Private Detective: Two Plus Two Plus One

Private Detective: Two Plus Two Plus One

An urban contemporary film about adultery, murder and betrayal in the film noir style. A simple story to which the director imparts a feeling of unrest and disquiet, catching the city in its various moods. The film breaks generic conventions, notably in the presentation of the private detective through his deglamourised life and his process of discovery of 'who did it'. It is not constructed through his point of view at all. In fact the policeman and the detective, the fact finders, are in the dark about the crime, to the very end.

  • Rating:
    4.00 out of 5
  • Length:127 minutes
  • Release:1997
  • Language:Hindi
  • Reference:Imdb
  • Keywords:Private Detective: Two Plus Two Plus One 1997 full movies, Private Detective: Two Plus Two Plus One torrents movie

An urban contemporary film about adultery, murder and betrayal in the film noir style. A simple story to which the director imparts a feeling of unrest and disquiet, catching the city in ... . You can read more in Google, Youtube, Wiki


Private Detective: Two Plus Two Plus One torrent reviews

Leonardo R (us) wrote: At ento os filmes expressionistas alemes eram sombrios e pessimistas, com cenrios fantasmagricos, exagero na interpretao dos atores e nos contrastes de luz e sombra. A realidade era distorcida para expressar conflitos interiores dos personagens.(vide o prprio "Gabinete do Doutor Calegri" que eu comento aqui)Mas em Tabu (que no est entre os melhores filmes de Murnau) o debaixo do sol dos mares do sul que o labirinto negro emerge. o mesmo drama de Nosferatu (o outro) e a mesma discusso sobre a alteridade, mas como numa tela de Czanne.

Antonio M (nl) wrote: A great action film with some unexpected twists. Travolta does an excellent badass performance and Rhys Meyers forgets some of his model vices. In overall, a great high speed action movie.

Kevin S (us) wrote: I, personally, love it.

Jorge O (us) wrote: Another look at romantic comedy, actor from Angel series meets Hitch. Great acting, couple of funny scenes.

Robert G (gb) wrote: The Friday the 13th part 6 of the franchise!!!!

James D (us) wrote: I own it, so I might as well see it once.

david b (es) wrote: I really enjoy this movie anytime that it shows.

