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6,1/10
109 k
MA NOTE
Le journaliste américain Paul Kemp travaille en free-lance à Porto Rico pour un journal local dans les années 1960 et s'efforce de trouver un équilibre entre la culture insulaire et les expa... Tout lireLe journaliste américain Paul Kemp travaille en free-lance à Porto Rico pour un journal local dans les années 1960 et s'efforce de trouver un équilibre entre la culture insulaire et les expatriés qui y vivent.Le journaliste américain Paul Kemp travaille en free-lance à Porto Rico pour un journal local dans les années 1960 et s'efforce de trouver un équilibre entre la culture insulaire et les expatriés qui y vivent.
- Prix
- 2 victoires et 4 nominations au total
Julio Ramos Velez
- Intruder
- (as Julio Ramos)
Rafael Alvarez
- Taxi Driver
- (as Rafa Alvarez)
Histoire
Le saviez-vous
- AnecdotesJohnny Depp and ex-wife Amber Heard first met while making this film. They became a couple in 2012 after Depp separated from his longtime girlfriend Vanessa Paradis, were married in February 2015, separated in May 2016 and officially divorced in January 2017, after a very public court battle, which was reignited in 2019 when Depp sued Heard for defamation.
- GaffesWhen Kemp drives the Corvette along the coast, as the camera pans the car and roadway from above, a cellular telephone tower appears in the shot.
- ConnexionsFeatured in The Tonight Show with Jay Leno: Episode #20.16 (2011)
- Bandes originalesVolare (Nel Blu Dipinto De Blue)
Written by Domenico Modugno, Franco Migliacci and Mitchell Parish
Performed by Dean Martin
Courtesy of Capitol Records, Inc.
Under license from EMI Film & Television Music
Commentaire en vedette
The film begins with main character Paul Kemp (Johnny Depp) waking up in a luxurious hotel room in Puerto Rico after a heavy night of drinking. After chomping down a few aspirin, Kemp stumbles into the editors office of the San Juan Star and is given a dead end writing job. After a few chance encounters, Kemp becomes the center of intrigue and corruption while consuming copious amounts of alcohol.
"The Rum Diary" was originally a novella from the twisted mind of Hunter S. Thompson an eccentric journalist and novelist who in addition to smoking, snorting, injecting, drinking every drug, alcohol and carcinogen known to man, managed to change the face of journalism by calling it as he sees it. His writing can repel and enchant with equal measure and has a breakneck spontaneity which is rivaled by its frazzled incoherency.
Incoherency would be the best word to describe this film. The story lacks any kind of focus jumping from a love story, a corrupt land deal, drunken antics, workplace politics and racial tensions. Watching "The Rum Diary" was like talking to a drunk grad student; little flashes of genius may linger but after what seems like four hours you realize you're talking to a drunken idiot and looking for the door.
Thompson's other work adapted to screen shares a similar inconsistency but say what you will about "Fear and Loathing in Las Vegas" at least it was interesting. Director Bruce Robinson seems unsure behind the camera trying desperately to balance themes and while Terry Gilliam threw spaghetti at the wall to see what sticks, Robinson compensates by drawing out its screen time and keeping the camera-work and editing as dull and uninspiring as possible.
The films only saving grace is the inclusion of Giovanni Ribisi as a cirrhosis addled, syphilitic cohort who takes LSD while listening to records of Nazi propaganda. His arguments with the Star's head editor (Richard Jenkins) provide some of the few precious moments of humor.
The epilogue appears while Johnny Depp sails into the horizon explaining that while its the end of the story "...its the beginning of another." I would have liked to have seen the other story. At least by then the sardonic wit of Thompson was finally present.
http://theyservepopcorninhell.blogspot.com/
"The Rum Diary" was originally a novella from the twisted mind of Hunter S. Thompson an eccentric journalist and novelist who in addition to smoking, snorting, injecting, drinking every drug, alcohol and carcinogen known to man, managed to change the face of journalism by calling it as he sees it. His writing can repel and enchant with equal measure and has a breakneck spontaneity which is rivaled by its frazzled incoherency.
Incoherency would be the best word to describe this film. The story lacks any kind of focus jumping from a love story, a corrupt land deal, drunken antics, workplace politics and racial tensions. Watching "The Rum Diary" was like talking to a drunk grad student; little flashes of genius may linger but after what seems like four hours you realize you're talking to a drunken idiot and looking for the door.
Thompson's other work adapted to screen shares a similar inconsistency but say what you will about "Fear and Loathing in Las Vegas" at least it was interesting. Director Bruce Robinson seems unsure behind the camera trying desperately to balance themes and while Terry Gilliam threw spaghetti at the wall to see what sticks, Robinson compensates by drawing out its screen time and keeping the camera-work and editing as dull and uninspiring as possible.
The films only saving grace is the inclusion of Giovanni Ribisi as a cirrhosis addled, syphilitic cohort who takes LSD while listening to records of Nazi propaganda. His arguments with the Star's head editor (Richard Jenkins) provide some of the few precious moments of humor.
The epilogue appears while Johnny Depp sails into the horizon explaining that while its the end of the story "...its the beginning of another." I would have liked to have seen the other story. At least by then the sardonic wit of Thompson was finally present.
http://theyservepopcorninhell.blogspot.com/
- bkrauser-81-311064
- 27 oct. 2011
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- The Rum Diary
- Lieux de tournage
- Vega Baja, Porto Rico(Cockfight scenes)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 45 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 13 109 815 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 5 135 369 $ US
- 30 oct. 2011
- Brut – à l'échelle mondiale
- 30 134 958 $ US
- Durée1 heure 59 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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