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Il mistero dell'acqua

Titolo originale: The Weight of Water
  • 2000
  • T
  • 1h 54min
VALUTAZIONE IMDb
5,8/10
10.331
LA TUA VALUTAZIONE
Elizabeth Hurley, Sean Penn, and Catherine McCormack in Il mistero dell'acqua (2000)
Trailer
Riproduci trailer1:47
1 video
45 foto
Vero crimineCrimineDrammaMisteroThriller

Una fotografa di giornali fa ricerche su un doppio omicidio del 1873 e scopre che la sua vita è parallela a quella di una testimone sopravvissuta alla tragica prova.Una fotografa di giornali fa ricerche su un doppio omicidio del 1873 e scopre che la sua vita è parallela a quella di una testimone sopravvissuta alla tragica prova.Una fotografa di giornali fa ricerche su un doppio omicidio del 1873 e scopre che la sua vita è parallela a quella di una testimone sopravvissuta alla tragica prova.

  • Regia
    • Kathryn Bigelow
  • Sceneggiatura
    • Anita Shreve
    • Alice Arlen
    • Christopher Kyle
  • Star
    • Catherine McCormack
    • Sean Penn
    • Sarah Polley
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    5,8/10
    10.331
    LA TUA VALUTAZIONE
    • Regia
      • Kathryn Bigelow
    • Sceneggiatura
      • Anita Shreve
      • Alice Arlen
      • Christopher Kyle
    • Star
      • Catherine McCormack
      • Sean Penn
      • Sarah Polley
    • 101Recensioni degli utenti
    • 32Recensioni della critica
    • 45Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria e 1 candidatura in totale

    Video1

    The Weight of Water
    Trailer 1:47
    The Weight of Water

    Foto45

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    Interpreti principali25

    Modifica
    Catherine McCormack
    Catherine McCormack
    • Jean Janes
    Sean Penn
    Sean Penn
    • Thomas Janes
    Sarah Polley
    Sarah Polley
    • Maren Hontvedt
    Elizabeth Hurley
    Elizabeth Hurley
    • Adaline Gunne
    Ciarán Hinds
    Ciarán Hinds
    • Louis Wagner
    • (as Ciaran Hinds)
    Richard Donat
    Richard Donat
    • Mr. Plaisted
    Ulrich Thomsen
    Ulrich Thomsen
    • John Hontvedt
    Anders W. Berthelsen
    Anders W. Berthelsen
    • Evan Christenson
    Murdoch MacDonald
    • Bailiff
    • (as Murdock McDonald)
    Joseph Rutten
    Joseph Rutten
    • Judge
    John Walf
    • Defense Attorney
    Katrin Cartlidge
    Katrin Cartlidge
    • Karen Christenson
    Vinessa Shaw
    Vinessa Shaw
    • Anethe Christenson
    Adam Curry
    • Emil Ingerbretson
    Josh Lucas
    Josh Lucas
    • Rich Janes
    John Maclaren
    John Maclaren
    • Dr. Parsons
    Rita Kvist
    • Young Maren
    Jan Tore Kristoffersen
    • Young Evan
    • Regia
      • Kathryn Bigelow
    • Sceneggiatura
      • Anita Shreve
      • Alice Arlen
      • Christopher Kyle
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti101

    5,810.3K
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    Recensioni in evidenza

    TheVid

    An oddly engaging film that explores provocative themes with a welcome adult sensibility.

    In spite of it's convoluted plot, there is much to admire about this picture, particularly the sexual tension it exudes. The contemporary story is derivative of Polanski's brilliant KNIFE IN THE WATER, while the flashback story is ripe with atmosphere and an ominous mood that overwhelms the rest of the picture and sustains the whole movie. The ensemble performances are first rate, slightly uneven at times, but generally committed. Elizabeth Hurley is appropriately sexy in her bit, and no less interesting than anyone else, despite what you might expect. This is a rather somber, mood piece from Bigelow, whose reputation as a keen director of action movies is only briefly apparent in this subdued thriller. Well worth a look.
    6lastliberal

    The world is full of talented assholes.

    Love, hate, jealousy, desire sometimes work together with disastrous consequences.

    Kathryn Bigelow put together an interesting story based on a novel using these themes. Action bounced back and forth between the present with Catherine McCormack, Sean Penn, Elizabeth Hurley & Josh Lucas; and the past featuring Sarah Polley.

    A murder took place in 1873 and there is no doubt watching the action that Polley committed it. Unfortunately, a man hangs for the crime instead of her.

    The present day crew with McCormack doing a great job as a photographer investigating the murder seem to be having some of the same problems that beset Polley. Her husband (Peen) can't seem to take his eyes off Hurley (and who could blame him as she exposes ample skin to distract us should the story lag - which it doesn't), and there is some indication that more might have happened.

