PLOT: complicated relationship between father and doughter and in the background of the story beautifull landscapes of east cost island in US.

The.Ballad.of.Jack.and.Rose.2005.DVDRip.x264.AC3-DEEP.mkv

General
Container:	Matroska
Runtime:	1h 52mn
Size:	1.98 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	720x468 ~> 865x468
Aspect ratio:	1.85:1
Frame rate:	23.976 fps
Bit rate:	2 029 Kbps
Audio
English 5.1ch AC-3 @ 448 Kbps

https://nitro.download/view/4E5BC2B88E27AEE/The.Ballad.of.Jack.and.Rose.2005.DVDRip.x264.AC3-DEEP.mkv

Language(s):English
Subtitles:English, Spanish

The post Rebecca Miller – The Ballad of Jack and Rose (2005) first appeared on Cinema of the World.

Quote:
The Unbearable Lightness of Being is a profoundly beguiling movie about sex, love, and rebellion. Its lead characters caper through Prague Spring, Czechoslovakia’s 1968 version of the Summer of Love, and then try to withstand the effects of Soviet occupation. They achieve an offhand grandeur. As they drop verbal bombshells about the murderous duplicity of politics and the uglification of the universe, they never lose their ardor or originality. All they want to rule them is passion.

In his novel, Milan Kundera describes his neurosurgeon hero, Tomas (Daniel Day-Lewis), as an “epic” Don Juan, “prompted by a desire to possess the endless variety of the objective female world.” In the movie, Philip Kaufman, who co-wrote and directed, succeeds in making Tomas’ two key relationships—with his waiflike wife Tereza (Juliette Binoche), and an independent artist, Sabina (Lena Olin)—embody that infinite variety.

When asked why novelists don’t often make great playwrights, Kurt Vonnegut said, “It’s because they don’t know that theater is dance.” That notion applies triply to the kinetic art of movies. The triumph of The Unbearable Lightness of Being is that Kaufman and company choreograph the diverse segments of Kundera’s fiction like a folk dance, a rock musical, and a pastoral ballet.

You could say that Tomas is a non-dancer who does one heartbreaking dance—with his wife—before he dies. The key scene (politically and personally) comes before he marries Tereza or dances with her. During Prague Spring, Communist officials glower as a student crowd at a nightclub bops to Buddy Holly. Tereza, not Tomas, takes to the floor—and her joy as she bounces around with another man makes Tomas jealous enough to marry her. It’s one of the novel’s few unexplained paradoxes. Tomas, the keen, voracious sensualist who cuts into the brain at work and caresses the female body every chance he can get, doesn’t care to dance. Tereza, who’s mystified by the power of her body, can release herself on the dance floor.

The way Kaufman handles the paradox, it’s the stuff of existential romance. In The Unbearable Lightness of Being, opposites attract and fulfill each other. In 1987, Daniel Day-Lewis told me that he got a handle on Tomas by seeing him “as a scientist, who’s fearful of the things that can’t be rationalized by science and so on. And that is the tension of the story. Because falling in love, for people like him, is the equivalent of falling off a fifteen-story building. It’s not something he’s readily equipped to deal with. He’s managed to equate his conquest of women with his need to conquer the world—as if he’s a scalpel cutting open the prostrate body.” Juliette Binoche said she saw Tereza as a woman obsessed with the mystery of nakedness, a romantic who wrestles with how little or how much her body reveals of her soul: “I thought that being naked, for Tereza, would have been a mistake, because it was a mystery, a secret. And if you show that secret, there’s no Tereza.” As Tomas, Day-Lewis is an acute, amorous observer: You can tell how much love he holds for his wife when you see the way he drinks her in with his eyes. And as Tereza, Binoche incarnates devotion and sheepish intimacy with instinctiveness and brio. You understand why a man would chuck a cushy life for her—why, having escaped from Prague to Switzerland after the ’68 Soviet invasion, Tomas follows her when she goes back.

It’s not surprising that Kaufman, the director of movies such as Invasion of the Body Snatchers and The Right Stuff, would pick up on Kundera’s ironies and emotional shadings. What’s amazing is how marvelously he realizes them. When Tereza finds Soviet-occupied Prague almost terminally dispiriting, she uproots Tomas once again, to an isolated farm where they and their dog Karenin befriend the commune chief and his pet pig. And here, of all places, they achieve marital bliss. On what we know will be the last night of their lives, in a country inn, Tereza balances her feet on Tomas’ and they dance toward the door of their room.

