Waiting for Godot

I will confess to having never seen the play or for that matter ever hearing of this story. I will also confess that I did not see the film from the beginning so I really have no clue to what it is about BUT that being said "Waiting for Godot" is a very intriguing film. If you are a fan of pure dialog this is a must see, or should I say "a must listen" because the visuals are not that important. My only complaint is that it does take some effort on the part of the viewer. This is not something you watch casually. If you do you will be lost!

The paired down landscape perfectly matches Becket's strange, funny and disquietingly surreal play.

This is a magic piece of work. I am sure if Becket could see it, he would be justly happy of the performances and how it was laid onto celluloid. For those unfamiliar with it, there are no filmic landscapes or action, just the action and landscape of life.

The last consideration we can make about "Waiting for Godot" is to be an adaptation of Samuel Beckett's play, perhaps for issues involving copyright or respect and admiration either by the author or the text, Michael Lindsay-Hogg, director of the film Made in 2001, ends up presenting a production that is largely the same, a piece that was filmed with rare oscillations and space opportunities for a possible draft audiovisual exercise. In short, it is not an adaptation as it seeks to be more and respect a theatrical record.

Samuel Beckett (1906-1989), "Waiting for Godot" (1948-1949), was the first play written by the director, playwright and theater scientist, has features of Beckett's distinctive style, as well as marks Theater of the Absurd developed by the author, as well as the question of existentialism and its view of human life without meaning or purpose, easily identifiable mark in Waiting for Godot, where two lords, Vladimir and Estragon, await the arrival of someone every day Who never comes and who goes by the name of Godot.

In the 2001 film by US director Michael Lindsay-Hogg, nothing in the original text is abandoned, unlike anything else such as the indications, marks, lines, rubrics in brief, the entire text structure of the piece is presented In the film, we even have the division of the film into two acts, equally the division of the piece, but, this is not the point, which reduces the potentialities of the film. Although the director has gone through copyright to Beckett's piece, which has a rigid and accurate manual of how it can and should be assembled, where, for example, all the author's indications can not be modified, the piece is practically Followed by an instruction manual that does not allow any changes. Still with this possible prerogative, we can not consider as a limitation, as the film often presents itself, since the cinematographic tool has its own expressiveness and that if incorporated into this history, would have great potential.

In large part we have a film where the camera does not assume the posture of an audience, but also, little is assumed as a mark of a direction, it is limited to register dialogues and carry out plans and against plans, in the sequence and mediated dialogues and against Di-analogs. Few times we have the use of other plans or camera movement that allows a cinematographic grammar, and when they arise cause great enthusiasm, as in the "traveling" I went through the void of a beautiful work of theatrical stage, but very well done and that Presents a deserted road that can not be described because it does not resemble anything at all, and where there is a skeleton of a solitary tree, without leaves, but in the passage from what would be overnight, or who knows of many days , Is made to flower with some leaves. Besides this "traveling" punctual, we have two or three movements of "plongée", in the others we have a cadence of general, medium and closed plans. I do not mean by this that the director is limited or that the little exploration of a grammar does not make it a filmic possibility, what I mean is that by clinging to theatrical marks, a unique setting, inexpressiveness of movements and the persistence of Text, we have a slow and tedious material that if we want to be theater or theater record before the possibility of being cinema, which is pitiful when we combine the text of Beckett, the possibilities of surrealist art, of absurdity and the vast experience of Hogg In the production of music videos, where he directed clips of the Beatles and the Rolling Stones and then migrating to TV, theater and cinema.

With the limitations of one direction resulting in an unimpressive film and resulting in the disfigurement of Beckett's proposals, and not generating the reflexive and provocative pungencies originating from the text, the few positive ties to the film are a precise work of art and enlightenment, very faithful to the History and the construction of its narrative and also of a beautiful work of the actors, who, by the way, take to themselves (completely) the film.

Barry McGoverr (as Vladimir) and Johnny Murphy (as Estragon) perform a work of extreme duplicity, which promotes unique moments, as in the game very close to the clown field, with a stylized floor and especially in the scene of a hat that goes From a slow-moving hand to the rapidity of the gesture. Barry enjoyed a major international success with Beckett's award-winning "I'll Go On," which Gate Theater presented at the Dublin Theater Festival in 1985. Already the game written by Alan Stanford (as Pozzo) and Stephen Brennan Like Lucky) are equally duplicitous and provocative moments that range from pure laughter to the revolting place between the exploited and explorer, in a game very close to the circus and commedia dell'arte style. At last we have Sam McGovern, who emerges as Godot's boy of errands, the boy who ends his acts in the promise of a delayed but hopeful arrival, moreover, this boy is full of meanings, languages, and metaphors.

I believe that all experience is valid and it is up to each person to draw on personal experience of their own, because in this way, it is possible to arise and visualize points that touch him, which are more important and urgent to him, but in my experience, Relevant to Hogg's achievement. I invite others to go further in the experience of reading the book or watching Beckett's play because the film can frustrate and even generate false understandings for those who seek a first contact with Beckett's theater, and if it is desired to accompany The film, that does not do it exclusively, but if it looks for the other and original ways for the theatrical work that in no way manages to assimilate with this work realized in the cinema.

A stunning adaptation on film of Beckett's overwhelmingly brilliant play. It stands as the ultimate monument to Existential thought and McGovern's incredibly beautiful interpretation of his role is a reference point for all actors who follow in his footsteps. I have seen a dozen or so versions of Godot, both on stage and in film, and this is the epitome of cinema adaptations. It was absolutely essential this play among all of Beckett's works be captured for posterity on film and the result is almost perfect. This is a wonderful gift to those who will never have the opportunity to view a live stage production and anyone who views it will be eternally grateful for it. It is a treasure for the ages indeed and the fact that Barry McGovern is cast in this film makes it all the more invaluable to the intellectual elite as well as the reality show masses. Beckett speaks to both groups and across all levels of society. No other work of the written word communicates so much in so little time and does it so powerfully. If you have never read or seen any thing written by Beckett, prepare yourself for one of the purest, most powerfully overwhelming experiences of your life when you sit down to view this film. I envy you what you are about to feel, how your life is about to be changed, and how your soul is about to be touched. What a magnificent gift awaits you.