    Just as things came to a head with Polley and a moment of madness overtook her, we can see the same things happening in the present.

    The murdered are still be discussed 100 years later and only a couple of people know what really happened. We can also look at the present situation and discuss what went on in the minds of the characters in the storm. It leaves room for doubt, and that is what makes this an interesting story, besides, of course, McCormack's and Polley's performances.
    7jotix100

    A cruise to nowhere

    The problem with "The Weight of the Water", the film, is the way the novel by Anita Shreve, was adapted for the screen. This is the basic flaw that even a good director like Kathryn Bigelow couldn't overcome when she took command of the production. The novel, as it is, presents grave problems for a screen treatment, something that the adapters, Alicia Arlen and Christopher Kyle, were not successful with their screen play.

    The picture is basically a film within a film. Both subjects, the present time and the story that is revealed as Jane gets involved, parallel each other, but one story has nothing to do with the other. Also, the way this film was marketed was wrong. This is not a thriller at all. What the book and the film are about is human situations that are put to a test.

    In the story that happened many years ago in a settlement in coastal New England, there was a notorious murder at the center of the narrative. It has to do with a wrongly accused man, Louis Wagner, a man that is basically crippled with arthritis that is accused by Maren Hontvelt, his landlady, as the one that killed two women, Karen and Anethe. In flashbacks we get to know the truth of how an innocent man is hung for a crime he didn't commit.

    The second story shows how Jane who is traveling with her husband Thomas, in his brother's yacht. She is a photographer on assignment about the place where the women were murdered, years ago, is lured to the subject matter she is photographing, and makes the discovery of the truth. Her own relationship with her husband Thomas is a troubled one. They are doomed as a couple, one can only see the way he leers after his brother's girlfriend as she parades almost naked in the pleasure boat they are spending time. In the novel the tension comes across much deeply than what one sees in the movie.

    The amusing thing about the film is that the secondary story is more interesting than the present one. Thus, the luminous Sarah Polley, who plays Maren in the secondary tale, makes a deep impression, as does the accused man, Louis Wagner, who is portrayed by Ciaran Hands. Sean Penn, comes across as somehow stiff as Thomas. The wonderful Katrin Cartlidge is totally wasted.

    The film has elicited bad comments in this forum, but it's not the bad movie some people are trying to say it is. Better yet, read Ms. Shreve's novel as it is more satisfying than what came out in this movie version.
    FilmFlaneur

    Excellent drama from an excellent director, if not her best

    Five years after the still underrated Strange Days, admirers of the considerably talented director Kathryn Bigelow were wondering when they would see her next project. When it appeared, The Weight Of Water proved much more consciously 'literary' (being adapted from a novel by Anita Shreeve), being conceived on narrower scope than the previous film, but exceeding its temporal complexity. In her recent films, Bigelow has seemed intrigued by the way in which flashbacks can section a narrative, and dictate tension. Strange Days notably included the visceral thrill of replayed memories, demonstrating all the dangers of literally living in another's head. The present film juxtaposes old and new events much more traditionally, but still creates unsettling experiences in parallel - in ways sometimes reminiscent of The French Lieutenant's Woman (1981).

    For those used to the usual Hollywood clichés, the prospect of a boatload of innocents visiting an isolated scene of an old terror might suggest the imminent arrival of vengeful possession. To their credit, Bigelow and her source are above such routine stuff, although the script manages some genuinely creepy moments as Jean (Catherine McCormack) contemplates the gruesome past of Smuttynose Island on, and off, shore. As other reviewers have noted, The Weight Of Water is less about ghastly occurrences than a parallel study of two women, both trapped in loveless relationships. One, the 19th century immigrant Maren Hontvedt (Sarah Polley) reacts with uncharacteristic violence; Jean, the other, is powerless (or even initially willing?) when seeing her man slipping away - either emotionally or then physically.

    So stark and successful are the scenes set in the past (the first time that Bigelow has directed such historical material) that one wishes that the modern day episodes aboard the Antares were more engrossing. Part of this is to do with the casting. Although much better than she would prove next in Bedazzled, as the coquettish Adaline Gunn Elizabeth Hurley is simply too shallow an actress to suggest the complexities and depths that her part deserves. Some of this is the script's fault, giving her little chance to express herself in anything but blatant body language. Whether lounging in her provocative white bikini, or sucking and toying with ice cubes like a nymphet arousing the poet Thomas (a troubled Sean Penn), our interest in her is usually limited to whether she succeeds in seducing half of the dysfunctional couples sharing the yacht. "Women's motives are always more concealed than men's," suggests Thomas at one point. Unfortunately, in Adaline's case at least, they are as obvious as the look on her face.

