Posts Tagged “Biography”

2010

January 11, 2011
San Jose — Cinearts Santana Row
Canada
English
108 Minutes
Biography / Comedy / Crime / Drama
George Hickenlooper [Hearts Of Darkness: A Filmmaker's Apocalypse; Some Folks Call It A Slingblade; Mayor Of The Sunset Strip]

Spacey chews the scenery in this semi-true story of imprisoned lobbyist Jack Abramoff. Spacey plays him as a super-jew, super workout guy, super schmoozer, super loyal husband, and super cocky. Barry Pepper matches him overacted scene for overacted scene. Not sure if it’s a black comedy or a realistic portrayal of broken Washington. Not hard to watch, though John Lovitz is pretty much replaying every slovenly medallion wearing character he’s ever been.

As a political wonk, I enjoyed seeing real-life people portrayed by look-a-likes. George W. Bush, Karl Rove, Tom DeLay, etc. Real footage of congressional hearings is spliced in. Hints are given that Abramoff had his hand in all sorts of malfeasance, including the recount in Florida in 2000.

Spacey appears to be having fun, though.

Kevin Spacey; Barry Pepper

6.5 IMDB
5.0 Metacritic

CASINO JACK

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2010

December 20, 2010
Campbell CA — Camera 7
USA
English
115 Minutes — December 17, 2010
Biography / Drama / Sport
David O. Russell [Spanking The Monkey; Flirting With Disaster; Three Kings]

Mark Wahlberg; Christian Bale; Amy Adams; Melissa Leo.

Disappointingly traditional sports story about two brothers from Lowell, MA who enjoyed different levels of glory as professional boxers. Wahlberg plays Micky Ward, who is younger brother to Dicky (Christian Bale), who remains a big-shot in Lowell because he once held his own in the ring with Sugar Ray Leonard. In that fight, Leonard fell down, and the town continues to argue over whether it was a knock down or simply a slip. Either way, Dicky is chummy with the whole working-class town, especially with a group of crackheads he spends time with. Micky has looked up to Dicky (yes, the names are annoying) his entire life and is hard at work training for his shot at the title. Dicky acts as trainer, but with a crack habit like his, he isn’t exactly the most punctual worker.

Micky excuses Dicky over and over again, until a fight in Atlantic City when the original opponent of Micky’s is unable to fight. He reluctantly agrees to fight a man fresh from prison, who outweighs him by 25 pounds. Micky’s clock gets cleaned. Meanwhile, their not-exactly-classy mother, Alice, played by Melissa Leo, acts as a sort of manager to Micky. She is fiercely protective of her two sons. She is also protective of her seven daughters. She and Dicky often speak of the importance of family even as that same family is keeping Micky from any real success.

Micky spots Charlene (Amy Adams) in a local bar, where her cleavage and famous rear end are two of the main attractions. She is feisty and smart and holds her own against the drunks in the bar. Micky is instantly smitten (as was I).

Will Dicky drag Micky down? Will Micky turn his back on the family? Will all seven of his sisters hate Charlene for making their brother happy? Will Alice smoke another pack of cigarettes? Will Micky get his shot at the title?

Do you really have to ask?

Wahlberg plays Micky as a timid, though buffed, brother who seems to love the shadow of his hyper-verbal older brother. We never get a real feeling for why he wants to box. It doesn’t seem to give him any joy. His scenes with Adams are pretty good, but when she sticks up for him, it sure seems like he’s substituted one mouthpiece (Dicky) for another (Charlene).

Amy Adams is adorable. She attended some college before dropping out due to partying too much. She was an elite high jumper, but now works in a bar. She’s one of those movie constructs where a hot woman makes a man the best he can be, even if she needs force him to go against everything he knows.

Melissa Leo is just this side of a caricature. If she wasn’t such an acting stud (see FROZEN RIVER or HOMICIDE), it would be laughable. She’s all tight skirts, a poofed up hairstyle, animal prints, and potty mouth. Why she continues to worship the ground her crackhead son walks on is never explained. Unfortunately, each one of the sisters is there to make the audience feel superior. They appear to be real women from around the way in Lowell. Each sister’s hairstyle requires more Final Net than the last. Each accent is stronger than the last. Each pair of white Reeboks and acid-washed jeans and half-shirts is more stereotypical than the last. The film takes place in 1993 and some allowance can be made for their fashion sense. But oh, the hair. My goodness.

