adamsandel
Joined Nov 2017
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adamsandel's rating
This is not a story that can be filmed cheaply. And yet here we are.
While hopes begin high with narration taken from the book, and Paul Rudd well cast as the sympathetic Nick, they are soon dashed with amateurish performances (Martin Donovan as Tom and Toby Stephens as Gatsby never rise above flat soap opera acting). And don't get me started on whoever plays the Wilsons.
When you're not baffled by the Gatsby/Daisy flashbacks - that jettison Fitzgerald's brilliant unfolding of the mystery of Gatsby by telling the story through Nick's eyes - you may be distracted by the fact that Daisy's hair and clothes are from the Victorian era, and not the Roaring '20s.
Unlike the definitive Redford and Farrow film, the glittering outfits of the women at Gatsby's parties look more like they were borrowed from a high school production of "Inherit the Wind."
I could go on. But this low rent soap opera version of a great classic doesn't really deserve it.
While hopes begin high with narration taken from the book, and Paul Rudd well cast as the sympathetic Nick, they are soon dashed with amateurish performances (Martin Donovan as Tom and Toby Stephens as Gatsby never rise above flat soap opera acting). And don't get me started on whoever plays the Wilsons.
When you're not baffled by the Gatsby/Daisy flashbacks - that jettison Fitzgerald's brilliant unfolding of the mystery of Gatsby by telling the story through Nick's eyes - you may be distracted by the fact that Daisy's hair and clothes are from the Victorian era, and not the Roaring '20s.
Unlike the definitive Redford and Farrow film, the glittering outfits of the women at Gatsby's parties look more like they were borrowed from a high school production of "Inherit the Wind."
I could go on. But this low rent soap opera version of a great classic doesn't really deserve it.
This beautifully crafted film was unfortunately buried in an extremely limited release at the time, but it deserves to be viewed and celebrated.
The story, which could have been written by William Faulkner, follows the travels and coming of age of an orphan in the post Civil War era.
Played beautifully by the pre-teen Edward Albert, long before his star-making role in "Butterflies Are Free," George is a young hero who demands the viewer's attention and sympathy in every scene.
Anthony Perkins leads the strong supporting cast as the Civil War veteran suffering from PTSD, who may or may not be dangerous, who develops a strong bond with the boy.
The film may have suffered from its lack of a clear cut sense of good and bad or right and wrong, but it is certain to resonate with viewers who appreciate the subtleties of good literature.
The story, which could have been written by William Faulkner, follows the travels and coming of age of an orphan in the post Civil War era.
Played beautifully by the pre-teen Edward Albert, long before his star-making role in "Butterflies Are Free," George is a young hero who demands the viewer's attention and sympathy in every scene.
Anthony Perkins leads the strong supporting cast as the Civil War veteran suffering from PTSD, who may or may not be dangerous, who develops a strong bond with the boy.
The film may have suffered from its lack of a clear cut sense of good and bad or right and wrong, but it is certain to resonate with viewers who appreciate the subtleties of good literature.
You may have enjoyed Rudy Mancuso's YouTube and Awkward Puppets videos, but nothing prepares you for his breezy, endlessly playful and inventive feature film directing and co-writing debut.
The apparently autobiographical plot is a simple coming of age romantic comedy, but Mancuso peppers the film with rhythm, music, and delightful sight gags that tweak film conventions and keep the story tripping along in a seemingly effortless way.
Bonus points for terrific romantic chemistry between the two leads, pitch perfect pacing and casting across the board, wonderful use of color, and the feature film debut that Diego the puppet deserves!
The apparently autobiographical plot is a simple coming of age romantic comedy, but Mancuso peppers the film with rhythm, music, and delightful sight gags that tweak film conventions and keep the story tripping along in a seemingly effortless way.
Bonus points for terrific romantic chemistry between the two leads, pitch perfect pacing and casting across the board, wonderful use of color, and the feature film debut that Diego the puppet deserves!