Quando un gruppo di anziani sconfinati nuota in una piscina contenente bozzoli alieni, si ritrovano pieni di energia dal vigore giovanile.Quando un gruppo di anziani sconfinati nuota in una piscina contenente bozzoli alieni, si ritrovano pieni di energia dal vigore giovanile.Quando un gruppo di anziani sconfinati nuota in una piscina contenente bozzoli alieni, si ritrovano pieni di energia dal vigore giovanile.
- Vincitore di 2 Oscar
- 7 vittorie e 11 candidature totali
Recensioni in evidenza
Cocoon's achievement as a film is all the more remarkable when one reflects upon the scarcity of active, old people in American cinema, let alone a group of them presented so positively in a state of sexual re awakening, then led to such an upbeat conclusion. Behind this apparent optimism, however, the thoughtful viewer can still reflect on some final doubts and uncertainties.
The central circle of old people, around whom events turn, together prove a fine acting ensemble. Arthur (a still svelte Don Ameche), Ben (Selwyn Wilford Brimley) Jo (Hume Cronyn), Bernie (Walter Gilford), Alma (Jessica Tandy), Bess (Gwen Verdon) and the others are a convincing unit, squabbling, relating and facing the end of their lives with cantankerous dignity which is entirely convincing. Tandy and Cronyn were married in real life. Many of film's most poignant moments of the film spring from the relationships between these people. The quiet passing of Rose for instance, and her husband's grief by her bedside. Notable too is the wooing by former song and dance man Ameche of his new lady love, a process during which he shows no lessening of time-honed screen courtesy and assurance. During the opening of the film, Arthur and Jo's witnessing of an unsuccessful resuscitation is a stark reminder of the mortality of the principals, sadly off and on screen. Cocoon was a last hurrah for many of the elderly cast (although one or two survived advancing years to appear in the terrible Cocoon 2(1988)).
The other major character group are the Antareans. Here too a refreshing leap out of the stereotypical is taken as the aliens prove reasonable, non aggressive and forgiving perhaps characteristics inspired by Spielberg's influential and amenable ET (1982) or the religiosity of Close Encounters of the Third Kind (1977). Jack Bonner's near hysterical reaction to their initial unmasking ('If you try and eat my face off you'll be very, very sorry'), his following conversion then inevitable dalliance, are all handled with an effective lightness. Even Howard's depiction of an alien orgasm on screen as Jack romances Kitty (Tahnee Welch) without touching, in the life giving pool, is done sensitively. It is perhaps the most striking moment of its sort in Science Fiction cinema since Woody Allen's Sleeper (1973). Cocoon is a film in which sexual energy is equated closely to an amplified life force and is seen as both positive and welcome. Both young and old feel the replenishment of their passion, directly or indirectly, in connection with the cocoon tank. Here the items retrieved from the sea are settled at the bottom, somewhat ominous reminders of a life to come. The title itself is suggestive, not only of the typical dormacy of a chrysalis, but of impending rebirth such an object heralds. As the oldsters rejuvenate with the 'fountain of youth', they find new meaning and value in their lives, a belated development which even leads to the sad break up of families. The desire for life can be selfish, even when healthily expressed, and some prefer to 'stick with the hand nature has given' them.
The Antarean's recovery of their 'ground crew' is what brings them to earth. While their leader's account of them having originally lodged themselves in what was Atlantis is slightly hoary (their bases apparently having sunk during the 'first great upheaval') the film wisely seers away from too much alien hardware. Apart from the pretty device on the deck of Bonner's boat, and the splendours of the returning mother ship, very little technology is glimpsed. The Antareans are certainly strange, but lacking much hard evidence of their difference enables the audience to relate to them easily. Even their unskinning, as they emerge as their true, shining selves, is a wonderous event, a shining transfiguration with no implicit threat to humanity.
These are aliens associated with whiteness and with life, forgiving and considerate, exhibiting 'christian' values. They radiate and float like angels when emerging from human covering, and their ship takes the departing OAPs up into the light. Hollywood readily associates such light with the rewards of heaven (for other examples of the brilliance bestowed upon the departing see The Frighteners (1996) or Jacob's Ladder (1990). Substitute the pool of life for baptism, the smiling Walter (Brian Dennehy) for a prophet, and Cocoon's alien spaceship might just as easily be the Gabriel leading the faithful to paradise.
But what of the end of the film? Is it really as happy and as affirmative as it first seems? Bonner has made great play with his responsibility as a skipper in an earlier scene with Kitty. At the conclusion he might, therefore, reasonably be held to account for his loss of a cargo of elderly transportees. At least one extended family is broken up by their leaving. And Walter has to return home, his mission a failure, together with a boatload of unexpected guests. At the least the final ascension is a complex event, leaving some tensions unresolved. That Cocoon manages to hold all these elements together in a satisfying whole is one reason to seek it out. To enjoy a warm hearted family film is another.