The sisters immediately hate Charlene because she’s been to college and has engaged in, you know, book learnin’. There is no group of sisters so ridiculous. When they all cram onto a sofa for a family meeting, it’s like a rouge’s gallery of the rejects from a Whitesnake video. Whitesnake, incidentally, is the music played when Micky enters the boxing arena. Here I Go Again, indeed.

The entire film would have crumbled under it’s own seriousness if not for the performance of Christian Bale. He’s already rightly famous for the lengths he goes to physically in changing his body to fit the role. Here, he needs to be crackhead skinny, but not only that. He also needs to look strung out, yet energetic. He needs to be lanky and unwashed, but ready to spar in a boxing ring. His eyes are hollow and he’s got the accent down. He also made me tear up several times. He is all bravado and self-delusion. A camera crew from HBO is following him around–he says to film his comeback, they say to film stories about crack addiction. I believed that he was HNIC in Lowell. He is charming enough for people to look the other way at his drug habit, a fact that hurts him obviously more than it helps him.

The boxing scenes were pretty good. There aren’t many ways to film fight scenes that hasn’t already been tried, but this film finds a way. All of the action that takes place inside an arena is filmed on video, like we’re watching the HBO tapes. It really was effective. I forgot once in awhile that I was watching a movie and wondered why Adams and Bale were in Atlantic City watching a fight. Wahlberg is passable as a boxer, I suppose. We don’t really see that much boxing, though.

The announcers are the real team from HBO and Michael Buffer does the intros. I’m not sure if they used the actual transcripts, but this is the kind of film where an announcer will say “Micky’s finished, someone should stop this thing” exactly when Micky finally lands a punch that hobbles his opponent. Perhaps to someone new to boxing films, the things done in this one will be spectacular and riveting, but I was tired of hearing “he’s getting killed” and “this unknown is taking way too much punishment”.

Good use of locations. Exciting editing and pretty great use of music. That is, when it wasn’t hitting us over the head. “Back In The Saddle” by Aerosmith is played, when not one, but two characters are shown “back” where they belong. This film had the surprising inclusion of the greatest bass drum song of all time, “Good Times, Bad Times.” I’d always heard that Zeppelin was too expensive to license (see ALMOST FAMOUS).

I’m a sucker for sports movies. I inevitably tear up a little when our hero’s dreams are fulfilled (“Rudy, Rudy, Rudy”; “Rocky, Rocky, Rocky”; “Hey Dad, Wanna Have Catch?”) and this one was no exception. And Bale is remarkable. I hope he’s remembered during awards season. The rest of the film, is way too paint-by-numbers to be anything above the ordinary.

8.5 IMDB
7.8 Metacritic

THE FIGHTER

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1966

December 19, 2010
Netflix Criterion DVD
Soviet Union
Russian / Italian / Tatar
205 Minutes
Biography / Drama / History / War
Andrey Tarkovskiy

#43 They Shoot Pictures Don’t They Top 1000 Films Of All Time

Imaginary episodes from the life of a 15th-century icon painter.

“A superb recreation of medieval life dramatizes the eternal problem of the artist, whether to take part in the life around him or merely comment on it” — **** — Halliwell’s

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

First things, first. Yes, it’s a butt-numbing 205 minutes. It’s in black and white, has no “normal” narrative, and is mostly in Russian. This is the only DVD in my 10-year Netflix history, that I’ve mailed back unwatched, and then put back on my queue at the top position. The first time the length just seemed too daunting. But, there must be a reason that it’s number 43 on THE LIST. It deserved another chance.

With older, less mainstream films like this one, I sometimes like to read about them before watching. What I learned was not to expect a linear style of storytelling, with plot point A leading to plot point B. I wasn’t to expect the title character, Russian painter Andrei Rublev, to be on screen very often–in fact, there are several long scenes where a character takes the attention of the camera for an extended period of time, never to be seen again. The man on the balloon in the first vignette is a perfect example. Who is he and what are the circumstances of his balloon flight? And what does this have to do with painting or faith or being a monk? We are never told.

