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The Dead

  • 1987
  • PG
  • 1h 23min
CALIFICACIÓN DE IMDb
7.2/10
9.5 k
TU CALIFICACIÓN
Anjelica Huston and Donal McCann in The Dead (1987)
Gabriel Conroy and wife Greta attend an early January dinner with friends at the home of his spinster aunts, an evening which results in an epiphany for both of them.
Reproducir trailer2:05
1 video
28 fotos
Period DramaDrama

Gabriel y su mujer Greta asisten a una cena social en casa de sus tías y tienen una epifanía.Gabriel y su mujer Greta asisten a una cena social en casa de sus tías y tienen una epifanía.Gabriel y su mujer Greta asisten a una cena social en casa de sus tías y tienen una epifanía.

  • Dirección
    • John Huston
  • Guionistas
    • James Joyce
    • Tony Huston
  • Elenco
    • Anjelica Huston
    • Donal McCann
    • Helena Carroll
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.2/10
    9.5 k
    TU CALIFICACIÓN
    • Dirección
      • John Huston
    • Guionistas
      • James Joyce
      • Tony Huston
    • Elenco
      • Anjelica Huston
      • Donal McCann
      • Helena Carroll
    • 73Opiniones de los usuarios
    • 42Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Nominado a 2 premios Óscar
      • 10 premios ganados y 18 nominaciones en total

    Videos1

    Trailer
    Trailer 2:05
    Trailer

    Fotos28

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    Elenco principal25

    Editar
    Anjelica Huston
    Anjelica Huston
    • Gretta
    Donal McCann
    Donal McCann
    • Gabriel
    Helena Carroll
    • Aunt Kate
    Cathleen Delany
    • Aunt Julia
    Rachael Dowling
    • Lily
    Kate O'Toole
    Kate O'Toole
    • Miss Furlong
    • (as Katherine O'Toole)
    Bairbre Dowling
    • Miss Higgins
    Maria Hayden
    • Miss O'Callaghan
    Cormac O'Herlihy
    • Mr. Kerrigan
    Colm Meaney
    Colm Meaney
    • Mr. Bergin
    Ingrid Craigie
    Ingrid Craigie
    • Mary Jane
    Dan O'Herlihy
    Dan O'Herlihy
    • Mr. Brown
    Sean McClory
    Sean McClory
    • Mr. Grace
    • (as Seán McClory)
    Frank Patterson
    • Bartell D'Arcy
    Marie Kean
    Marie Kean
    • Mrs. Malins
    Donal Donnelly
    Donal Donnelly
    • Freddy Malins
    Maria McDermottroe
    • Molly Ivors
    Lyda Anderson
    • Miss Daly
    • Dirección
      • John Huston
    • Guionistas
      • James Joyce
      • Tony Huston
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios73

    7.29.4K
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    Opiniones destacadas

    10wisewebwoman

    A perfect short story brought to screen perfection

    This is my favourite movie of all time. And I always think of it as John Huston's requiem.

    I must have seen it at least 20 times and never tire of it. The mood, the script, the singing, the dinner, it is like being invited into someone's home and observing the events and not able to participate even though you want to... It is a rare treasure, this movie and I cannot write enough praise for it.

    It is cast incredibly well, with quite a few Abbey Theatre faces and also the wonderful tenor voice of Frank Patterson. Lady Gregory's poem recited in the movie is one of the most moving ever written. Anjelica's scene walking down the stairs as she listens to the song is one of the best performances every seen on film. I cry every time I see it..for all the right reasons.

    We have all had love lost at an early age and weep for our young hopeful selves.

    Donal McCann acted in far too few movies for my liking, he just loved stage work and stuck to it, and it is our loss that we do not have more of his performances on film as he does so much with this delicate role by expression and the portrayal of a deep love for his wife that will never be reciprocated and he conveys such inner sadness at knowing this.

    If you want your movies action and plot packed avoid this, there really is no beginning, middle or end just a lens onto the characters at a dinner party in Dublin 80 years ago and all the little nuances and shadings of the personalities portrayed so beautifully.

    Bravo to all who were involved in this production. 10 out of 10.
    9frankde-jong

    The best adaptation of James Joyce by far

    "The Dead" is above all a film about transience, made by a director who was by that time very much aware of his own transience. It would be the last film of John Huston.

    It is also a film with a striking opposition. In the first 80% we see a traditional Christmas celebration in which all the guests know everything about all the other guests. In the last 20% Gabriel Conroy (Donal McCann) returns with his wife Gretta (Anjelica Huston) from the celebration to their hotel. In the hotelroom Gretta makes a confession to Gabriel about her first boyfriend. Gabriel comes to the conclusion that in fact he knows nothing about the person that is the most near and dear to him.

    The film ends with a beautiful quote from the novel by James Joyce on which it is based.

    "One by one, we're all becoming shades. Better to pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age".

