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IMDbPro

O Homem que Veio de Longe

Título original: Boom
  • 1968
  • Approved
  • 1 h 53 min
AVALIAÇÃO DA IMDb
5,5/10
1,9 mil
SUA AVALIAÇÃO
Richard Burton and Elizabeth Taylor in O Homem que Veio de Longe (1968)
Official Trailer
Reproduzir trailer2:27
2 vídeos
99+ fotos
DramaThriller

Explora o confronto entre a mulher que tem tudo, inclusive o vazio, e um poeta sem dinheiro que não tem nada além da capacidade de suprir as necessidades de uma mulher rica.Explora o confronto entre a mulher que tem tudo, inclusive o vazio, e um poeta sem dinheiro que não tem nada além da capacidade de suprir as necessidades de uma mulher rica.Explora o confronto entre a mulher que tem tudo, inclusive o vazio, e um poeta sem dinheiro que não tem nada além da capacidade de suprir as necessidades de uma mulher rica.

  • Direção
    • Joseph Losey
  • Roteirista
    • Tennessee Williams
  • Artistas
    • Elizabeth Taylor
    • Richard Burton
    • Noël Coward
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    5,5/10
    1,9 mil
    SUA AVALIAÇÃO
    • Direção
      • Joseph Losey
    • Roteirista
      • Tennessee Williams
    • Artistas
      • Elizabeth Taylor
      • Richard Burton
      • Noël Coward
    • 41Avaliações de usuários
    • 36Avaliações da crítica
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 1 indicação no total

    Vídeos2

    Boom!
    Trailer 2:27
    Boom!
    Boom!
    Clip 2:42
    Boom!
    Boom!
    Clip 2:42
    Boom!

    Fotos103

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    Elenco principal9

    Editar
    Elizabeth Taylor
    Elizabeth Taylor
    • Flora Goforth
    Richard Burton
    Richard Burton
    • Chris Flanders
    Noël Coward
    Noël Coward
    • The Witch of Capri
    Joanna Shimkus
    Joanna Shimkus
    • Miss Black
    Michael Dunn
    Michael Dunn
    • Rudi
    Romolo Valli
    Romolo Valli
    • Doctor Luilo
    Fernando Piazza
    • Etti
    Veronica Wells
    • Simonetta
    Howard Taylor
    • Journalist
    • Direção
      • Joseph Losey
    • Roteirista
      • Tennessee Williams
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários41

    5,51.8K
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    10

    Avaliações em destaque

    6Bunuel1976

    BOOM (Joseph Losey, 1968) **1/2

    Joseph Losey would have turned 100 on 14 January 2009 had he lived and it seems appropriate that I should commemorate that anniversary a day late and with this very film because: a) it deals with a much-married dying woman looking back on her life and b) it misses the mark of being a good movie. Actually, for most people, it does much more than the latter and is an unmitigated disaster, a serious blot on the careers of a handful of talented people: director Losey, playwright-screenwriter Tennessee Williams (who boldly claimed this was the best film ever to be made out of his own plays!) and lead actors Elizabeth Taylor and Richard Burton. On the other hand, the ones who generally escaped the critical trashing with their dignity intact were cinematographer Douglas Slocombe (shooting in the lovely Mediterranean island of Sardinia), composer John Barry (who provides a terrific and playfully eclectic score) and supporting players Noel Coward (making a droll appearance as the Witch of Capri) and Joanna Shimkus (as Taylor's long-suffering secretary). For one thing, the Burtons were both miscast, with her being far too young – she was just 36 at the time – and him too old for their roles (Tallulah Bankhead and Tab Hunter, respectively, had originally played those parts in the equally catastrophic stage version)! The fact that BOOM is one of eccentric film-maker John Waters' all-time favorites is a clear sign that the movie's reputation (bad or cult, depending which side of the fence one happens to be on) rests squarely on its high camp quotient: Taylor's constantly shrill, foul-mouthed delivery (including the occasional line in massacred Italian) – which, again, can be downright annoying or mildly amusing – and her parading in an incredible Kabuki costume to the strains of live sitars; "Angel of Death" Burton's walking around (hair blowing in the wind) in a samurai warrior's attire and brandishing the proverbial sword on the ledge of Taylor's clifftop villa; diminutive bodyguard Michael Dunn unleashing his pack of wild dogs on intruder Burton, etc. In the long run, however, what really saves the film for me – apart from those assets already mentioned at the top – is Losey's mise-en-scene which, from the very first shot to the last, is remarkably cinematic and inventive – in spite of his allegedly hitting the bottle quite hard during production (which did not prevent either of the Burtons from working for him once more, albeit separately)!
    big_bellied_geezer

    You can see the occasional flash of brilliance here if you wait!

