VALUTAZIONE IMDb
7,0/10
23.498
LA TUA VALUTAZIONE
Le cronache dell'ascesa della Chess Records e dei suoi artisti discografici.Le cronache dell'ascesa della Chess Records e dei suoi artisti discografici.Le cronache dell'ascesa della Chess Records e dei suoi artisti discografici.
- Regia
- Sceneggiatura
- Star
- Premi
- 6 vittorie e 22 candidature
Beyoncé
- Etta James
- (as Beyoncé Knowles)
Josh Alscher
- Mick Jagger
- (as Joshua Alscher)
Tim Bellow
- Man in the Caddy
- (as Timothy Bellow)
Cedric The Entertainer
- Willie Dixon
- (as Cedric the Entertainer)
Sean Shyboy Davis
- Toothless Hillbilly Little Walter
- (as Sean Davis)
Trama
Lo sapevi?
- QuizLeonard Chess' brother, Philip, was his partner in both the nightclub and Chess Records. However, Philip is never mentioned throughout this movie, and only appears in Chess Records scenes.
- BlooperEveryone at Chess Records drives a '57 Cadillac, in 1955.
- Citazioni
Muddy Waters: You and me not gonna wake up every morning and get everything we want. Mostly we got to take what come. And half the time, that's gonna be a bunch of bullshit.
- Curiosità sui creditiThe fanfare's timing in the TriStar Pictures logo is off and is out of sync, but the logo is seen in an extra tint of blue.
- ConnessioniFeatured in 2009 Golden Globe Awards (2009)
- Colonne sonoreI'm a Man
Performed by Jeffrey Wright
Written by Bo Diddley (as Ellas McDaniel)
Published by Arc Music Corp.
Recensione in evidenza
While this film lacks an original framework (it's "Ray" and "La Bamba" and "Hot Wax" and "Why Do Fools Fall in Love"....), both the subject--a seminal recording label--and the performances make this electrifying entertainment.
I can't speak to the accuracy of its historical facts regarding Leonard Chess' exploitation of some of music's largest figures, but the screenplay zooms along and takes us with it. Jeffrey Wright finally gets a role that hopefully will secure his stature. It's overdue. As Muddy Waters his towering strength both as a character and an actor are very impressive here. As well, the entire supporting cast (and it's a large cast) really rise to the occasion. Columbus Short as Little Walter and Gabrielle Union as Water's wife are equally impressive. And in smaller roles, Eamonn Walker as Howlin' Wolf and Mos Def as Chuck Berry nearly steal the show.
I've never been much of a fan of Adrien Brody, but in the first half of the film, he's quite effective. It's only when Beyoncé Knowles arrives that he stumbles, and who can blame him. Ms. Knowles takes a sensational role and scorches the screen. As the conflicted and troubled Etta James, there's a scene on a livingroom floor in front of a fireplace that should win Ms. Knowles many awards. And we're given a generous helping of sensational James' track very well covered by Ms. Knowles.
When we watch America's taste in music change--both before and after the centerpiece of this story--we're at first exhilarated at the discovery of this "new" form of music, and when it wanes and the lives that were propelled to stardom flag, we feel an enormous sadness. But what we know today--that these individuals became legends--is of great consolation.
I don't care that the structure is straightforward. The recreation of the period and it's attitudes are spot on, and the cinematography by Anastas N. Michos make the film rise above any weakness in the script.
Then, there's the soundtrack....
I can't speak to the accuracy of its historical facts regarding Leonard Chess' exploitation of some of music's largest figures, but the screenplay zooms along and takes us with it. Jeffrey Wright finally gets a role that hopefully will secure his stature. It's overdue. As Muddy Waters his towering strength both as a character and an actor are very impressive here. As well, the entire supporting cast (and it's a large cast) really rise to the occasion. Columbus Short as Little Walter and Gabrielle Union as Water's wife are equally impressive. And in smaller roles, Eamonn Walker as Howlin' Wolf and Mos Def as Chuck Berry nearly steal the show.
I've never been much of a fan of Adrien Brody, but in the first half of the film, he's quite effective. It's only when Beyoncé Knowles arrives that he stumbles, and who can blame him. Ms. Knowles takes a sensational role and scorches the screen. As the conflicted and troubled Etta James, there's a scene on a livingroom floor in front of a fireplace that should win Ms. Knowles many awards. And we're given a generous helping of sensational James' track very well covered by Ms. Knowles.
When we watch America's taste in music change--both before and after the centerpiece of this story--we're at first exhilarated at the discovery of this "new" form of music, and when it wanes and the lives that were propelled to stardom flag, we feel an enormous sadness. But what we know today--that these individuals became legends--is of great consolation.
I don't care that the structure is straightforward. The recreation of the period and it's attitudes are spot on, and the cinematography by Anastas N. Michos make the film rise above any weakness in the script.
Then, there's the soundtrack....
- Michael Fargo
- 4 dic 2008
- Permalink
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingua
- Celebre anche come
- Huyền Thoại Âm Nhạc
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 12.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 8.195.551 USD
- Fine settimana di apertura Stati Uniti e Canada
- 3.445.559 USD
- 7 dic 2008
- Lordo in tutto il mondo
- 8.883.644 USD
- Tempo di esecuzione1 ora 49 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1
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