Rendező:
Kar-wai WongZeneszerző:
Ry CooderSzereplők:
Norah Jones, Jude Law, David Strathairn, Natalie Portman, Rachel Weisz, Frankie Faison, Katya Blumenberg, Jackie Moore, Adriane Lenox, Benjamin Kanes (több)Tartalmak(1)
Jeremy egy New York-i kávéház tulajdonosa, az egyik vendége, Elizabeth tőle tudja meg, hogy a barátja ott járt egy másik lánnyal. Az összetört szívű, megcsalt lány estéről estére betér a kávézóba, remélve, hogy volt barátja eljön az otthagyott lakáskulcsáért. Éjjelente sokat beszélgetnek Jeremyvel, kiderül, hogy a fiú azért nem ment még el a városból, mert azt reméli, hogy volt barátnője egyszer visszatér hozzá. Egy nap Elizabeth váratlanul elhagyja New Yorkot, Memphisbe, majd Las Vegas-ba költözik. Szeretné újra megtalálni régi önmagát, és eltávolodni volt barátja emlékétől. De Jeremy-től nem akar elszakadni, képeslapokat küld a fiúnak, és beszámol azokról az emberekről, akikkel a sors összehozza. Jeremy-nek egyre jobban hiányzik a lány, de mivel a képeslapokon nincsen cím, nem tudja megtalálni... (Budapest Film)
(több)Recenziók (5)
Ritka az ennyire kiváló színészgárda, ennyire unalmas filmben. A három történet közül csak egy haladja meg az átlagot (amelyikben Natalie Portman szerepel), de a környezeti álmosság béklyói és a rendező elmesélési stílusának formátlansága elveszi tőle a lehetőséget, hogy csillogjon.
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These melancholic blueberries have one unbelievably strong thing in them. The longing to return to a place we used to go with someone, where we laughed and felt this is what life tastes like, and that this moment should never pass. And when it did, we want to experience at least a few more minutes from it and ask ourselves if something of our former self still remains. Unfortunately, these authentic experiences are hidden only in Jude Law's storyline, and the larger part is focused on the wanderings of the pleasant Elizabeth. It's not that watching Norah Jones is a bad thing, but her storyline is shamefully tired with its episodic nature, quickly bringing down the overall impression to an average level. Partly to blame is also the clumsy casting. It's a rare occurrence that two of my favorite actors are cast in supporting roles, but Kar-Wai Wong did it quite awkwardly. Rachel Weisz is definitely not convincing as a selfish police wife, nor is Natalie Portman convincing as an arrogant gambler. If this had been edited into a half-hour slice of romance, it would have beeen one of the most impressive conversations of all time.
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In those days, there was a wave of Asian directors trying their luck in the West. And those films of theirs really did look different, and they also featured actors such as Law, Portman, and Weisz. Still, they rarely lived up to expectations.
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Even though this film has been received quite lukewarmly here, I liked it and didn't find the only bright spot to be the cast, which I took more as a strength for the film. I liked all the leading actors, the previously unknown to me Norah Jones surprised me and Natalie Portman and Rachel Weisz gave the best performances, but the guys, Jude Law and David Strathairn, have nothing to be ashamed of either. Each character had their own particular charm, tribulations and hardships in life that they either got through or not.
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Being completely unfamiliar with Kar-Wai Wong's work, I approached My Blueberry Nights without much expectation. An ex-girlfriend recommended the film to me and spoke of it with great enthusiasm (and maybe even subtext, who knows). From the opening minutes it was clear to me that this was no ordinary affair, but an intimately shot drama about finding yourself directed in an unconventional and appealing way. The choice of music was also very nice, the actors very pleasant. It truly doesn’t fall far short of 5 stars, maybe I’ll add the last one after the next viewing.)
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