Orchestra of Exiles

Orchestra of Exiles

The suspenseful chronicle of how the prodigious Polish violinist Bronislaw Huberman helped save Europe’s premiere Jewish musicians from obliteration by the Nazis during World War II. In three years, he transformed from a world renowned violinist to a humanitarian racing against time.

Some stories get lost in the turmoil of their times. It is often only in retrospect that we can discover the true shapers of history. One such man is the prodigious Polish violinist ... . You can read more in Google, Youtube, Wiki


Orchestra of Exiles torrent reviews

Jack G (ca) wrote: Sometimes when I watch a film, I have practically no choice but to look at what is between the lines (or, as I sometimes tell my students in the English writing class I teach, *beyond* the lines). This is a case in point with Two Days, One Night, another film by the Dardenne brothers. If you've seen at least one film you might get a handle on how their style is, and don't mistake how "simple" (if that's even a word to use here) their approach to storytelling is for having a lack of style.If as a filmmaker you're ostentatious or really out there it's often called 'stylish' direction (i.e. Wes Anderson, Brian De Palma), but the Dardennes' approach is to executetheir own method as well, just as calculated as the filmmakers who dress their editing and camerawork to impress but in a different way; seeing L'Enfant I got that, and even more so with The Kid on a Bike (the former very good, the latter excellent), and what it comes out to is that they look head on at the human beings that make up this Earth. We know these people, and even if there's a Maron Cotillard on screen it doesn't mean we get that distance like if she was in Inception or Dark Knight Rises or something. Her character is us, or someone we know, and just as much are the other characters that she interacts with who, in reality, may be actors acting in a film but could as likely to be those same people: working class, trying to get by, thinking that if a $1,000 bonus is floated their way it's time to take it even if it means, well, a certain someone can't stay around on the job.(On a side note, this film hit me on a personal level: a member of my close family had a situation almost exactly similar to the one that Sandra's is here, where severe depression, which is sometimes, though not always, is looked upon by society as a "eh, get over it" kind of deal, made it so that this family member could barely get out of bed much less go to work every day, and just as in the same way it put the family's job in jeopardy. I could see much of the same struggle, almost to the letter emotionally speaking, and even the moments where the film takes its biggest dramatic turns, one you'll know when you see it, felt familiar in that way that made the film staggering to experience).So it's not some abstract concept that the Dardennes' are dealing with; in a very real way Two Days, One Night is a political film, and of all things I was reminded of Spielberg's Lincoln from a few years ago. If you recall in that story, Lincoln has to get his people to try and flip enough potential 'Yes' votes for the 13th amendment to pass and end slavery. Of course the stakes aren't quite so high, but on a micro level (if that's the thing to say as opposed to maco) it's still crucial, as people have to look inside themselves but also look at what's going on in their lives and how empathy plays in to it: can these men look past the bonus so she can stay, or will they vote with their immediate futures in mind (and as another note, and I don't think insignificant to see while watching as I'm sure Dardennes were clear in their casting, it's practically all men who work with Sandra at this company)?As a slight nitpick to what is otherwise a powerhouse of a film experience, also with Cotillard who I'll expound further momentarily, it's one slight contrivance is that the last person that Sandra sees is black and it's clear, much more than the others, about his more tentative place at the company (and there's a decision to be made in the 2nd to last scene that will affect this character as well). I thought it might have been stronger had this come earlier in the story, that it wasn't this last minute piece of drama, and if anything if they had to make it this distinct as a point of ideological conflict and struggle (black man, white woman, both not seen as fully part of the system in a way, though I could be wrong not being in France).But this is the smallest thing to pick a nit with; so much of this story is rich with problems that reach beyond what is shown in the film, and in that sense its remarkable that the directors cast a major star in the same way as Rossellini did with Bergman: the neo-realist aspect is still there (another thing that comes to mind as I write this review is Bicycle Thieves, this 'mission' narrative driving things forward as it's all down to survival). Its style is deceptively simple, and for all of the shots that last a long time and as few cuts as there are and as much as the filmmakers wait for actors to enter into the focus of the frame (the soccer coach is my favorite scene of the film with this technique), Cotillard sells every minute emotional detail and nuance, every breakdown, every time she has one of her pills in hand or is staring off seemingly into nothing.

rach s (mx) wrote: i dont know i might see this

Vessela D (nl) wrote: It was quite weird and cruel but still a great movie! :)

Logan A (ru) wrote: I don't remember this movie too well because it probably wasn't any good.

jay n (kr) wrote: Sweet drama with good performances by all.

