La tropical

La tropical

Documentary follows musicians, dancers and patrons both inside and outside the Salón Rosado Benny Moré, depicting with unbiased realism the struggles of daily life in today´s Havana.

  • Category:Documentary
  • Stars:
  • Uploader:Chich1Phat
  • Country:USA
  • Director:David Turnley
  • Writer:David Turnley, Juan Carlos Zaldívar

Documentary follows musicians, dancers and patrons both inside and outside the Salón Rosado Benny Moré, depicting with unbiased realism the struggles of daily life in today´s Havana. . You can read more in Google, Youtube, Wiki

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La tropical torrent reviews

Jasrick J (es) wrote: Kavya (alia) is a typical Punjabi girl who comes to Delhi for a marriage shopping and here she is spotted by Rakesh aka Humpty (varun). Humpty is a go-getter and though he is carefree he is smart. He decides to win Kavya??s heart but she proves to be tough. Eventually she relents and then she returns to Ambala. But Kavya??s father Mr Singh (ashutosh rana) is very tough and strict. Still, Humpty decides to convince Kavya??s family and he goes to Ambala with his two friends. What happens from there forms the rest.The director has come up with a romantic storyline and while the presentation was rich, the narrative was quite absorbing. The dialogues were well written. The script was above average and the screenplay made it lot better. The background score was melodious and three songs were worth watching. Cinematography was the main strength to this film. Editing was crisp. Costumes were well designed to suit the royalty while the art department was majestic. Varun Dhawan has given an energetic performance and he scores well, Alia looks cute and her chirpy nature makes her adorable. Both of there chemistry burns fire on the screen.The real showstealer is Ashutosh Rana who was impact creating. Siddharth Shukla was impressive. Kenny Desai was elegant, Gaurav Pandey was good. The others contributed rightly.Though the concept and premise is quite familiar it is the way the whole thing is packaged and presented which makes it good. The first half goes on a lighter note with elements of comedy, some romance, some action and nice songs. The interval bang was expected but the second half gets into the serious mode with elements of melodrama, some sentiment. But still, the entertainment quotient is kept elevated. Overall, this is a film that reminds one of the yore romcoms like DDLJ and KKHH,its very cute but also very entertaining. A complete family entertainer, a winner!!!

Eliabeth R (ru) wrote: Una pelcula donde lo nico que se concluye es que los contactos sexuales dan tantas vueltas que pueden comenzar y terminar en el mismo punto...nada de interesante

Ramanathan K (nl) wrote: last 30 mins was bad

Matt M (ag) wrote: When a tough kid who gets in trouble all the time forces a shy kid from the Bretheren to watch Rambo, the two become friends and work on filming an unofficial sequel which the title Son of Rambow, for a competition. A half hearted love letter to movies and childish imagination, there are perhaps too many themes tackled in the film that the screenplay frustratingly does not take enough time to explore. In the end, it's really an average feel good film and a waste of a good idea.

Nick H (au) wrote: A Great Insight If Your Into That Kinda Music

Thomas M (it) wrote: Very well done. You have to see it 2 or 3 times to really appreciate all the subtle nuances. This is how a love story should go.

David L (ca) wrote: The humor and action tend to get in the way of the story too often and the twists seem somehow unrealistic, but Tokyo Godfathers succeeds due to an original plot, emotional resonance, strongly developed characters and some very funny scenes. But what is more important, it is imbued with familial values and that is what takes this truly unconventional film to a whole new level.

vipul g (mx) wrote: The unshakeable faiith in Justice

Hyam Q (de) wrote: it's so cute !! and funny i guess !! :P

Monika L (ca) wrote: One of the Best Czech Movies.

