Un joven músico, atormentado por una situación de abuso en casa, debe lidiar con un cantante rival, un romance floreciente y su propia banda insatisfecha, mientras su estrella comienza a asc... Leer todoUn joven músico, atormentado por una situación de abuso en casa, debe lidiar con un cantante rival, un romance floreciente y su propia banda insatisfecha, mientras su estrella comienza a ascender.Un joven músico, atormentado por una situación de abuso en casa, debe lidiar con un cantante rival, un romance floreciente y su propia banda insatisfecha, mientras su estrella comienza a ascender.
- Ganó 1 premio Óscar
- 10 premios ganados y 6 nominaciones en total
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Such is the case with PURPLE RAIN, the one film that, as far as I'm concerned, effectively captured the raw essence of the good ol' "ME" Decade.
In a thinly-disguised version of the events that shaped his career and his life, The Purple One starred as a brilliant songwriter and musician simply known in Minnesota music circles as "The Kid." There are three distinct storylines, all of which have been around since Mickey and Judy put on shows for the neighborhood. One documents the intensive rivalry existing between Prince's band and the Time, fronted by the charismatic poseur and self-described "Lay-deez Man" Morris Day, (who in a satirical and self-effacing performance, manages to effectively steal every scene he is in.) The battle is waged nightly at Minneapolis' legendary First Avenue Club, (where Prince really did get his start with other leading lights like Andre Cymone, Jesse Johnson and Morris).
In the second, the two frontmen battle even harder for the affections of new-girl-in-town Appolonia (Appolonia Kotero, in her debut, and biggest screen role to date.)
The third reflects "The Kid's" struggle with his inner demons and the source of his problems dealing with his career and his personal relationships: the volatile, strained marriage between his equally brilliant but tragically broken father, Francis L. (Clarence Williams III) and headstrong mother (Olga Karlatos). The scenes between the three of them have provoked uncontrollable snickers with their over-the-top hystrionics, but those few moments they work, they do carry an undeniable power, and a window into "The Kid's" tortured psyche that fans were only privy to before through the music.
And ultimately, that is what PURPLE RAIN is all about: the power of music to transcend, transform and uplift everything it touches for good or for ill, though good is ultimately the strongest influence it exudes. Prince's chart-topping, Oscar winning song score found The Artist at his dazzling best, and director Magnoli made a wise call including as much scintillating concert footage as possible.
The Battle of the Bands sequences are wondrous to behold, with both The Revolution and The Time at their tightest, loosest and funkiest all at once. Even the vocally-deficient, amply-augmented Appolonia 6 (formerly Vanity 6) sparkles.
The remaining cast all do the best they can with what moments they're given, the standouts besides Williams III and Karlatos being the hysterical rapport between Day and Time mascot Jerome Benton, and some refreshingly confrontational moments between "The Kid" and former bandmates Wendy and Lisa, which threaten at times to edge into the territory of cinema verite, rather than just popcorn-driven melodrama.
But capturing one of the decade's defining cultural touchstones is the true purpose of PURPLE RAIN, and to this day, you can talk to people who can still remember where they were and what day and time it was the first time they heard "When Doves Cry." With "1999" running a close second, this was Prince's masterwork, and even though he still produces material with flashes of profane, profound, funk-fueled brilliance, he still has yet to top the creative bar he raised for himself and everybody else back in 1984.
At times difficult to watch, while Morris Day is portrayed as the misogynist, Prince as the knight on (motorcycle) steed, he is still called upon to twice beat a woman as part of the screenplay. That he can do this and still emerge as a flawed but vindicated hero is credit to the writing. Prince is so free of ego in this film that not only does he portray himself as a narcissistic megalomaniac who beats women, but his most famous song is fictionalised as being written by his father and Wendy & Lisa. Even further, two of his compositions - Computer Blue (admittedly the album's weakest track) and Darling Nikki - are shown as being songs that kill off an audience. Perhaps the only concession to the Princely ego is a card that lists the (slightly shorter than Prince) Apollonia as 5'6.
The nearly complete-amateur cast are mainly band members playing themselves (and reviewers who slate the actors on the terms that they've never appeared in other movies are completely missing the point), and do perfectly well under the direction. Morris Day gets most of the plaudits for his likable ham, though Jerome Benton must also get credit for bouncing off him well, particularly their stage act, which is hilarious. Day and Benton even go so far as to make an Abbott and Costello routine funny, which takes some doing.