    And so we are back to transience again.
    9GyatsoLa

    A small, almost perfect, gem

    So many literary adaptations are disappointments. There are many reasons for that, but usually it is the need to cut down a complex novel to the size of a screenplay. The Dead is unusual - it had to be 'padded', as the short story itself is a tiny, relatively short gem. It may in fact be the finest short story in the English language. In beautifully spare language it tells of the realization of Gabriel Conroy that his life, and the lives of so many around him are controlled by memories of the dead. Even his own wife of many years loved a man now dead more than him.

    To bring such a short story to the cinema was always going to be tricky. John Huston did a magnificent job. He never gave in to temptation to play it up or use fancy technique to expand on the story. It is simple and true, with outstanding acting. The only slight miss-step is the use of music to accompany the devastating final soliloquy.

    Its rare indeed for a movie version of a literary masterpiece to be itself a masterpiece, but I think its fair to use this term for this movie. Its not a bravura piece of film making, but it is simple and pure - I always think of Ozu's movies when i think of The Dead, its at that level of purity and simplicity and deep wisdom.
    8lasttimeisaw

    John Houston takes his exit with an elegiac meditation in honoring his forefathers and passing on his wisdom to his devout audience

    Released posthumously, THE DEAD bookends John Huston's illustrious career spanning 46 years, which is kick-started with a bang by THE MALTESE FALCON (1941). Adapted to the screen from James Royce's source story from his shorts collection DUBLINERS by John's son Tony, and stars his daughter Anjelica, plus a succinct length of merely 83 minutes and the fact that its story is mostly confined in a single location, THE DEAD is a small-scale labour of love of Huston (and his family too), an octogenarian ruminates about his fulfilled life and ponders what is inevitably waiting for him. But, don't be misled by its title, the film doesn't dwells on that morbid subject, instead, its life-force engendered from the lively festivity of a January dinner in Dublin 1904.

    University professor Gabriel Conroy (McCann) and his wife Gretta (Houston) are invited to attend the annual dance and dinner to celebrate the Feast of the Epiphany, hosted by the former's aunties, the Morkan sisters, Kate (Carroll) and her elder sibling Julia (Delany), as well as their niece Mary Jane (Craigie). Other guests are also presented, among which there is Mr. Grace (McClory, the Irish old stager in his final silver screen presence), a character doesn't exist in Royce's original text, entertains audience with his sublime recitation of a Middle Irish poem YOUNG DONAL, " ..You have taken the east from me; you have taken the west from me; you have taken what is before me and what is behind me; you have taken the moon, you have taken the sun from me; and my fear is great that you have taken God from me.", it is a magic moment where the sheer power of words embraces its deserved cinematic glory.

    Another highlights include Freddy Malins (Donnelly, an unforeseen usurper in my BEST SUPPORTING ACTOR list), a middle-aged bachelor, a raging alcoholic, Gabriel's childhood friend, noticeably under the influence, his soused conduct sterlingly breathes an air of discomfiture and drollness on top of the cordiality presented by the rest of the ensemble; whereas his mother Ms. Malins (Kean), a helicopter parent who perhaps isn't even aware of what damage she has done, and risibly puzzles why her son keeps being such a disappointment and laughing stock.

    Irish hospitality, as Gabriel addresses in his heart-felt tribute speech to the three hostesses, whom he praises as "three Graces", is the glue brings everybody altogether, regardless of their tastes in music, political stances or even religious persuasions. Cathleen Delany as Aunt Julia, upstages the rest of the Irish ensemble with her grand reaction shots and bolstered by her rendition of an Irish folk song, purely because it is too rare a case that the script would give sizable screen time to a senior lady singing in her weather-beaten timbre (apart from Ms. Florence Foster Jenkins for obvious reason).

    Anjelica Houston, shares her last journey of movie-making with her esteemed father, takes a back seat in the dinner party with her composed demeanor, until Gretta's concealed memory is unexpectedly prompted by THE LASS OF AUGHRIM sung by the tenor Bartell D'Arcy (Patterson), when the party is winding down. In her quietly poignant confession of a deceased young man who she fell in love with, the film reaches its well-earned catharsis through Donal McCann's reflective voice-over about certain existential epiphany, enhanced by the picturesque montage from DP Fred Murphy and Alex North's conspicuously pensive accompanying score.

    John Houston takes his exit with an elegiac meditation in honoring his forefathers and passing on his wisdom to his devout audience, it is brimming with loftiness, sincerity and an utterly captivating sensibility, and we wish the party would never be over, because goodbye is the hardest word to say to a beloved master.
    quatloos

    Absolutely superb

    This is truly a remarkable movie. "The Dead" shows us a turn-of-the-century Irish dinner party attended by a host of lost souls. It is a snapshot of people who either loved and lost, or never got to love at all. Everyone here longs for love -- not just ordinary fondness, but a condition where one almost sees God in the other person. (Those who have not experienced this will deem it maudlin.) For example, in the story, Anjelica Huston's character refers to one "Michael Fury" whose love for her had burned so intensely that he allowed himself to freeze to death in a river because he could not be hers. Such actions strike the idle passerby as pathetic (savage Americans would label Michael Fury a "loser"). But years later, when this kind of passion is deemed the only thing that matters, people privately develop a more respectful take on such things.