I was instructed in these essays to be aware of the movement of the camera, the brutality of the images, and most importantly, the background of each scene. This proved to be the best advice I could get before viewing ANDREI RUBLEV.

The film may, in fact, be about the struggle to find beauty in the harsh Russian winters (and summers for that matter). Or it may be about artistic motivation–how a painter sees the world and his faith and incorporates that into the icons he paints. It could be about the pettiness and jealousy that humans–including the most holy monks–struggle with on a daily basis. I have no idea.

It’s the story of a famous real-life painter with no scenes of painting. It is divided into a half-dozen chapters, some of which have no relationship to each other. Our main character isn’t in every chapter, and even when he is, he is dressed exactly like the other monks, making his identification difficult, if not impossible. “Which guy is that, again?” For the last hour, our hero is wordless, because he is punishing himself for a sin any of us would have likewise committed.

I can’t tell you if the acting is good or not. If the actors are dressed in authentic costumes or speak as they should. But what I can tell you is Tarkovskiy has composed shots, the likes of which I’ll never forget. Everything I marveled at in Kurosawa’s RAN–the horses and flags and the burning temple–are done better in this film. And horses? Oh my goodness, the horses. Every broken horse in the USSR must have had a cameo in this film. Horses are inside churches, falling down steps (in a famous, brutal, and real scene), running into battle, rolling on the ground, frolicking in the water, and eaten as a treat. To simply marshal this number of horses and riders is grounds for celebration.

An early scene has three monks traveling the Russian countryside, through mud and rain. (I was chilly for the entire 3 plus running time–never has a landscape looked less hospitable.) They enter a tavern (or is it just a barn) to take shelter. A jester is performing some sort of anti-governmental song and dance as the drunk patrons laugh along with him. When he’s finished, long after another director would go to some sort of conversation amongst the monks, Tarkovskiy instead does a slow 360 degree spin of the inside of the room. We see every face looking at us–the monks, the peasants, the drunk guys in the corner, some children in the shadows. He does two spins, I think. Most of the film is in wide shot, but on a few occasions we see close-ups of naturalistic Russian faces.

There are what appear to be throw-away scenes of nature–a water snake, a man covered in ants, a dead bird, a cat walking amongst a pile of dead bodies.

The outdoor shots are where the film really shines. The first scene, involving the balloon, has the camera follow the “pilot” as he walks around a church, enters it, climbs some stairs, climbs out a window, and reaches for the ropes which are keeping the balloon from flying away. We have somehow gotten outside with the pilot and in the background, perfectly framed, is a rapidly approaching group of men in canoes paddling towards the church to stop his flight. Both the ropes, the balloon, the man, and the distant background are in focus.

There are countless outdoor scenes involving hundreds of people and horses, where you’ll scratch your head wondering how everyone ended up in the right place at the right time. An attack on a village where the action takes place on four levels, a raiding army whose horses gallop on both sides of a lake, and in a part of the film rightly heralded, an entire village helps to create a huge church bell for the town.

This bell scene involves a boy who claims that his dead father left the secrets to bell-making in his hands only. This boy has not been seen by the audience in the first 2 1/2 hours of the film, but at this point he becomes the protagonist. He has little actual skill at this craft, but he does have some sort of natural bell-making ability. He orders workers around, discovers the right molding clay by literally sliding in it, and does not show the Tsar the respect he usually gets. The digging and melting of metal and pouring of the mold and the fire and sparks is thrilling. In a scene I’ll never forget, the men begin chipping away at the clay to reveal the smooth and huge bell beneath. It takes the whole of the village to lift it out of its hole and as the Prince and other royalty ride up to see it, we all know that if that bell doesn’t ring, the boy will lose his head.

This shot is spectacular. We are up a hill, on top of the bell and in one cut, we pan from the miles away village and its protective wall, follow a line of horses as they cross a river on a bridge, see the ropes that have helped to hoist the bell, pan over to men winching the bell out of the ground, look down on the boy, and finally straight down on the bell itself. Fantastic.




