Aggiungi una trama nella tua linguaAn inspiring tale through London by pictures narrated by Paul Scofield.An inspiring tale through London by pictures narrated by Paul Scofield.An inspiring tale through London by pictures narrated by Paul Scofield.
- Regia
- Sceneggiatura
- Star
- Premi
- 1 vittoria in totale
Paul Scofield
- Narrator
- (voce)
John Major
- Self
- (non citato nei titoli originali)
Norma Major
- Self
- (non citato nei titoli originali)
Dennis Skinner
- Self
- (non citato nei titoli originali)
Alastair Stewart
- Self
- (non citato nei titoli originali)
Recensioni in evidenza
During the year 1992, in which this beautiful documentary takes place, I lived in London and became acquainted not only with the kitschy tourist attractions but also with the city which true Londoners know: the little secrets found in back alleys, unknown museums, and interesting buildings. This movie is a sort of homage to that side of the city, and is quite well done. To me, seeing it a year after coming back to the states, it exactly embodied the spirit of that hidden London. Best watched in a decrepit theater on a crackling film reel.
I'm sorry, I know I am in the minority, but I really didn't get this doc-montage-essay, for all its wit and cleverness, and lush photography, and even lusher soundtrack, I felt I was being soundly manipulated by the filmmaker into seeing London as a political and spiritual wasteland. Yes, this film is, I suppose, artistically good, I felt some of the narration was poignant, and resonant of an underlying angst that many people experience in London, which can be isolating. Still, the haughty, droning voice of the narrator, really put me off. The simplistic dichotomy of labour versus conservatives, one good, the other doom laden, an insult to my intelligence, and the lack of voice within the film, apart from the writer's insistent polemic, was by far the most meaningful element. The film approves itself, and obliterates all dissent.
This is simply awful.
It's very pretentious. Constant references to artists and philosophers, even though they are irrelevant to prove the point the narrator is trying to make. Use of the french language for no other reason than trying to sound "fancy".
Some pretty shots, like the recurring theme of water, that was good.
Extreme manipulation of the events that happened in 1992. Conservatives win the election and right after the IRA bombing is shown, almost suggesting that the bombing was a response to the result.
Constantly criticizing the monarchy and conservative supporters. Making it hard to classify this as an excursion film. If it was up to me, I would put this in the "*Author complains for 1 hour and a half straight through its characters about the world he lives in and blames SOCIETY" genre. Yep, its one of those wE LIvE in A sOCieTY BS movies.
It's very pretentious. Constant references to artists and philosophers, even though they are irrelevant to prove the point the narrator is trying to make. Use of the french language for no other reason than trying to sound "fancy".
Some pretty shots, like the recurring theme of water, that was good.
Extreme manipulation of the events that happened in 1992. Conservatives win the election and right after the IRA bombing is shown, almost suggesting that the bombing was a response to the result.
Constantly criticizing the monarchy and conservative supporters. Making it hard to classify this as an excursion film. If it was up to me, I would put this in the "*Author complains for 1 hour and a half straight through its characters about the world he lives in and blames SOCIETY" genre. Yep, its one of those wE LIvE in A sOCieTY BS movies.
I used to visit London since the mid-70s. From mid 70s through the 90s, London was more or less the way Patrick Keiller presented it. Beautiful, charming and dangerous. The Beauty and charm of the city lurked in its history, lore, architecture and diversity of its inhabitants among many other things; while its dangerousness came from its wild and lawless youth and thugs. I recall how risky it was to walk alone into certain parts of the city at night. Whereas London in the early 21st century is totally different from its 20th century version. I remember London in 2005 or around when I visited it last, clean, tidy and safe with all sorts of surveillance devices everywhere. I have no intent to relate this to party politics; but for sure it is high tech, and the will to use high tech to tame and discipline the wild in a huge and beautiful metropolitan, that transformed the city from the Jungle it was to the park it is now.
Filmed during the election year of 1992, this poignant film presents a very personal, politicised portrait of London as John Major replaces Margaret Thatcher and all seemingly tilts further down into depressing times. If the Conservative government are paralysed with fear and doubt, the IRA certainly are not and add to London's woes on a more frequent basis than I remember. Watching this downbeat, socialist view of London some 15 years after it was shot makes one so aware of just how much has changed for the better. The streets are brighter, people spend more time on them, transport has improved, tourism has roared and confidence and success have replaced the tired old dormitory like city. Ironically, given the tone of this film, it is a little bit of the Labour party, quite a lot of Ken Livingstone, as London Mayor but a whole lot of capitalism at work that has rejuvenated this great city.
Lo sapevi?
- QuizShot over a period of 11 months in 1992.
- BlooperIn the end-credits, the film mentions music by the "Columbian" (rather than Colombian) Carnival Association.
- Citazioni
Narrator: 'London,' he says, 'is a city under siege from a sub-urban government, which uses homelessness, pollution, crime, and the most expensive and run-down public transport system of any metropolitan city in Europe, as weapons against Londoners' lingering desire for the freedoms of city life.'
- ConnessioniFollowed by Robinson in Space (1997)
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