Rendező:
Michael BayForgatókönyvíró:
Randall WallaceOperatőr:
John SchwartzmanZeneszerző:
Hans ZimmerSzereplők:
Ben Affleck, Josh Hartnett, Kate Beckinsale, William Lee Scott, Ewen Bremner, Alec Baldwin, Jaime King, Catherine Kellner, Jennifer Garner, Jon Voight (több)Tartalmak(1)
1941. december 7. A második világháború fordulópontja, a történelem egyik legvéresebb csatája: a japán légierő megtámadta Amerika csendes-óceáni flottáját. A támadás számtalan áldozattal járt, hatalmas pusztítást vitt végbe: sokáig tartott, míg az amerikai hadsereg kiheverte a csapást, és felkészült a visszavágásra. Ez a film e támadás és csata története, de egyben három fiatal története is. Akik, miközben a történelem a szörnyű, véres események közepébe sodorja őket, a saját életüket élnék - azt sem könnyű. Rafe és Danny a legjobb barátok: gyerekkoruk óta együtt szeretnének pilóták lenni. Mindketten katonák, mindketten Pearl Harborban állomásoznak. És mindketten ugyanazt a lányt szeretik. A japán gépek pedig elindultak Pearl Harbor felé. (InterCom)
(több)Recenziók (8)
After Armageddon I was expecting another stupid movie by Bay. It was more or less the case, but I have to admit that Pearl Harbor is a daft film that I quite liked. Until the attack scene it felt like a nice picture book, where the plot and the acting are not important. The raid itself is solidly shot, and even the tearful moment at the very end with the crawling little boy just fits into this cliché.
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US patriotism on a massive scale, colossal and complicated romance, thanks to a love triangle and unimpressive acting performances all wrapped in Bay’s trademark aggressive directing style, or else a load of hogwash that ended up better than it seemed it could at first sight. And this is primarily thanks to the amazing scene involving the attack on Pearl Harbour. Bay’s first (but not last) blunder.
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A perfect romance film with a war storyline as a supplement and an unsuccessful attempt at patriotism as its flaw. At the time, it was a deserved film event, and more than a decade later, it brings back heavy nostalgia and still functions perfectly as a blockbuster with one of Hans Zimmer's most lively soundtracks.
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Halfway through the film, I thought the nurses were regular whores. Or Ben Affleck and Josh Hartnett on a journey to lose their virginity in which the events of December 7, 1941, are just superfluous filler.
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It may be pathetic, but visually, aesthetically, and musically, it is such a lavish affair that it completely disarmed me. A classic love story set in a big catastrophe – a cliché at first glance. It really is like that, but you can't help but like it. It doesn't pretend to be anything else.
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Pearl Harbor is probably the most kitschily pathetic piece of Hollywood I've ever seen. In this respect, one might be tempted to label Bay's Armageddon the winner, but there all the jingoism and heroism was entirely intentional, keeping the nonsense-filled story in the comic realms of pure narrative delight. Here, however, everything is taken terribly seriously, which is understandable given the subject matter, but when it’s juxtaposed with the sheer anti-realism of all the plot twists, sucked out of some universal filmmaking handbook for clichés and mass entertainment, it also makes the film an almost unbearably intrusive, cruelly long, arrogant show-off. It's true that Bay has a knack for the craft, everything looks awfully good under his direction and the air raid scene has an amazing audiovisual charge, but narratively this guy wanders through boring romance and hints of gripping drama, showing fully how much worse a director he is than, say, the natural humanist Spielberg. The best things about the film are the score by Hans Zimmer, which is almost instantly iconic, and the natural charm of the likeable Kate Beckinsale, even though the script gave her a rather impossible role.
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It's interesting how some directors make money out of historical events/tragedies. First, it was Titanic, now Pearl Harbor. What's next? A romantic drama set in Auschwitz?
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This is exactly the type of movie I don't like, and actually learned to hate. It's grandiose, it wants to show how everything will be magnificent, but when you look closer, you realize how small it actually is. The characters are tragically flat; you can't really connect with anyone, and it's all just for show like Bay's other films. No, I don't give credit to this director.
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