Cameron J (au) wrote: You know, the rhythm of this title really makes me think of "Catch Scratch Fever", and you know, I'll run with it, because it's better than getting the Beastie Boys song stuck in my head. At any rate, Ted Nugent fits better here, because you know that there is going to be some serious hard rocking when Clint Eastwood takes on this role, and I specifically mean "this" role. So, for the first big western he makes himself, Eastwood plays a charismatically quiet, yet intimidatingly dangerous stranger with no name; now that's new. Well, the big difference with this particular "man with no name" character is that no one dubs Eastwood in Italian, and there is way more weird stuff surrounding him then there ever was in a Sergio Leone western. Yeah, I'm thinking that this guy doesn't so much drift the high plains, as much as he drifts the regular plains, while high, which would be appropriate, considering he is the prince of sin. Naturally, they never say this guy's name, but we all know who he is, so this is pretty much Eastwood's big answer to all of those rather annoying religious references that Hollywood had been throwing in all of their westerns prior to this one. I suppose that would be cooler if this film was more exciting, because even though it is decent, it does indeed drift, more so than it ought to. I don't suppose the film, running only a little over 100 minutes, is too draggy, but there are a few overdrawn set pieces, some of which are a little forceful in a manner which makes the implied twists sort of obvious sooner that they ostensibly should be, or at least leaves the plot to outstay its welcome enough to hit formulaic moments. I joke about the obvious influence from Sergio Leone, but the genuinely unique aspects of this "supernatural" western go punctuated by the taking of story and storytelling notes from Leone, if not other western filmmakers, which reflect a lack of certainty to Clint Eastwood's storytelling. This uncertainty is kind of understandable, as Eastwood must work hard to transcend natural shortcomings to this minimalist narrative, which is still meaty, yet would have seemed meatier if style didn't also come with its own immediately questionable elements. This particular revisionist western is characterized by trippy, almost abstractionist artistic touches that are admirable as unique, and not even all that overwrought, yet the occasions in which the offbeat meditations are overplayed stand, distancing subjective value with artistic non-conventions to storytelling. Even when the film is traditional in structure, it's often distancing, for Eastwood's quiet directorial intensity is often more quiet than intense, and therefore more dry than Eastwood can handle as a sophomore directorial storytelling, resulting in dullness that is the biggest issue of the final product. Yes, there are subtle problems throughout the film, but there are also considerable strengths, and they stood a real chance of taking a small-scale narrative and molding it into a rewarding thriller, only to go overpowered by the cold spells which, when combined with those subtle missteps, ultimately secure the final product shy of its potential. Still, the film comes close enough to rewarding to endear adequately as a thriller, and a stylish one at that. Dee Barton's score is genuinely refreshing, capturing the supernatural feel of the film through a fusion of classic western themes and a whimsy which ranges from colorful to rather intense, while Bruce Surtees' cinematography, despite being not quite as playful as Barton's still-underused efforts, is also attractive in its bleakness, with a rugged palette over gritty art direction by Henry Bumstead. Storytelling style is questionable, but make no mistake, musical and visual styles are never less than solid, even when handled in the context of storytelling. Clint Eastwood's orchestration of subtle stylization begets subtle color that rarely allows entertainment value to slip too far, and when slow spells do enter, upon being met with a genuine sense of thoughtfulness, rather than the dryness which plagues this drama as much as anything, they bite, with high tension. Eastwood's direction is overambitious and undercooked at the same time, but when middleground is found, it's hard to deny the potential which has since gone on to be fulfilled more tightly by the talented filmmaker, who sells a fair bit offscreen here, though not as much as he does onscreen. Mostly asked to project a sense of corruption amidst a feeling of liberation from the shackles of morality, most everyone in this cast does fine, with Eastwood predictably stealing the show, with a formulaic, but still-effective portrayal of an intensely charismatic, yet chillingly enigmatic man with no name, or at least a name that is not said, just assumed. The narrative concept is minimalist in scale, and the interpretation gets flimsy, but this story of a stranger gracing, then growing to corrupt ad plague and strange land carries intriguing mystery, in addition to thought-provoking themes on temptation and placing faith in unpredictable features that are stronger than the film itself. If the film is memorable, it's for the themes and relatively gripping latter acts, and while I wish there was more inspiration throughout the film in order to make the final product rewarding on the whole, when the drama bites, it grips as an at least almost rewarding thriller. Once the plains have peaked, a few draggy spots and conventional spots behind natural shortcomings that thin out dramatic value even more when accompanied by moments of overstylization and dull dryness winds the final product shy of rewarding, but through a neatly whimsical score, rugged visual style, some effective direction and some solid performances, all behind a story that, for all its thin spots, boasts intriguing thematic depth, "High Plains Drifter" stands as an effective, if improvable supernatural western and sophomore effort for Clint Eastwood. 2.75/5 - Decent

Indira S (au) wrote: Natalie Woods & Steve McQueen were just perfect here, the chemistry and EVERYTHING :)

Ninni S (mx) wrote: Jee, lis vaan Marplea. Margaret Rutherford on just hyv smuidu. Nist tulee jotenkin kivasti mieleen Komisario Palmu -leffat ja niiden huumori.

Private U (ru) wrote: It's the Marx Bros, yes, but not as we know them. Harpo does the best, but Groucho gets almost nothing. Only watch it if you're a huge Monroe or Marx fan. Everyone else look the other way.

Drew F (fr) wrote: A less-musical, screwball comedy precursor to 2002's Chicago, Roxie Hart won't necessarily stick with you, but it's light and fluffy and fun throughout. Ginger Rogers looks like she's having a ball.

Greg W (kr) wrote: so-so remake not as bad as i thought it would be

Charlie M (it) wrote: Desert wasteland has no water in this boring visual mess of a sci-fi pic.

J G (de) wrote: Short version, BAD. Long version, Very BAD. Poorly written, poorly acted, usual excess of violence to the point it emulates a video game.