Improbably but persuasively, Sabina serves as a bridge between Tomas and Tereza, and between them and the audience: She’s as conscious of nuance as Tomas, and as intuitive as Tereza. Lena Olin gives a protean performance, notable not merely for its sensual breadth but also for its empathy. We appreciate both Tomas and Tereza more when we see them through Sabina’s eyes.

Olin makes the euphoria and heartbreak of the climactic sequence possible. When Kaufman and Carrière, in a variation on the novel’s flash-forwards, show us Sabina learning of her friends’ deaths, Olin’s ruminative grief is soul-shaking, not tear-jerking. Kaufman consummates Kundera’s description of the final scene: “The sadness was form, the happiness content.” His film of The Unbearable Lightness of Being is a sublime dance of death and life.

Philip Kaufman - (1988) The Unbearable Lightness of Being.mkv

General
Container:  	Matroska
Runtime: 	2h 52mn
Size: 	2.85 GiB
Video
Codec: 	x264
Resolution: 	718x480 ~> 853x480
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	1 979 Kbps
BPP: 	0.239
Audio
#1:  	English 2.0ch AC-3 @ 192 Kbps
#2:  	English 3ch AC-3 @ 192 Kbps (Commentary with director Philip Kaufman, co-writer Jean-Claude Carrière, editor Walter Murch, and actor Lena Olin)

https://nitro.download/view/6911CDFC0C4F4BF/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.mkv
or
https://nitro.download/view/E6C409BCFDF5A14/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.part1.rar
https://nitro.download/view/C91D5A9A999D7FA/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.part2.rar
https://nitro.download/view/E4AA1C1DAF3E953/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.part3.rar

Language(s):English
Subtitles:English

The post Philip Kaufman – The Unbearable Lightness of Being (1988) first appeared on Cinema of the World.

Christy Brown, born with cerebral palsy, learns to paint and write with his only controllable limb – his left foot.

2.27GB | 1h 43m | 1024×576 | mkv

https://nitro.download/view/79DC64A05D2BCD8/My.Left.Foot.1989.576p.BluRay.x264.mkv
or
https://tezfiles.com/file/24cbe14666b53/My.Left.Foot.1989.576p.BluRay.x264.mp4

Language(s):English
Subtitles:English, Spanish, Turkish

The post Jim Sheridan – My Left Foot: The Story of Christy Brown (1989) first appeared on Cinema of the World.

Quote:
‘LAUNDRETTE,’ SOCIAL COMEDY SLEEPER
DON’T be put off by the title, which makes it sound like a failed French farce. ”My Beautiful Laundrette,” written by Hanif Kureishi and directed by Stephen Frears, is the first real sleeper of the year.

The film, which opens today at the Embassy 72d Street Theater, is a rude, wise, vivid social comedy about Pakistani immigrants in London, , particularly about the initially naive, university-age Omar (Gordon Warnecke) and Omar’s extended family of wheeler-dealers and unassimilated layabouts.

”Take my advice,” says Omar’s Uncle Nasser (Saeed Jaffrey) early in the film, ”there’s money in muck.” Omar heeds his uncle and enlists the aid of Johnny (Daniel Day Lewis), a Cockney mate from his school days. Together, Omar and Johnny set out to revitalize ”Churchill’s,” a failing laundromat, owned by Nasser, in a seedy section of London where enthusiastic, hustling immigrants are at odds with alienated, disenfranchised natives.

Like the film itself, the relationship between Omar and Johnny is not quite as simple as it initially seems. Both men are outsiders. In the years since he and Omar were first friends, Johnny has drifted from one jobless limbo to the next. When Omar meets him again, Johnny is affecting a punk haircut and, with his pals, bashing Pakistanis, mostly because there’s nothing better to do.

It gradually becomes clear why Johnny has agreed to give up his street life to join Omar, who, being a Pakistani, isn’t easily explained to his Cockney pals. Johnny is bored with his own aimlessness. He never quite admits it, but he’d like to get ahead in the world. Further, and most important, he’s in love with Omar, something that Omar responds to and, like the hustler he’s becoming, uses to his own advantage.

”My Beautiful Laundrette,” however, is much more than a comedy about a couple of male lovers who go into the laundromat business. It’s about Omar’s father (Roshan Seth), a successful journalist in Pakistan but who in England, where he has raised his son, spends all day in bed drinking vodka and railing against the system. ”Oh, dear,” he might say in his fastidious, upper-class accent, ”the working class is a great disappointment to me.”

It’s also about Uncle Nasser’s most proud possession – his English mistress, Rachel (Shirley Anne Field), a tarty, good-hearted woman who genuinely loves Nasser; Nasser’s furiously jealous Pakistani wife (Charu Bala Choksi), who finally resorts to witchcraft (which works), and Tania (Rita Wolf), Nasser’s pretty daughter who feels neither Pakistani nor English.

