miguel-nascim

Cinematography, production design, costume design, film editing, everything is presented in superior quality standard ever since the first scene, with the two child sisters on the tree framed on the sad and at same time beautiful "sertão" landscape.

The screenplay itself does not do bad, on the contrary, even carrying some elements of the Brazilians soap operas (novelas), at least it seems to capture the spirit of the good ones and does a very good job literally sewing the story of the two seamstresses sisters. The "cangaceiros", outlaw groups on the government standpoint, who also were considered heroes for some in the countryside of the Brazilian Northeast region in the thirties of the last century are also correctly pictured as recent studies highlight the role of the women in those groups.

But everything would just mean a correct movie if it was not for the superb performances of the two main actresses, Marjorie Estiano and Nada Costa. They are fully responsible to convey every idea of the screenplay and they do it in a way that only the best actresses do in the best movies. Maybe the whole casting directing job deserves a recognition, as most of the other characters do well, but Marjorie and Nanda are many levels higher all the time. Just one example, pay attention to the scene when the two sisters chat on the bed before sleeping. Superior.

The magnificent adaptation of the novel "The Grapes of Wrath", with John Ford on his best shape. The whole movie is a lesson on how to convey the feeling behind a time (the great depression in America) on the masterpiece images that resulted in the film. Cinematography, acting, edition, all are there with a purpose and combined they produce an outcome that only a great director is able to mind. Every detail is made important, like the clothes condition along the movie, the despair that increases in every face, the familiar ties that responds to every fact. Every detail tells the story in a way to make the spectator take place on the happenings. Special attentions to the constant use of shadows, which almost play as another group of characters.

Henry Fonda, Jane Darwell and John Carradine are absolutely great but fit in the story in a way to lever the shinning of all the other actors/characters.

Finally, it's a crazy idea, but it seems that the people in charge of "The Walking Dead" had in this movie a great playbook to guide them in a way to produce the story of a group of hopeless people trying to survive every new day in a society that has just been reduced to ashes.

A true spy story. A James Bond that is not dark like in Skyfall nor the clown like in some (many?) of the Roger Moore phase. Even the gadgets provided by a very professional "Q" incarnation seem plausible and adequate to the mission. Agents from three parts most watch and follow, in a way to maintain a high level of tension without appealing to action all the time. Even better there is no scene of the villain trying to kill 007 using some unusual device that always gives him time for a fantastic scape. Nothing is perfect the villains for at least two times have James in their clean aim, but instead of shooting at once get close enough to be disarmed. The 007 movie most likely to have been delivered by Hitchcock (and not just for the "North by Northwest" scene).