregory Rozakis was also Globe-nominated, and while his character is a bit underdeveloped (disappearing from the action for long stretches, too), Rozakis has a warm, unpretentious kindness about him that makes his character's saintliness believable. Also, John Marley, as an anarchist laborer who takes Stavros under his wing in leaner times, is excellent, and like Wolff, one wishes he had more screen-time; his combination of life-loving and rebellious determination is thrilling.It's a beautiful looking film as well. Gene Callahan's production design (reputedly Vassilis Photopoulos helped a great deal as well) won an Oscar, and deservedly so; Stavros' impoverished family home, the slums of Constantinople, Sinnikoglou's lavish house, etc...all beautifully realized. But even better, and shamefully overlooked, is Haskell Wexler's breath-taking photography. AMERICA, AMERICA makes a compelling case for black-and-white cinematography (color would have been too much), and Wexler fills the film with beautiful images, not just of the Greek scenery, but also of faces, of rooms both dark and dingy, and bright and open. Anna Hill Johnstone's costumes are equally impressive, without being ostentatious. Dede Allen's editing helps the film move gracefully along (a couple of fudged cuts here and there aside), and Manos Hadjidakis' score provides the perfect accompaniment to story and setting.A testament to Elia Kazan's skills and to the sacrifices of his uncle, AMERICA, AMERICA has more to offer than a case history of immigration. It's an enveloping look at a time and place, filled with fascinating characters, standing as a marvelous piece of cinematic storytelling to boot. It's an excellent film, and one that truly deserves re-appraisal.
Stephen P (ca) wrote: Kinda disappointed with this actually.
Vivian L (fr) wrote: Not bad, good to watch it once or twice. just don't like Scarlett Johansson in the movie, something weird about her...