    At dinner, tenor Frank Patterson sings for the guests, his lovely voice stealing through the walls like the scent of a garden into a tomb. Beauty like this makes us want to find someone, open our jugular vein, and urgently bleed into them. We feel that somewhere burns an unseen, silent, and impossibly distant Light. If only we could share that Light with someone, or at least share a quest for it. But how? Alas, we can only stand at the bedroom window alone, watching the snowfall like Anjelica Huston's husband (Donal McCann) does at the movie's end. Many characters in the movie spend their whole lives at that bedroom window. Others are like Michael Fury, dying in a freezing river as he stares at the house where his Beloved conducts her affairs, unresponsive to him. At one point, after a guest recites a moving poem, one of the female guests laments, "Imagine being loved like that." She means a devotion so intense as to rearrange our psyches. But her chance for love is gone, crushed beneath layers of dashed hopes now piled high like the snows of Ireland in the movie. No rose sprouts in these drifts; only long-buried yearnings that waft like a vapor around headstones.

    This movie hints at secrets that are akin to something one experiences as a child who, lying awake and alone one night, spies a star outside the window and for an instant glimpses the Unspeakable. The child makes no mention of this to anyone - who would understand? ("That's nice, dear.") But the longing to share that glimpse with someone, or to share someone else's glimpse, burns until death. At the end of "The Dead," Anjelica Huston's husband realizes that he has shared no such glimpse with his wife, no such love. His wife has sobbed herself to sleep on the bed and remains silent as he looks out the bedroom window in the wee hours. Great stories have great dialogue, but the greatest have characters whose silence points to the realm of boundless could-be's. We hear the husband's lamenting thoughts as exterior night scenes melt into one another. Fields, starlit graveyards, wizened trees -- all hushed as "snow is gently falling all over Ireland, and falling gently."

    No routine tale of collision between desire and proscription this; no melodramatic costume-struggle between attraction and social propriety. "The Dead" speaks to each person's Star of Bethlehem, glimpsed once and then repressed until something like this dinner party shakes it loose. On the morrow the guests will tell themselves that they simply had too much wine at the party, and will thereby seal Heaven into their mental cellar once more. Their pain will continue as always.

    Sensitive and understated, I give this one top marks across the board. Bravo to John Huston. A fitting last effort by a great director.

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    Argumento

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    • Trivia
      The character Mr. Grace does not appear in James Joyce's original story. He is an invention of John Huston and Tony Huston's, and was chiefly included so as to permit a reading of the eighth-century Irish poem Donal Og ("Young Donal"). Although it represents a departure from Joyce's text, the poem is nonetheless appropriate to the story's themes: like the song "The Lass of Aughrim" that follows it, "Donal Og" deals with the suffering that love can bring to young women...just as it has for Greta.
    • Errores
      Molly says she is off to a union meeting in Liberty Hall to hear James Connolly speak. The movie is set on January 6, 1904. However, James Connolly had emigrated to the USA in 1903, where he arrived on September 18, 1903. He did not return to Ireland before 1910. He arrived in Derry on July 26, 1910.
    • Citas

      [last lines]

      Gabriel Conroy: [voice over] One by one, we're all becoming shades. Better to pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age. How long you locked away in your heart the image of your lover's eyes when he told you that he did not wish to live. I've never felt that way myself towards any woman, but I know that such a feeling must be love. Think of all those who ever were, back to the start of time. And me, transient as they, flickering out as well into their grey world. Like everything around me, this solid world itself which they reared and lived in, is dwindling and dissolving. Snow is falling. Falling in that lonely churchyard where Michael Furey lies buried. Falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living, and the dead.

    • Versiones alternativas
      Ten minutes of the film have been omitted from the 2009 DVD release.
    • Conexiones
      Featured in John Huston and the Dubliners (1987)
    • Bandas sonoras
      The Lass of Aughrim
      Traditional Irish ballad

      Sung by Frank Patterson

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    Preguntas Frecuentes20

    • How long is The Dead?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 6 de noviembre de 1987 (Irlanda)
    • Países de origen
      • Irlanda
      • Reino Unido
    • Idiomas
      • Inglés
      • Gaélico irlandés
    • También se conoce como
      • John Huston's The Dead
    • Locaciones de filmación
      • 15 Usher's Island, Dublin, County Dublin, Irlanda
    • Productoras
      • Zenith Entertainment
      • Vestron Pictures
      • Liffey Films
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Total en EE. UU. y Canadá
      • USD 4,370,078
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 69,074
      • 20 dic 1987
    • Total a nivel mundial
      • USD 4,370,078
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 23 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Dolby
    • Relación de aspecto
      • 1.85 : 1

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