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.
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O Gigante da América torrent reviews
Lego G (br) wrote: One word - worthless.
Ole J (br) wrote: 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.
Joey S (jp) wrote: enforces the rule - that pay backs are a . . .
WS W (us) wrote: A cult film wannabe but turned out to be so lame & nondescript.
Paul C (kr) wrote: Lovely story with a honey sweet script about a child hood to adult hood love between a canadian eskimo and a french girl. The photography here for me is the best thing abouty the film and how it allows the story to painted against its background. 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). It works for me
Edith N (us) wrote: 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]. In fact, it is on all three. This is doubtless because it is a post-war, sound Charles Chaplin movie with a story by Orson Welles. (Welles was originally supposed to direct, but Chaplin couldn't stand the idea of having someone else direct him.) 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. I have long maintained that, while one need not actually find Charlie Chaplin films funny, one must acknowledge the influence he had on film. This, indeed, is another film which is important at least as much for what happened offscreen. The film's chances were ruined by Chaplin's personal politics. There was much ado about how buying tickets for this movie might mean giving money toward Chaplin's suspect, possibly Communist, causes. The film itself is entertaining but not essential. Henri Verdoux (Chaplin) was for thirty years a perfectly honest bank clerk, supporting a wife (Mady Correll) and son (Allison Roddan). And then comes the Panic of 1930. He is fired, and he must find another method of acquiring income. And so he marries rich women, takes all their money, and murders them. 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. He tells her that he is a ship's captain, which explains his lengthy and frequent absences. She is still alive because she has not given him control of her money. Almost more so than the cold Lydia Floray (Margaret Hoffman), she offends his every aesthetic sense. She dresses badly, is extremely unintelligent, and has a braying voice. (That last, of course, was accomplished by casting Martha Raye.) 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. I have read several reviews talking about whether or not you have any sympathy for Verdoux, and I think they rather miss the point. At bare minimum, you can understand why the man did what he did, even though it's a horrible idea. 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. When you kill people in their millions, well, fortunes of war and all that. I think it detracts from the story. 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. 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. Doubtless Annabella's greatest crime was preventing him from marrying another victim. Of note is that the wife and child disappear. He tells The Girl (Marilyn Nash, who died last month) that he lost them earlier, but it's never quite clear how. 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 is not atoning for the wealthy victims, as he feels no remorse at their deaths. 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. 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. There is nothing to be gained from killing The Girl at any point at which he meets her. 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. In a new way, since the supply of rich victims dried up at an inopportune moment. Possibly the real reason this made all three lists is that it is the movie with which Chaplin was hoping to escape the Tramp. 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. Verdoux is suave, debonair, and amoral. 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. (And makes the same [i]corpus delicti[/i] error that everyone else does, alas.) Not the Tramp 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. In fact, it wouldn't surprise me at all.
Aaron C (mx) wrote: 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. 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.
Andrew K (nl) wrote: Will I watch it again? Probably not, but it had its fun parts.
Ethan H (ag) wrote: Rating this on the 'action movie' level I thought it was great! Pays homage to the great martial arts movies of the 90s. Didn't expect it to be this engaging. Adkins is a star in this genre.
Mike V (nl) wrote: This cold war historical drama contains good solid performances (especially from Rylance) and realistic, detailed period settings. 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. It was often predictable, overly patriotic and too long for me to make any real connection with the characters. And somehow I felt like I'd seen it all before. AAN 1001 MC