Lastly, there's Prince. While I admit to bias, I do actually think he's a pretty good actor in terms of being able to portray a low-key version of himself. Acting ISN'T his profession, this was a film made for entertainment, so anyone pointing out that the guy in the lead role isn't Robert DeNiro and thinking they're making a point is sadly deluded. I don't want this review to be a derisory attack of other people's comments, but I've even this film slated as having a low budget and being darkly lit. How would a film about domestic violence be shot, then? With full overhead spotlights and a CGI dinosaur walking into frame?
The film acts almost as a perfect snapshot of the neon light and skinny tie era until you remember that it was actually made in a world of curly perms and tinny synths, and this isn't some retro-recreation. Prince's best film with Oscar-winning music, it sees him at his zenith, and it's saddening to realise that, even though he would make some fine albums, he would never again capture this high.
Post-Script, July 2016: Seeing this film again, it was clear that I'd been watching it through Purple-tinted glasses. My original score was 7/10, which is ridiculously high. My revised score of 5/10 stands as generosity by itself. A genius on record, perhaps... but on film, definitely not.
Prince himself gets to run around on his motorbike a lot and of course perform his songs so he doesn't have to do much other than make big doe-eyes at key moments and speak his words one line at a time. Morris Day is better as his nattily-dressed rival (in music and for the girl), but underneath he's still a stereotypical chauvinist and Appollonia as the love interest gets to sing a little, cry a little and take off her clothes a lot.
What little humour there is, is forced and banal, none more so than an excruciatingly unfunny sub-Abbott and Costello "Who-dat" exchange between Day and his gopher over a password. In its favour though the presentation of all the songs is crisp and dynamic as you'd expect in the MTV age. Prince, naturally and even Day are fine musical performers, although Day's songs with his group The Time are noticeably inferior to Prince's group the Revolution's - you just don't buy the club-owner's ultimatum to "The Kid" to up his game or lose the gig because up until then his material and performances have been superb.
Which brings me to the music, which in Prince's case is absolutely brilliant throughout. Not for nothing did the soundtrack stay at the top of the US charts for a "Thriller"-challenging 24 weeks. Each song gets a different,imaginative, live-interpretation and the man himself is as we all know a sensational performer, dancer and lip-syncher too! As you'd expect there's a big climax, where the self-obsessed Kid reaches out by for once selflessly performing Wendy and Lisa's song (in reality his own), the title number, partly to expiate his pain over his family strife and also, naturally to win the girl, but the music is so good and the staging so strong that you believe it and all the 'happy ever after" boxes it ticks as it goes.
Which is pretty much the story of the film and it wouldn't be the first "musical" where the songs carried the movie, but there were rarely songs as good as these doing the job.
¿Sabías que…?
- TriviaA few days before the premiere, Prince had a nightmare that Gene Siskel and Roger Ebert despised the film, with Ebert ripping the film apart. He said, "I dreamed those two guys on the TV were reviewing the movie and that fat guy was tearing me up!" Siskel and Ebert both loved the film in their reviews.
- ErroresWhen Jerome and Morris are walking around the block, discussing the problems with the girls' group, Morris says "That Apollonia babe we saw last night," and his lips don't move in sync with the dialogue. He's actually mouthing "Vanity" instead of "Apollonia", indicating that the scene was filmed before Vanity backed out of the shoot.
- Citas
Apollonia: Will you help me?
The Kid: No.
Apollonia: Pardon me?
The Kid: Nope... Wanna know why?
Apollonia: Nope.
The Kid: Because you wouldn't pass the initiation.
Apollonia: What initiation?
The Kid: Well, for starters, you have to purify yourself in the waters of Lake Minnetonka.
Apollonia: What?
The Kid: You have to purify yourself in Lake Minnetonka.
[She strips down, and runs towards the lake]
The Kid: Hey! Wait a minute! That's...
[She jumps in. She gets out shivering]
The Kid: Uh, hold it...
Apollonia: What?
The Kid: That ain't Lake Minnetonka.
- Créditos curiosos"May u live 2 see the dawn"
- Versiones alternativasThe 1984 variant of the Warner Bros. Pictures logo is plastered with the 2003 variant in the 20th anniversary DVD and 2007 Blu-ray. Both prints also feature the closing 2003 logo.
- ConexionesEdited into Prince and the Revolution: Purple Rain (1984)
- Bandas sonorasLet's Go Crazy
Words and Music by Prince
Performed by Prince and The Revolution
© 1984 Controversy Music
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- Purple Rain
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 7,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 70,261,052
- Fin de semana de estreno en EE. UU. y Canadá
- USD 7,766,201
- 29 jul 1984
- Total a nivel mundial
- USD 70,274,572
- Tiempo de ejecución1 hora 51 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1