Lenny R (us) wrote: Brosnan's best Bond by a stretch. The fact that this is the first post-Cold War Bond is dealt with in an interesting way, pitting Jimbo against ex-military Russian gangsters, and actually, despite his comment that he used to 'shoot in and out', having him set foot in Russia for the very first time. The themes of trust, betrayal and shifting loyalties underpin a well-written screenplay (frequent flyer jokes aside) about stolen space-based Cold War weaponry, with Bond going up against a former friend and co-00, Alec Trevelyan (spoiler, but he has second billing, so it's no great secret), who is his equal, his own dark side, in many ways. Mr Bean is on fine form as The Arch-Nemesis Formerly Known As 006, lending him a great deal of humour and menace. Also great are (deep breath) Izabella Scorupco as geek-chic computer whiz Natalya Simonova (one of my top five Bond 'girls'), Famke Janssen as sadomasochistic, thigh-strangling, Ferrari-driving, terrible-ventilation-based-pun-spouting assassin Xenia Onatopp, Alan Cumming as Hawaiian-shirt-wearing, Spike-sending, 'invincible' hacker Boris Grishenko, Gottfried John as renegade general Arkady Orumov, Tcheky Karyo as non-renegade general Dmitri Mishkin, Robbie Coltrane as crime boss Valentin Zukovsky (less cartoony here than in The World Is Not Enough, and funnier for it), Joe Don Baker as official CIA gardening specialist Jack Wade (also less cartoony than in Tomorrow Never Dies), Michael Kitchen as the original Bill Tanner, Samantha Bond as a thoroughly '90s gives-as-good-as-she-gets Moneypenny and Judi Dench as the newly-minted Evil Queen of Numbers. Desmond Llewellyn is starting to show his age a bit at this point, but it's still fun to see grumpy old Q back.Brosnan does fine too, of course. Since Craig took over, Pierce has actually become my least favourite Bond. That's not to say I dislike him in the role; I just like him the least overall. But I think the biggest reason for that is that he was pretty badly served by the scripts he was given. TND and DAD are among my least favourite movies in the series, and even TWINE, which gives him a few great moments, veers into Moore-ish waters at times. But GoldenEye was written for Timothy Dalton, the most serious and deep-thinking Bond, resulting in a relatively serious, deep-thinking script, and an appropriate performance by Brosnan.Martin Campbell does a great job of bringing everything together. It looks great, it moves at a cracking pace - for the most part, it all just clicks.The theme song is kind of a weird one. It's written by Bono and The Edge, fortunately not in the style of U2, but apparently as their take on a '60s-style Bassey number. It's sung by Tina Turner, doing her best Bassey impersonation, and it's produced by super-'90s producer Nellee Hooper, in a '90s electronic approximation of a '60s theme. The result sounds nothing like an old Bassey song, thoroughly modern from a technical perspective, but still like a throwback. But somehow, despite it going against all my criteria for a good Bond theme, and my general musical taste, I really like it.Apart from a few dud lines, my biggest problem with this movie is the BMW Z3 showcar Bond is given. Regardless of whether it sucks for Bond to be driving a BMW in the first place (it does), my real problem is that so much reference is made to the gadgets (stinger missiles, rear parachute, etc) but none are ever used. I understand this was due to a lack of time to make any tricked-out versions of the car, but it comes off as lame. 'No, the Beamer's totally a spy car. Honest! What? Use the gadgets? Uh...is that really necessary?' Yes. You give James Bond a car with gadgets in it, he's bloody well gonna use them. But the flaws are more than compensated for by a thrilling story, lots of superbly-staged action, humour, interesting characters and great performances all round. One of the best.

Keldon M (fr) wrote: Wow! That's obscure. They're bringing back Number Johnny 5?

Oku A (fr) wrote: "Saving Private Ryan" it ain't, but a good war movie from the actual war period.

jessica p (es) wrote: I want to see it because is so fun