Had ”My Beautiful Laundrette” been written by anybody but the London-born Mr. Kureishi, whose father was Pakistani and mother was English, the film would possibly seem racist. He’s merciless to his Pakistani characters, especially to Omar. However, he’s merciless in the way of someone who creates characters so complex they can’t be easily categorized as good or bad.

The film’s most sympathetic as well as most stubbornly faithful characters are English. Johnny is a man of almost unbelievable patience and reserves of decency – qualities that Mr. Lewis realizes in a performance that has both extraordinary technical flash and emotional substance. It’s Mr. Kureishi’s comic paradox that his upper-class Pakistani immigrants have become the exploiters in a land that once exploited them.

Mr. Warnecke, whose first film role this is, is wonderfully insidious as Omar. Also fine are Mr. Jaffrey, recently seen in both ”Gandhi” and ”A Passage to India,” and Mr. Seth, who played Nehru in ”Gandhi.”

Mr. Frears made his theatrical film debut as a director 15 years ago with Albert Finney’s ”Gumshoe,” a cheerful sendup of private-eye movies. Since then he has made only ”The Hit,” which was not a hit, apparently preferring to work in television, for which ”My Beautiful Laundrette” was originally intended. That ”My Beautiful Laundrette” could have been conceived as a film for the small screen describes – better than anything else I can think of – the vast difference between American and English television.

”My Beautiful Laundrette” has the broad scope and the easy pace that one associates with our best theatrical films. It puts its own truth above the fear of possibly offending someone. Without showing off, it has courage as well as artistry. There are moments when key narrative points are obscure, and when characters behave in a way that has been dictated not by plausibility but the effect it will create. Toward the end, it threatens to fly apart.

It doesn’t. ”My Beautiful Laundrette” is a fascinating, eccentric, very personal movie.
Vincent Canby, NY Times, March 7, 1986

1.77GB | 1h 38mn | 960×576 | mkv

https://nitroflare.com/view/863E7F9323CA6F5/Stephen_Frears_-_%281985%29_My_Beautiful_Laundrette.mkv

Language(s):English, Urdu
Subtitles:English

The post Stephen Frears – My Beautiful Laundrette (1985) first appeared on Cinema of the World.

Quote:
A man’s coerced confession to an I.R.A. bombing he did not commit results in the imprisonment of his father as well. An English lawyer fights to free them.

Roger Ebert wrote:
The Guildford Four were framed; there seems to be no doubt about that. A feckless young Irishman named Gerry Conlon and three others were charged by the British police with being the IRA terrorists who bombed a pub in Guildford, England, in 1974, and a year later they were convicted and sentenced to life.

But great doubts grew up about their guilt, it was proven that evidence in their favor had been withheld, and in 1989 their convictions were overturned.

“In the Name of the Father” tells this story in angry dramatic detail, showing that the British police were so obsessed with the need to produce the IRA bombers that they seized on flimsy hearsay evidence and then tortured their prisoners to extract confessions. The film is based on Conlon’s autobiography, Proved Innocent, and in its general thrust is factual – although the director, Jim Sheridan, cheerfully explained to the London Daily Telegraph last month how he changed facts, characters and dates to suit his fictional purposes.

As he tells it, the story becomes a tragedy of errors. The film’s rambling opening scenes are important in setting up what follows: Conlon (Daniel Day-Lewis), a young man from Belfast, finds himself in England with some friends, half-heartedly looking for work, sleeping in a shared squatter’s pad, drinking and doing drugs.

Conlon is not a model citizen. One night he robs a prostitute of her earnings, and returns to Ireland, flashing the money and buying drinks for family and friends. A former friend fingers him to the police, and he’s snatched from his bed in a predawn raid – along with his astonished father, who had nothing to do with anything, and also eventually finds himself serving a life sentence.

It is Conlon’s bad luck that his visit to the Guildford area coincided with the bombing, and that his newfound wealth looks suspicious. The IRA is a tightly disciplined organization whose members are not accustomed to getting rich off their work, or throwing money around, but never mind: Conlon is a splendid suspect, and when a sadistic British policeman (Corin Redgrave) gets finished with him, he’s a confessed murderer.

The movie does a harrowing job of showing how, and why, a man might be made to confess to a bombing he didn’t commit. The early sequences of the movie are a Kafkaesque nightmare for Conlon, who finds himself snatched from his bed and locked up for the rest of his life. It’s a nightmare for us, too, because Conlon behaves so stupidly, avoiding the obvious things he could say and do to defend himself.

