The Key to Reserva
- 2007
- 10min
VALUTAZIONE IMDb
7,8/10
3264
LA TUA VALUTAZIONE
Dopo aver trovato una sceneggiatura incompleta di Alfred Hitchcock, Martin Scorsese tenta di ricrearla da sè come Hitchcock avrebbe fatto.Dopo aver trovato una sceneggiatura incompleta di Alfred Hitchcock, Martin Scorsese tenta di ricrearla da sè come Hitchcock avrebbe fatto.Dopo aver trovato una sceneggiatura incompleta di Alfred Hitchcock, Martin Scorsese tenta di ricrearla da sè come Hitchcock avrebbe fatto.
- Regia
- Sceneggiatura
- Star
- Premi
- 1 vittoria
Foto
Ralph Farris
- Conductor Hands
- (non citato nei titoli originali)
William Hill
- Conductor
- (non citato nei titoli originali)
Thelma Schoonmaker
- Self
- (non citato nei titoli originali)
Martin Scorsese
- Self
- (non citato nei titoli originali)
Trama
Lo sapevi?
- ConnessioniReferences Rapacità (1924)
- Colonne sonoreMusic
from Intrigo internazionale (1959)
Written by Bernard Herrmann
Performed by The MGM Studio Orchestra
Licensed by Warner Brothers Entertainment
© 1959 by EMI April Music Inc. / Primary Wave Songs
Licensed by EMI Music Publishing Spain
All Rights Reserved
International Copyright Secured
Recensione in evidenza
Martin Scorsese goes to lengths at the start of The Key to Reserva to present it like it's buried treasure he's discovered; his enthusiasm seems genuine, even funny (i.e. when he goes on about if Hitchcock were alive he'd direct it, but he's not, so...) and then he presents what he's directed- missing pages from a few pages of script that were never shot by Hitchcock. But as the film unfolds, which seems like the greatest homage, as opposed to a real abandoned script, to the master of suspense ever made, there's the eerie feeling it is just that. I loved seeing Scorsese go into a kind of master's class demonstration of how to emphasize all of the obsessions, which were highlighted in the screenplay... And yet, it also seemed a little fishy. It wasn't until later on that a friend, who also saw the short, told me it was fake. Curses! And the birds at the end too were part of the gimmick I bet!
All kidding aside, it's a splendid tribute to Hitch, with a dastardly sense of timing with the scene at the opera, a strange amalgamation of the tensest of Hitchcock's grab bag calling to the likes of Sabateur (ironically, or just oddly enough, twenty years ago Dario Argento, a disciple of Hitchcockian suspense to a very-much Italian horror degree, had a sequence almost just like this one in his film Opera). Simon Baker plays the killer, and there's a timing to his movements that suggests something like perfect clockwork, a kind of divine madness that comes more out of technique then in storytelling. Then again, it's the story itself, however short, that brings it out as such. In the end it's all a big goof by Scorsese played on the audience, but a brilliant one, and he puts himself in the background knowing of his own persona in the process. Matter of fact, that's the real key to reserva, if you'll forgive the not-quite pun: process is the way it goes, be it timing a murder to an orchestration, or a dolly shot or crane move to just the right pitch.
And, of course, always with a knowing grin as with the master's best work... which reminds me, you'd never know it, but it's a wine commercial!
All kidding aside, it's a splendid tribute to Hitch, with a dastardly sense of timing with the scene at the opera, a strange amalgamation of the tensest of Hitchcock's grab bag calling to the likes of Sabateur (ironically, or just oddly enough, twenty years ago Dario Argento, a disciple of Hitchcockian suspense to a very-much Italian horror degree, had a sequence almost just like this one in his film Opera). Simon Baker plays the killer, and there's a timing to his movements that suggests something like perfect clockwork, a kind of divine madness that comes more out of technique then in storytelling. Then again, it's the story itself, however short, that brings it out as such. In the end it's all a big goof by Scorsese played on the audience, but a brilliant one, and he puts himself in the background knowing of his own persona in the process. Matter of fact, that's the real key to reserva, if you'll forgive the not-quite pun: process is the way it goes, be it timing a murder to an orchestration, or a dolly shot or crane move to just the right pitch.
And, of course, always with a knowing grin as with the master's best work... which reminds me, you'd never know it, but it's a wine commercial!
- Quinoa1984
- 14 gen 2008
- Permalink
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- Freixenet: La clave Reserva
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- Tempo di esecuzione10 minuti
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- 1.85 : 1
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