O Gigante da América

A caboclo's soul wanders through purgatory (or hell), visiting many places until he boards a ship whose destination is unknown.

  • Rating:
    4.00 out of 5
  • Length: 88 minutes
  • Release: 1978
  • Language: Portuguese
  • IMDB link: O Gigante da América
  • Keywords: O Gigante da América 1978 full movies, O Gigante da América torrents movie

A caboclo's soul wanders through purgatory (or hell), visiting many places until he boards a ship whose destination is unknown

O Gigante da América is the best excited movies torrent of Júlio Bressane (story), Ivan Cardoso. This movie was introduced in 1978. You can check list actors in this movie torrents, such as Carlos Imperial, Marta Anderson, Hélio Ary, Clóvis Bornay, Tania Boscoli, Teresa Cristina, Suzana de Moraes, Sonia Dias, Dorvigílio, Fabíola Fracaroli, Martim Francisco, Maria Gladys, Wilson Grey, José Lino Grunewald, Priori Lemos. There are many categories, such as General. This movie was rated by 5.4 in www.imdb.com. This is really a good movie torrents. Share this movies torrent to support us . You can read more in Google, Youtube, Wiki

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Links Name Quality Seeders Leechers Size
Download   O Gigante Da América (1978) Ita Subs - DVBrip.Nikko.CG.mk HDTV 42 39 1.32 GB
Download   O Gigante da America (1978) [Cinebrazil] Other 50 43 1.37 GB

Users reviews

Aaron C (mx)

However, Funny People still offers very funny and perceptive scenes that's anchored by ample emotional depth and mature performances, while featuring some of Judd Apatow's signature deft humor. Although it has a considerable amount of admiring qualities, they all never quite seem to come together in the end as the narrative falls victim to aimless self-indulgence in its second half

Andrew K (nl)

Will I watch it again? Probably not, but it had its fun parts

Edith N (us)

In fact, it wouldn't surprise me at all. And it's entirely possible that that absence, more than the possible presence of dirty, dirty Commies, is what destroyed this film at the box office. ) Not the Tramp at all. (And makes the same [i]corpus delicti[/i] error that everyone else does, alas. Early in the story, he is tending his roses while what we can only assume is one of his victims burns in the incinerator behind him; he assures Inspector Morrow (Charles Evans) that the bodies will never be found. Verdoux is suave, debonair, and amoral. An advertising slogan which pops up frequently in the bonus materials for the DVD (and any DVD designer should have enough good sense to always have an indicator for what you're about to select somewhere) is "Chaplin Changed--Can You?" Even [i]The Great Dictator[/i] had a Tramp-like character, if not the Tramp himself, and this film doesn't. Possibly the real reason this made all three lists is that it is the movie with which Chaplin was hoping to escape the Tramp. In a new way, since the supply of rich victims dried up at an inopportune moment. But it is still possible that his wife and child might be spared from suffering, and it is possible that he is the one who did it. There is nothing to be gained from killing The Girl at any point at which he meets her. Some people comment with surprise that he doesn't kill The Girl, but why would he? He kills because he can get something out of it. But if he killed his wife and son so they would not have to live in poverty, that would be something for which he would feel regret. He is not atoning for the wealthy victims, as he feels no remorse at their deaths. There is speculation on the internet that he killed them, which would also explain why he is so calm about going to the guillotine at the end of the picture. He tells The Girl (Marilyn Nash, who died last month) that he lost them earlier, but it's never quite clear how. Of note is that the wife and child disappear. Doubtless Annabella's greatest crime was preventing him from marrying another victim. That is a horrible truth, and perhaps Chaplin didn't want to play a character possessed of it, but it is why Verdoux does what he does. I think it would be better if Verdoux merely stuck to the truth--he's killing these women because he wants their money and doesn't think they deserve to stand in the way of his own comfort. I think it detracts from the story. When you kill people in their millions, well, fortunes of war and all that. Chaplin gives himself a little speech at the end about how it's only shocking because he's an individual, not a country, and because he clearly didn't kill enough people. At bare minimum, you can understand why the man did what he did, even though it's a horrible idea. I have read several reviews talking about whether or not you have any sympathy for Verdoux, and I think they rather miss the point. ) You know this won't end the way he hopes it will, but you can see why he thinks it might; these are not women who will meet anyone's sympathy. (That last, of course, was accomplished by casting Martha Raye. She dresses badly, is extremely unintelligent, and has a braying voice. Almost more so than the cold Lydia Floray (Margaret Hoffman), she offends his every aesthetic sense. She is still alive because she has not given him control of her money. He tells her that he is a ship's captain, which explains his lengthy and frequent absences. Often they are undesirable in some way; we spend the most time on Ugly American Annabella Bonheur (Martha Raye), whom he has of course married under the name of Monsieur Bonheur. And so he marries rich women, takes all their money, and murders them. He is fired, and he must find another method of acquiring income. And then comes the Panic of 1930. Henri Verdoux (Chaplin) was for thirty years a perfectly honest bank clerk, supporting a wife (Mady Correll) and son (Allison Roddan). The film itself is entertaining but not essential. There was much ado about how buying tickets for this movie might mean giving money toward Chaplin's suspect, possibly Communist, causes. The film's chances were ruined by Chaplin's personal politics. This, indeed, is another film which is important at least as much for what happened offscreen. I have long maintained that, while one need not actually find Charlie Chaplin films funny, one must acknowledge the influence he had on film. ) They also all three agree on [i]The Great Dictator[/i], though of course they can't all agree on [i]The Gold Rush[/i], as the [i]New York Times[/i] list has no silent movies. (Welles was originally supposed to direct, but Chaplin couldn't stand the idea of having someone else direct him. This is doubtless because it is a post-war, sound Charles Chaplin movie with a story by Orson Welles. In fact, it is on all three. Not Exactly the Tramp This, too, is on a Films I Should See Before I Die list, as was yesterday's [i]La Femme Nikita[/i]

Ethan H (ag)

Adkins is a star in this genre. Didn't expect it to be this engaging. Rating this on the 'action movie' level I thought it was great! Pays homage to the great martial arts movies of the 90s

Joey S (jp)

. . enforces the rule - that pay backs are a

Lego G (br)

One word - worthless

Mike V (nl)

AN 1001 MC. And somehow I felt like I'd seen it all before. It was often predictable, overly patriotic and too long for me to make any real connection with the characters. While the film kept my interest (mainly from an historical perspective) and tried to build tension and suspense, it didn't quite reach those heights. This cold war historical drama contains good solid performances (especially from Rylance) and realistic, detailed period settings

Ole J (br)

This has a lot of history about Indonesia and West Papuan that is quit interesting, but it's more about the diversity of the nation and how some of the local West Papuan cultures are oppressed by Indonesian military

Paul C (kr)

t works for me. Patrick bergen is solid, Jason Scott Lee is very convincing and Anne-Parriaud is just sexies thing in the world (I am perfectly willing to accept that this is the reaqson i love the film). The photography here for me is the best thing abouty the film and how it allows the story to painted against its background. Lovely story with a honey sweet script about a child hood to adult hood love between a canadian eskimo and a french girl

WS W (us)

A cult film wannabe but turned out to be so lame & nondescript