Was ANDREI RUBLEV exciting from start to finish? No. Do I have any idea what it’s about? No. I took a two-hour break in the middle to gather myself and, frankly, to wake myself up a bit. Plot-wise, there’s a lot of talk about the wickedness of man, along with some examples (the raiding Mongol army, the pagans who strip naked to run though the forest, the rapists, the guy who pokes out the eyes of artists so that they can never recreate what they’ve already produced.) But the shots are just superb. There are things happening in the background of every shot. There is choreography of hundreds of extras that left me speechless.

Am I in a hurry to see it again? Not exactly. But I’m glad I did.

8.2 IMDB

ANDREI RUBLEV

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THE PASSION OF JOAN OF ARC
1928

March 22, 2009
Netflix Criterion DVD
France
Silent (Optional “Voices Of Light” Musical Track)
82 Minutes
Biography / Drama / History
Carl Theodor Dreyer
#17 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

On her last day on Earth, Joan of Arc is subjected to five increasingly threatening interrogations before being burned alive at the stake.

Most of the reviews mention that this may be the best example of silent film acting ever committed to film. I wasn’t sure what they meant until I saw this movie. I now find myself wholeheartedly agreeing. Maria Falconetti has this big, round, expressive face with huge eyes. Somehow, in a silent film with French title cards, she conveys everything we need to know about a character. She can cry with the best of them. She is typically filmed looking up at someone or something. It’s hard to describe. I thought I’d be bored senseless, but my attention was captured as I watched it twice. And I don’t know too much about the actual story. I was watching more as an exercise in filmmaking back in the 20s. The commentary track will tell you that this film had substantially more edits than any other for its time. The torture scenes are scary, the burning stake scene seems pretty realistic, and we even see real life human bloodletting. The actors were told to be available for the entirety of the long shoot. No makeup was allowed. Maria’s hair was actually shaved–she’s really crying while it happens.

The fact that this film even exists is amazing. The master print was destroyed after shooting. The director then used alternate takes to complete the film. Banned immediately upon its release in several countries, it was thought lost to fire and decay decades ago. Then a pristine print appears in the closet of an insane asylum in Oslo. It is translated back to French and cleaned up by the geniuses at Criterion.

“Austerely moving drama, using close-ups to give intense scrutiny to Joan and her accusers, drawing in the audience to become involved in the action.” **** — Halliwell’s Film Guide 2008

“One of the greatest of all movies…Falconetti’s Joan may be the finest performance ever recorded on film” — Pauline Kael

“Dreyer’s most universally acclaimed masterpiece remains one of the most staggeringly intense films ever made. It deals with only the final stages of Joan’s trial and her execution, and is composed almost exclusively of closeups: hands, robes, crosses, metal bars, and (most of all) faces. The face we see most is, naturally, Falconetti’s as Joan, and it’s hard to imagine a performer evincing physical anguish and spiritual exaltation more palpably. Dreyer encloses this stark, infinitely expressive face with other characters and sets that are equally devoid of decoration and equally direct in conveying both material and metaphysical essences. The entire film is less molded in light than carved in stone: it’s magisterial cinema, and almost unbearably moving.” — Time Out Film Guide 2007

“Masterfully directed, with groundbreaking use of closeups; Falconetti glows in the title role” — **** Maltin

8.1 IMDB

The Passion of Joan of Arc @ Amazon

THE PASSION OF JOAN OF ARC

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2008

January 29, 2009
DVD
USA / UK / France
English
122 Minutes — December 5, 2008
Biography / Drama / History
Ron Howard [Grand Theft Auto; Nightshift; Splash; Cocoon; Gung Ho; Willow; Parenthood; Backdraft; Far And Away; The Paper; Apollo 13; Ransom; Edtv; A Beautiful Mind; The Missing; Cinderella Man]

400 Million People Were Waiting For The Truth.

I’m a huge fan of political films. I watch THE WEST WING continuously–often with tears in my eyes. I love the pageantry of the office of the President, the customs of the US Government–to the point of watching a particularly close Congressional vote on CSPAN. For god’s sake, I teach High School Government. So I should be the guy this film is trying to reach.