I just can't say enough about just how good this film is.
As far as performances go I was particularly surprised by the acting of the senior citizens especially Jack Gilford as the miserable old codger Bernie - I love it when he completely breaks down and softens after spending an hour and 20 minutes as the most awful old man you could ever have the misfortune to bump into - the transformation was immediate but so believable - and I personally think that performance was worthy of a supporting actor oscar.
Also Brian Dennehy, Wilford Brimley, Don Ameche and Steve Guttenburg were also excellent.
An all round fantastic film which everyone can enjoy - all ages
A group of people in a retirement village discover a neighbouring swimming pool which is out of bounds, but they have fun in it nevertheless. There are some strange objects lying on the bottom of the pool, but even more strange is the fact that after swimming there the old folk feel transformed and the vigor of their youth returns to their bodies. This makes for some light comedy as their hormones begin to take over.
These old people have a very serious decision to make and it is not an easy one. This is probably the best part of the film. Should they accept or decline the invitation? Having made the decision there is no turning back! We ask ourselves...what would we do placed in their circumstances? We feel very much involved. Thinking it over, isn't this proposal very much like what the Christian churches are promising us?
The final memorial church service by the sea is such a fitting ending and the little grandson David gives such a knowing smile as he raises his eyes to the sky.
Loaded with stars from yesteryear, among them Don Ameche, Hume Cronyn, Jessica Tandy and Gwen Verdon, one could say "Cocoon" was an '80s alien movie made specifically for an older crowd. And that's fair -- they deserve it. It's as if director Ron Howard was hoping to give his cast some of their youth back in letting them take prominence in the film, based on a story by David Saperstein and screenplay by Tom Benedek. It's not riveting sci-fi material but it prompts an honest conversation about aging, one that in reality someone of any age could understand and appreciate.
The film takes place in a senior living center in St. Petersburg, Florida. As part of their recreation time, three of the senior men enjoy swimming in the abandoned pool just through the woods around the center. When a strange group of people come in and buy the old house and rent a boat at the dock, the stubborn old guys still come to swim in the pool, only it appears the people are storing rocks in the water. They swim anyway and find that with the rocks in the pool (actually alien cocoons) that they feel energetic, rejuvenated -- and younger.
Howard's film is easygoing. There is not a lot of suspense or gripping conflict. Instead, you watch and get a kick out of the way these seniors and their wives behave having been affected by the water. Their sex drive, for example, reappears to comic effect and there's general misbehavior. They all come off as bigger children and each have a different reaction to this "cheating" of age. Thus the film's core conflict of whether it's right to defy nature appears and guides the rest of the film. It's a replacement for any major form of antagonism.
"Cocoon" is touching because the story is very frank in portraying these seniors as having nothing to live for but each other and whatever remaining family they have. When you're that old, a chance at prolonged life is like being granted a whole new world of opportunity whereas you're just biding time when you're old and physically and mentally unable to do the things you used to.
There have been better stories, better special effects (although this one an Oscar in 1985) and better science-fiction films, so "Cocoon" is best appreciated as a unique film about old age, something movies rarely focus entirely upon.
~Steven C
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Lo sapevi?
- QuizHume Cronyn was a Golden Glove boxer and lost sight in one eye. In the scene where he hits the young orderly, without depth perception, he actually hit the young man and knocked him out.
- BlooperKitty massages Jack's right leg just after he bangs it. However, when they are talking, the leg left is the injured one.
- Citazioni
Joseph Finley: [to Alma] They say if we go with them, we'll live forever. And that's good. It's probably going to take you an eternity to forgive me... Alma, I'm sorry. I guess I was being ridiculous. I'm sorry. I love you. You're my whole life. I wanna go. But if it's a choice of only six more months here with you or living forever all by myself, well I'll take the six more months here with you. I don't want to live forever if you're not going to be with me.
- Versioni alternativeUK cinema and video versions were cut by 2 secs by the BBFC to remove one brief use of the word 'fucking' for a PG certificate. The Blu-ray is uncut, upgraded to a 12 rating.
- ConnessioniFeatured in Michael Sembello: Gravity (1985)
- Colonne sonoreGravity
Performed by Michael Sembello
Produced by Richard Rudolph (as Richard Rudolph) and Michael Sembello
Courtesy of A&M Records
I più visti
Dettagli
Botteghino
- Budget
- 17.500.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 76.113.124 USD
- Fine settimana di apertura Stati Uniti e Canada
- 7.936.427 USD
- 23 giu 1985
- Lordo in tutto il mondo
- 85.313.124 USD
- Tempo di esecuzione1 ora 57 minuti
- Colore
- Proporzioni
- 1.85 : 1