Operatőr:
Antonio CalvacheZeneszerző:
Marcelo ZarvosSzereplők:
Bradley Cooper, Jeremy Irons, Zoe Saldana, Olivia Wilde, Dennis Quaid, Ben Barnes, Željko Ivanek, Liz Stauber, J.K. Simmons, John Hannah, Michael McKean (több)Tartalmak(1)
Rory Jansen (Bradley Cooper) élete első könyvének kiadása ritkaságszámba menő esemény, ami az irodalmi életben és az átlagolvasók körében is nagy visszhangot kelt. Az utca embere is oda van érte, a kritikusok is ódákat zengenek róla: a regény a könyvkluboktól kezdve a reptereken át a főiskolai kampuszokig mindenhol hódít. Friss hangjával és időtlennek tetsző bölcsességével Rory hamar az irodalmi élet egyik sztárjává válik. A karizmatikus, tehetséges, intelligens és fiatal szerzőnek mintha mindene meglenne: a siker mellett gyönyörű felesége (Zoe Saldana) várja otthon, a világ a lábai előtt hever – és mindez pusztán a szavai miatt. De kinek is a szavai ezek? És pontosan ki is írta a hírnevet hozó történetet? A sikerben fürdő Roryt egy nap felkeresi egy rejtélyes Öregember (Jeremy Irons), aki azzal a döbbenetes állítással szembesíti, hogy valójában ő a könyv szerzője. A férfi mesélni kezd fiatal korának gyönyörű, ám tragikus emlékeiről, amelyeknek köszönhetően papírra vetette a történetet. A találkozás hatására Rory kénytelen számot vetni a kreativitás és az ambíció kérdéseivel, és elgondolkodni azon, hogy a sikere mögött álló döntés kapcsán vajon mennyire tiszta a lelkiismerete. (Big Bang Media)
(több)Recenziók (9)
Sometimes, thanks to those very spontaneous and open emotions, it seemed as if Anthony Minghella came back to life and made another one of his meticulously crafted, brilliantly written, and emotionally disarming dramas. It’s not exactly like that, as there were a couple of weaker moments from the creative duo Brian Klugman – Lee Sternthal (especially concerning Dennis Quaid), but the overall feeling is exceptional. After a long time, a film worthy film that I different from most others, not only for those who haven't seen everything.
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Szuper téma Oscar-potenciállal, többrétegű gondolkodás lehetőségével és résztvevő számára nagyszerű színészi lehetőségekkel. És nem mintha nem sikerült volna. Csak nem sikerült annyira jól, ahogyan azt megérdemelte volna. A flashbackek, amelyeknek az lett volna a feladatuk, hogy a néző átérezze a Jeremy Irons karakterének fájdalmát, giccsesek, és ez gyengíti a film alapját. De a "jelen" vonala működik, a Bradley Cooper döntése az adott helyzetben érthető, és jól játszotta az ezt követő bűntudat érzéseket és igyekezetet mindent helyrehozni. A Dennis Quaid-del készült felépítmény utólag próbálja összefoglalni a gondolatokat, sőt, játékosan intellektuálisan relativizálni is, de szerintem egy kicsit felesleges volt, legalábbis a történet szempontjából nem volt hasznos.
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I’m quite shocked by the hysterical negative reviews from America that ripped The Words apart. It’s actually a good film that wants to say something. Though the ending doesn’t present everything on a silver platter, I think the meaning is clear. In that regard, it is good. But don’t expect a romantic movie, The Words is actually a rather thoughtful and artsy, dramatic game. Anyone who’s up for it, can easily find something. Anyone who’s not up for it will get the chance to complain.
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I basically still don’t know what the ending was about and how to understand it. That’s, unfortunately, the only stain on this otherwise very interesting story that got an absolutely perfect movie adaptation. The mysteriousness was leaning towards five stars right from the very start. But then I could neither connect nor separate the three storylines, let alone figure out what’s real and what’s fiction. The premise in itself is exactly what makes the movie so interesting and if someone explains it to me, I’ll be thrilled. I watched this for the Challenge Tour 2015.
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Three stories about love, creation, guilt, art, and the fact that sometimes even the deepest feelings are not enough. I don't understand where the creative duo of Brian Klugman and Lee Sternthal has been hiding for so long because each of their journeys into the writer's soul escalates more strongly, and the final touch gives the phrase "absolute ending" a completely new dimension. That little point, that last glance and shot, causes the words to stick in your mind weeks in advance and happily return in various life situations. A unique and personal gem that perhaps finally convinces everyone that Bradley Cooper is even better in dramatic roles than in those voice roles.
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The Words is a film from the family of naivety for the advanced, as were Penance or Ask the Dust. Every little intellectual is happy because John Fante is quoted in the film. Bradley Cooper's performance made me physically nauseous, and even Jeremy Irons playing it safe didn't save the day. By the time I started tearing my hair out, I was somewhat appeased by the inserted storyline featuring Ben Barnes and Nora Arnezeder in mid-1940s Paris, but neither that nor the mere presence of John Hannah could elevate the resulting shape above the usual mumbo-jumbo (i.e., an ambitious drama with a triple narrative line and an attempt at thought overload).
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If nothing else, this film was constructed in an interesting way. It reminded me of a Matryoshka doll (or Russian nesting doll, as some might know it). It had this story within a story within a story format. While I could see through the attempt to add depth, I have to disagree with those who found it boring. Personally, I found these actionless ninety minutes enjoyable because they stirred up unexpected thoughts and emotions in me.
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The character known as the old man has something of Hemingway, manuscripts that were lost, and this is also a story from Hemingway's life. But no, "The Words" is not a film about Hemingway. It is a film about an author who reads from his book about how another author wrote a book about someone else's life. Well, the whole thing is a bit more complicated, but more on that later. The film first appears to be a romance, but that's not what it's really about. However, it is not a film about literature either because how much is quoted here? How much does it refer to some significant ideas, such as those from Hemingway's work? There is a hint of the existence of some Shakespeare, but the film definitely does not rely on the fact that it is essential to know who the classics of world literature are, or even literature itself, whether it is completely fictional. We don't learn much about the main character, or rather the main narrator, to be more precise. More: http://www.filmovy-denik.cz/2013/02/the-words-2012-35.html
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The cast was great, and I liked the subject matter a lot, but to tell you the truth, I don't know if I liked the film. The style of the narration, the transitions in the interweaving of the time planes, and the way the actors grasped their characters... In short, the whole thing had a slightly sentimental touch of cheesiness, which really disappointed me because otherwise I wouldn't have been so let down by the outcome.
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