But I waited a long time to see it and now that I have, I’m not sure what all the fuss is about. No matter how you slice it–how exciting you make the edits and music–you simply cannot make a sit-down interview as exciting as a boxing match, which is exactly what director Ron Howard is trying to do here.

I’m not old enough to remember Nixon or what he stood for or how much people hated him. And for people younger than I, whose only exposure has been through history classes, this film will probably cause them to have more sympathy for an old man who made a few mistakes, but was basically good. That fact must infuriate people who were in their politically aware 20s at the time Tricky Dick held office. There simply isn’t enough backstory in this film to tell the uninformed viewer the gravity of his crimes. I’m not saying that this film is the place for a complete review of the Watergate break-in, but depending on your age, this film will be a piece of negative nostalgia, or the story of people with funny haircuts sitting down for an interview back when you were allowed to smoke wherever you wanted. (The “aggressive” 70s product placement is one of the problems with this film–the famous Iron-Eyes Cody PSA is seen on the TV while people drink TAB).

As with most Ron Howard films, his one or two main themes are spelled out, heightened with music, repeated again, and then paused after for effect. One of these themes was something that actually was “achieved” by David Frost during these interviews, when Nixon admitted that no matter what he did as president, it wasn’t illegal because it’s impossible for the president to do anything illegal. This statement obviously has more weight in a post-Bush United States where the former president never met a signing statement he wouldn’t make or found a way to put the office of the President above the law in the name of “The War On Terror.”

The parallels between 1974 and 2008 are not lost on us (and with Howard at the helm, we have no choice but to think about them).

The other theme is that Nixon was a lonely man who wasn’t good with people. Boo hoo.

Setting aside the facts of the case, the film tries to make the high-pressure world of presidential interviews something of a sporting event. In this corner, David Frost, a man who drinks, smokes, bangs models, and hosts the 1970s equivalent of America’s Got Talent. In this corner, a disgraced president, who somehow thinks that if he says just the right thing during a one-on-one interview that he’ll be invited back to DC and receive a hero’s welcome. In 30 years, we might see David Hasselhoff v. Bush II.

Nixon thought he’d wipe the floor with Frost. How could a limey from across the pond hope to match his intellect? Frost thought he’d show all those naysayers by finally getting the secretive Nixon to admit to the whole business.

The performances are good. Unfortunately for Oscar-nominee Frank Langella, Nixon has been played by so many people by now that we scarcely remember the real man. The supporting cast is good: Rockwell, Oliver Platt, Kevin Bacon, and Rebecca Hall is a very sexy woman who’s only purpose in the screenplay is to stop the sausage-fest.

Here’s your one-sentence review: A film about an interview. Really, how exciting can that be?

Oscar Nominations: Picture, Director Ron Howard, Actor Frank Langella, Screenplay, Editing

8.0 Metacritic
7.9 Critical Consensus
8.1 IMDB #242 All Time

Frost/Nixon [Theatrical Release] @ Amazon

FROST/NIXON

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2007

December 24, 2008
HBO
USA
English / Dari / Arabic / Russian
102 Minutes — December 21, 2007
Biography / Drama
Screenplay by Aaron Sorkin [A Few Good Men; Malice; The American President; Sports Night; The West Wing; Studio 60 On The Sunset Strip]
Mike Nichols [The Graduate; Catch-22; Silkwood; Biloxi Blues; Working Girl; Postcards From The Edge; Regarding Henry; Wolf; The Birdcage; Primary Colors; Wit; Angels In America; Closer]

Story of the Soviet invasion of Afghanistan in the early 1980s. A trifecta of acting royalty play the main parts. Tom Hanks is Charlie Wilson, a real-life congressman from Texas. Julia Roberts plays a weathly socialite, also from Texas. Phillip Seymour Hoffman plays a CIA guy who lacks a single diplomatic bone in his body. He is barely hanging on to his job. Wilson is in position to pass almost any funding through his several House committees. Because he deals in covert operations, his committee never has to tell the rest of the House what they’re voting on. That means that as the amounts get higher, the votes continue to pass.