    Both the house on Smuttynose Island and the 'sort-of vacation' enjoyed by those on the Antares, are threatening and claustrophobic. The atmosphere between consenting adults on board reminds one at times of that on the boat in Polanski's Knife In The Water (aka: Nóz w wodzie, 1962), although events turn out differently. As Jean observes, at the time of the killings it was felt that Louis Wagner (Ciarán Hinds) "was in love with one of the women, (and that) murder was the only way he could possess her." "I like that," comments Adaline tritely, unconsciously inviting an echo of this obsessive behaviour towards herself. At one point a rogue wind literally flaps her in some original documents relating to the case, a tangible suggestion of a bond between past and present. Although she doesn't succumb to the same Lizzie Borden-nightmare that took place on shore, the tension is there.

    On board the Antares from the start, the drama of sexual attraction is of more importance than the violence of historical events, even though it is the old criminal case which has drawn Jean, leaving its emotional shadow. It is ironic and apt that her preoccupation with it partly makes her refuse Thomas' belated advances in the archive library. Usually, before this moment of romance, he glumly chain-smokes or decries the sensitivity which first attracted Jean - indeed for a poet, he remains curiously inexpressive of his feelings. It turns out that while contemplating the tanning body of Adaline he's absorbed with the death of an old girl friend in a car crash, one for which he was responsible and which inspires his famous poetry. In contrast, Rich Janes (Josh Lucas) the poet's brother and Adaline's current lover, seems unaffected either literature or the strained atmosphere - even at one point making light of his own lack of emotional commitment. With such a crew, one main difference between the 19th and the 21st century, the film suggests, is that of emotional engagement. All of the real 'drama' takes place in the wood cabin. On the yacht it is left deliberately shallow, and largely unexpressed - even if just as desperate.

    It is Bigelow's skilful cutting between that century and this, and her suggestions of patterns both here and there, which makes the film so enjoyable and interesting. The film stands or falls by this technique and a typical criticism of it has been that 'the issues are subtle to the point of mere implication', or that the final moments of catharsis carry little weight as 'so little of dramatic interest' precedes them. But much of the pleasure from the picture lays precisely in the undecided or the unspoken, where a wife's desperation can be blown away in the wind and sea, and love is a trap. A more exact resolution of Jean's emotional dilemma, or a stricter line drawn between time zones would have reduced the mystery considerably. This is a film where it is simply enough, as Jean rightly observes, "that you sense something is about to happen - and when you realise it already has."

    Hurley's shortcomings as an actress aside, most of the cast is excellent. Sarah Polley seems to have found her dramatic niche in cheerless historical settings (she was also in Winterbottom's excellent The Claim, 2000) and projects just the right degree of Scandinavian angst. Bigelow uses all of her locations effectively, with some especially impressive shoreline work, and the plot flows easily. This director's admirers should seek this out, and welcome her talent back without delay.
    7stensson

    One story in two

    Clever script, clever acting, especially by the late Katrin Cartlidge. This is about a history murder case. Who did the axe killing? The supposed one or the certainly unsupposed?

    There are two parallel plots here, the murder case and the case of those who are examining the case 130 years later. In many (emotional) ways the two plots are really the same. The murder case takes over the souls of the investigators.

    You get confused and found out quite many things after leaving the movie house. That's typical for a good thriller.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Based on an actual double-murder on the Isles of Shoals on 6 March 1873.
    • Blooper
      When John Hontvedt, the Norwegian husband, turns the tea mug over at the site of the murders, there is a modern factory silkscreen stamp on the bottom of the mug.
    • Citazioni

      Thomas Janes: Though lovers shall be lost, love shall not.

    • Connessioni
      Referenced in Atraco a las 3... y media (2003)
    • Colonne sonore
      Sulli lulli lite ban
      Written by Inge Krokann

      Performed by Traditional

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    Dettagli

    Modifica
    • Data di uscita
      • 30 marzo 2001 (Italia)
    • Paesi di origine
      • Stati Uniti
      • Canada
      • Francia
    • Lingua
      • Inglese
    • Celebre anche come
      • The Weight of Water
    • Luoghi delle riprese
      • Fox Baja Studios, Rosarito, Baja California Norte, Messico
    • Aziende produttrici
      • StudioCanal
      • Manifest Film Company
      • Palomar Pictures (II)
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 16.000.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 109.130 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 45.888 USD
      • 3 nov 2002
    • Lordo in tutto il mondo
      • 321.279 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 54min(114 min)
    • Colore
      • Color
      • Black and White
    • Mix di suoni
      • DTS
      • Dolby Digital
    • Proporzioni
      • 1.85 : 1

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