The greater part of the movie takes place in prison, where Conlon and his father (Pete Postlethwaite) are housed in the same cell. His father, a hard-working, honest man, is filled with indignation. Conlon is more filled with self-pity and despair, but gradually, inspired by his father, he begins trying to prove his innocence, and is lucky to convince a stubborn lawyer (Emma Thompson) to take his case. She works for years, and even so might not have made much progress if a police evidence technician hadn’t mistakenly given her a report she was never meant to see.

Convinced by the film’s documentary detail, we assume all these facts are based on truth, and it is a little surprising to discover that the sadistic British policeman is a composite of several officers, that Conlon and his father were never in the same cell – and that the crucial character of Joe McAndrew (Don Baker), an IRA man who confesses to the Guildford bombings, is a fictional invention. All the same, the main thrust of the story is truthful: British courts found that Conlon and the others were jailed unjustly.

The film’s dramatic thrust doesn’t simply go from wrong to right, however. It’s more the story of how Gerry Conlon changes and grows during those years in prison. He is shown in the early scenes to be an aimless drifter – a dimmer and more genial version, in fact, of the unbalanced, angry homeless man in Mike Leigh’s “Naked,” a British film made at about the same time. In prison, he educates himself and the law educates him; by the time of his release, he is sober, intelligent, radicalized. Seeing this process happen is absorbing, especially since so much of it is inspired by the love of the father for his son.

And yet the film is somehow less than it should be. The urgency of the early scenes is lost when the story turns to prison life, and I began to feel that dialogue and events were repeating themselves. Points about the prison years and the fight for an appeal are made too painstakingly, and there is much dialog when a little would have done. I had the feeling that if 10 or 12 minutes had been edited from the film, from the scenes behind bars, that would have made a big difference.

Some of the weaknesses of script and structure are obscured by the power of Day-Lewis’ performance; he proves here once again that he is one of the most talented and interesting actors of his generation. Sheridan was the director of “My Left Foot,” for which Day-Lewis won the Academy Award for best actor. Here is a story with similar appeal, and yet somehow the story doesn’t coil and spring; it simply unfolds.

2.89GB | 2h 12m | 1024×554 | mkv

https://nitro.download/view/5D4E27FD9A57898/In.the.Name.of.the.Father.1993.576p.BDRip.x264-HANDJOB.mkv

Language(s):English
Subtitles:English, Spanish, French, Arabic, Danish, Dutch, Finnish, German, Italian, Norwegian, Portuguese, Swedish

The post Jim Sheridan – In the Name of the Father (1993) first appeared on Cinema of the World.

This 1993 film, directed by Martin Scorsese, brings the Edith Wharton novel to life.
Here it is — all the social comment and smoldering unrequited passions originally
intended by the author. And now it’s in living color with academy award winning costume
design reflecting New York society in the 1870s.

Daniel-Day Lewis is cast as Newland Archer, the upper class young man in conflict
between social convention and desire. Michelle Pfeiffer plays the Countess Ellen Olenska,
who has already defied convention by marrying a European and is further defying
convention by leaving her husband and returning to New York. However, in spite of his
attraction to the countess, Newland Archer marries the beautiful but seemingly simple
May Welland, played by Wynona Ryder, whose outstanding performance won her an academy
award nomination.

The film is woven together by the excellent off-screen narration by Joanne Woodward,
reading excerpts from the book describing the nuances of social behavior and unspoken
thoughts of the characters. The entire package comes across as a small masterpiece. I
loved the book, but there is nothing like actually seeing the ballrooms, the gowns, the
dinnerware and the food. There is nothing like seeing how very subtle gestures of a glance,
a raised eyebrow or a change in tone of voice can have so much meaning. And there is one
scene in which Newland Archer struggles with the buttons of the Countess’s glove that
captures an erotic sensuality in a very special way.

However, a book can be read over many days or weeks. It can be put down and thought about,
the characters carried in the mind’s eyes for a while. The subtleties and nuances have time
to live with the reader. A film, however, must be watched all at once. And watching subtleties
and nuances for a full 133 minutes can tend to be a bit boring. But film is film and a book is
a book. It is not fair to judge them against each other. So keeping that in mind, I give this
video an extremely high recommendation.
Review by Linda Linguvic.

https://nitro.download/view/49D86DD3AB61536/The_Age_Of_Innocence_-_Martin_Scorsese(1993)_CD1.avi
https://nitro.download/view/4A4BA99A3B65C2E/The_Age_Of_Innocence_-_Martin_Scorsese(1993)_CD2.avi

Language(s):English
Subtitles:none

The post Martin Scorsese – The Age of Innocence (1993) first appeared on Cinema of the World.