Wilson is a playboy, coke user, drunkard Congressman who sees a report by Dan Rather (while in a hot tub with a bevy of naked beauties) on the Soviet invasion. The cold war is in full effect and Wilson is inspired by the goat herders who are providing quite a fight to the mighty Soviet army. He is encouraged by Roberts to visit a refugee camp which causes him to take up the fight on behalf of the Afghanis in ernest.

This all sounds pretty boring and politically wonky, but due to the screenplay, written by uber dialogue king Aaron Sorkin, the story never wavers. I’m sure they’ve made the story a bit more positive than real life, but it sure seemed like fun to covertly kick Russian ass. I’ve done some research and it is pretty true-to-life. Wilson’s office is staffed by a collection of assistants and secretaries who wouldn’t be out of place in a 1970s soft-porn movie. But he is impossible not to like.

He charms Israeli Jews and Egyptian Muslims with equal aplomb, sometimes using the charms of a “non-traditional” belly dancer to encourage the two enemies to join together against the evil communists.

It is impossible to watch this without thinking about modern-day Afghanistan. Much like the US cut-and-run first gulf war where we kicked Iraq out of Kuwait but then didn’t support the Iraqis who wanted to overthrow Saddam, we helped kick the Soviets out of Afghanistan, but then left a power vacuum that a man named Osama bin Laden took advantage of.

The scenes between Hoffman and Hanks rival the best give-and-take conversations that Sports Night or The West Wing had. I was smiling in amazement and recognition of Sorkin’s hand.

If there’s a major problem with the film, it’s that the story is so simplified–it seems so easy for an inspired congressman to change history–that it doesn’t ring particularly true. Like West Wing depicted a Washington DC where people were mostly good, this film shows everyone working together in service to beat the Russians. Which happened, but it must have been messier.

ON: Supporting Actor Philip Seymour Hoffman

6.9 Metacritic
7.4 IMDB

Charlie Wilson’s War @ Amazon

CHARLIE WILSON’S WAR

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2008

December 9, 2008
Campbell CA — Camera 7
USA
English
128 Minutes — November 26, 2008
Biography / Drama
Gus Van Sant [Drugstore Cowboy; My Own Private Idaho; To Die For; Good Will Hunting; Psycho; Finding Forrester; Elephant; Last Days; Paris Je T’aime]
Sean Penn [Taps; Fast Times At Ridgemont High; Bad Boys; The Falcon And The Snowman; At Close Range; Colors; Casualties Of War; We’re No Angels; State Of Grace; Carlito’s Way; Dead Man Walking; She’s So Lovely; U Turn; The Game; The Thin Red Line; Before Night Falls; Mystic River; 21 Grams; Into The Wild]

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MILK is the subject of Cinebanter Podcast Number 64. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:

• 00:00 Intro
• 00:32 MILK Discussion – Part 1
• Break
• 18:04 MILK Discussion – Part 2
• Break
• 32:58 To Sum It Up
• Break
• 33:34 The Last Five®
• 1:02:52 Credits and Outtakes

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8.4 Metacritic
8.5 Critical Consensus
8.3 IMDB

Milk @ Amazon

MILK

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2007

July 9, 2008
Campbell CA — Camera 7
Germany / Kazakhstan / Russia
Mongolian
126 Minutes — June 6, 2008
Biography / Drama / History / Romance
Sergei Bodrov

Greatness Comes To Those Who Take It

AAN: Foreign Language

7.4 Metacritic
7.5 IMDB

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THE MOTORCYCLE DIARIES
2004

July 7, 2008
Netflix DVD
Argentina / USA / Cuba / Germany / Mexico / UK / Chile / Peru / France
Quechua / Spanish
126 Minutes
Adventure / Biography / Drama
Walter Salles [Central Station; Paris, Je T'aime]

Before He Changed The World, The World Changed Him

A womanizing biochemist and an earnest young medical student attempt to ride a battered old motorcycle around South America, stopping on the way to visit a leper hospital.

ON: Adapted Screenplay Jose Rivera

7.5 Metacritic
7.9 IMDB

THE MOTORCYCLE DIARIES

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Written by Michael W. Cummins