    "Boom!" is a film that requires a lot of patience, and if you wait it out and can accept the meandering direction, it will give you an idea of where Tennesee Williams head was at during this time! Williams was quoted to have been pleased with this adaptation of his "The Milkman Doesn't Stop here Anymore" play. Does this film work?...Well yes and no! Meandering direction tries your patience but you do get a glimpse into the mind of a self-obsessed woman by Ms. Taylor who's seen it all and done it all and isn't used to hearing the word "NO". A tighter script would of helped. It's KINDA campy but I tend to think the term "Camp" is overused a lot by too many people. I think John Waters described this film best by declaring it "failed art". I feel the acting is ok by the actors involved. You have to pump up the volume in a film like this to draw you in! Remember Ms Taylor's character is supposed to be essentially unlikeable and shrill and there is no such thing as a happy ending in such a picture. A odd and strangely compelling film if you have the patience!
    10dargossett

    The road of excess

    How can a film be a 10 and a 1 at the same time? As serious art, Boom is a bomb. Yet, as a testimony, a very camp testimony, to the lives of Elizabeth Taylor, Richard Burton, Noel Coward, and Tennessee Williams, it is literally hysterical. As the Age of Aquarius was dawning on America, what were these pioneers of love, lust, decadence, and existential meaning to do? What is there to say, to do, to perform, two years after Who's Afraid of Virginia Woolf? 1968. the play Hair is delighting Broadway. The hippies have overtaken the Beats. Where can the stars go? To the Old World, Europe, Italy, Capris... The movie reveals their state of mind: preoccupation with death, the emptiness of wealth, sex, and luxury. As we watch this undeniably amusing costume melodrama, we can't help wondering just what Taylor and Burton's "real" life there in Sardinia must have been like. Did they throw tantrums when their whims went unsatisfied, or was it the opposite? I'll have to leave the answer to the biographers. But this film makes it impossible not to imagine them all there in Italy, trying with desperation NOT to be what they were portraying. That is what makes the film intriguing.
    10NeelyO

    Divinely bonkers (and cries out to be on video)

    Where to begin in discussing the rococo lunacy of this ill-fated project? Would it be Tennessee Williams' overripe script ("My heart beats blood that is not my blood, but the blood of anonymous donors")? Elizabeth Taylor's screeching performance ("S*** on your mother!", she yells at a clumsy servant)? Richard Burton's near-catatonic recitation of the title, or his reading of Coleridge's "Xanadu" (which Taylor interrupts with a "HUH?")?

    Director John Waters' favorite movie (he calls it "failed art" and, thus, "perfect") is a non-stop laugh riot, and since "Boom!" is not available on video, you owe it to yourself to catch it on screen on those rare opportunities when it is presented. (The LA County Museum of Art recently screened it as part of its celebration of the Noel Coward centenary -- despite the fact that Mr. Coward appears in it for about 10 minutes -- and it drew hearty laughs throughout its seemingly interminable running time.)

    So loony, so overdone, so 1968, this one's a camp classic.
    csmreck

    Boom knocks Granny's socks off

    As a 24-year-old back in '68, I thought Liz and Dick were gauche, but time has mellowed my judgments (particularly after seeing "Who's Afraid of Virginia Wolfe" for a 2nd time and really appreciating it this time around.) So, given the chance to see "Boom" for the 1st time, I said "Sure!" Well, Boom got ole Granny all shook up! I LOVED it! If someone disparagingly says "Camp!" to describe this movie, it isn't me. I watched the movie with complete seriousness, took the story and characters literally, and came away from the experience very moved! Liz Taylor is at her luminous, beautiful best. So she's a little chunky. I was mesmerized by her famous deep purple eyes and thick black eyelashes. But it was her acting in this film that really knocked me out. Yes, her accents vary - but that is Liz being true to the character. Sissy Goforth is a grand lady now, but her lapses into vulgarity suggest humbler beginnings.

    I think Liz' acting is superb throughout. After all, this character IS over-the-top. Liz goes from grandiose viciousness to moving pathos and I found her believable at all times.

    As for Burton, that sexy devil/angel - who cares if he was a little old for the part. To this 62-year-old, he looked delicious, and that mellifluous voice really m-o-v-e-d me.

    The spectacularly beautiful scenery of Sardinia and the magnificent mansion provided an awesome setting - and Liz' costumes and jewelry were to drool over.

    What a treat to see Noel Coward. Who cares if this movie was beneath him. He looked like he was having fun! Of course there's a "message" to the movie, but to me it was secondary to all the glorious glamour and glitz (Oh. Did I just describe "camp?")

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      Tennessee Williams stated that this was the best movie version of any of his plays that was ever produced. The rest of the world did not seem to agree, for the monumentally expensive production bombed at the box office.
    • Erros de gravação
      Near the beginning of the film, when Taylor is lying on the bed, she pushes a button on the cassette player at her bedside which introduces John Barry's soundtrack music. However, the button she pushes is "rewind", not "play".
    • Citações

      Flora 'Sissy' Goforth: Did somebody tell you I was dying this summer? Did somebody tip you off that Sissy Goforth was about to go forth this summer?

      Chris Flanders: Yes. That's why I came.

      Flora 'Sissy' Goforth: Well, well. I've escorted six husbands to the eternal threshold and come back alone without them. Now it's my turn. I've no choice but to do it, but I want to do it alone. I don't want to be escorted. I want to go forth alone. And you... you counted on touching my heart because you knew I was dying. Well, you miscalculated with this one. The milk train doesn't stop here anymore.

    • Conexões
      Featured in Clube dos Pervertidos (2004)
    • Trilhas sonoras
      Hideaway
      Music by John Dankworth

      Lyrics by Don Black

      Performed by Georgie Fame

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    Perguntas frequentes

    • How long is Boom!?
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    Detalhes

    Editar
    • Data de lançamento
      • outubro de 1968 (Reino Unido)
    • País de origem
      • Reino Unido
    • Idiomas
      • Inglês
      • Italiano
    • Também conhecido como
      • Boom!
    • Locações de filme
      • Capo Caccia, Sardinia, Itália
    • Empresas de produção
      • World Film Services
      • Moon Lake
      • John Heyman Productions
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 10.000.000 (estimativa)
    • Faturamento bruto mundial
      • US$ 413
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 53 minutos
    • Proporção
      • 2.35 : 1

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