Edith N (nl) wrote: The Sunniest Man Ever to Play Marlowe The Robert Mitchum version of this does not appear to be available on DVD; anyway, Netflix doesn't have it and the library didn't when we went through that part of the alphabet. The casting choice there was obvious, just as casting Humphrey Bogart would be in 1946 for [i]The Big Sleep[/i]. But the casting of Dick Powell was so counterintuitive that they actually had to change the title of the movie. The movie is based on a work called [i]Farewell, My Lovely[/i], and the consensus was that people weren't going to see it because it sounded like another tiresome musical of the sort Powell was trying to get away from by being in this movie in the first place. He was just as tired of those movies as the audiences were, it turns out. Unfortunately, he had a reputation, and it was only by literally putting the word "murder" in the title that they were able to overcome that. Marlowe has been hired by Moose Malloy (Mike Mazurki), a just-released ex-con, to find Moose's girl, Velma Valento (IMDb gives it away, but I will not). While he's poking around for her, he gets hired for one evening's work. Lindsay Marriott (Douglas Walton) wants him to play bodyguard for an hour or two, and Marlowe agrees. Only he falls down on the job--literally; someone hits him over the head with a sap, and they bludgeon Marriott to death. It turns out Marriott was going after a jade necklace which belonged to an old man named Grayle (Miles Mander). Grayle loved his jade, his wife (Claire Trevor), and his daughter (Anne Shirley). Helen, the wife, was younger than he by a great deal, and Ann, the daughter, was afraid that her new stepmother would hurt Grayle. And it is true that the new Mrs. Grayle has a secret, which everyone is trying to get out of Marlowe. Only Marlowe doesn't know any more about what's going on than anyone else does. He decides to solve the riddle if for no other reason than in self defense. Honestly, Dick Powell did a fine job at the role, though it's a bit of a toned down take on the character. Indeed, no less a figure than Raymond Chandler approved of Powell's Marlowe. However, as is so often the problem, it's hard to forget the roles he played in the past. I think the last thing I saw him in was [i]A Midsummer Night's Dream[/i], where he was an extremely tedious Lysander. I've never liked him much, and I think that's mostly because I've seen him play the same character over and over. He thinks he's an awfully swell guy, but he's too chipper for my tastes. Just not my bag. Fine, I suppose, for all those escapist musicals of the '30s, but by 1944, escapism wasn't quite as popular. The world had changed, and Powell was trying to change with it. His movie career really only lasted about twenty-two years, and there were a lot more titles in the first half than the second. Audiences had changed, I think, and while Powell tried to change with them, typecasting has always been an issue. I've not yet read the book, but my understanding is that the book and the movie should not be entirely considered to be the same story. Therefore, the fact that I didn't always quite understand what was going on cannot be blamed on Chandler's drinking problem the way the missing murderer in [i]The Big Sleep[/i] can. In fact, I strongly suspect that the three stories are tied together better in the book, because I know a lot was trimmed. Well, a lot is always trimmed; even the most padded pulp novel loses something in the translation to film noir. Of course, it's not unusual for a private detective to be working for more than one client on more than one case at a time, and it's only because of the simplified version of the job that we get from fiction that we think it is. But I mean, at least let the distinction be made a bit more clear. It's obvious that Marlowe assumes all three jobs are connected, but it's not clear why he thinks so--until the end, when he learns that they are. In my admittedly incomplete experience, Humphrey Bogart still makes the best Philip Marlowe. As he was the best Sam Spade. There is something to Bogart in both style and appearance which makes him perfect for that sort of role. However, Dick Powell does a more than passable job here, and anyway Bogart was making two classic films of his own that year. ([i]Passage to Marseillaise[/i] and [i]To Have and Have Not[/i], for the curious.) Besides, it's quite obvious that Hollywood was having a bit of a tough guy shortage in 1944; we should just be grateful it wasn't Ronald Reagan. I don't know why Dick Powell was still making movies in 1944, but the reason there weren't as many tough guys around Hollywood at the time was that the tough guys were Somewhere in France. Or Somewhere in the Pacific. Or otherwise engaged in the business of fighting for their country. Still, though, most of those who were left were old enough to pull off world-weary, which is the thing Dick Powell misses here.