O Apóstolo
The Apostle
EUA, 1997
Dir.: Robert Duvall
"The Apostle' has become something of a legend in independent film circles, because Duvall was so long in getting the movie made. The major studios turned him down (of course; it's about something, which scares them). So did old associates who had always promised help, but didn't return his calls on this project. As he waited, Duvall must have rewritten the script many times, because it is astonishingly subtle. There isn't a canned and prefab story arc, with predictable stops along the way. Instead, the movie feels as alive as if it's a documentary of things happening right now. (...) Many of his scenes develop naturally, instead of along the lines of obligatory cliches. A confrontation with his wife, for example, doesn't end as we think it might. And a face-down with a redneck racist develops along completely unexpected lines. The Apostle E. F. is not easy to read; Duvall's screenplay does what great screenwriting is supposed to do, and surprises us with additional observations and revelations in every scene. Perhaps it's not unexpected that Duvall had to write, direct and star in this film, and round up the financing himself. There aren't that many people in the film industry gifted enough to make such a film, and fewer still with the courage to deal honestly with a subject both spiritual and complex. (...) The Apostle is like a lesson in how movies can escape from convention and penetrate the hearts of rare characters." Roger Ebert
"The Apostle' has become something of a legend in independent film circles, because Duvall was so long in getting the movie made. The major studios turned him down (of course; it's about something, which scares them). So did old associates who had always promised help, but didn't return his calls on this project. As he waited, Duvall must have rewritten the script many times, because it is astonishingly subtle. There isn't a canned and prefab story arc, with predictable stops along the way. Instead, the movie feels as alive as if it's a documentary of things happening right now. (...) Many of his scenes develop naturally, instead of along the lines of obligatory cliches. A confrontation with his wife, for example, doesn't end as we think it might. And a face-down with a redneck racist develops along completely unexpected lines. The Apostle E. F. is not easy to read; Duvall's screenplay does what great screenwriting is supposed to do, and surprises us with additional observations and revelations in every scene. Perhaps it's not unexpected that Duvall had to write, direct and star in this film, and round up the financing himself. There aren't that many people in the film industry gifted enough to make such a film, and fewer still with the courage to deal honestly with a subject both spiritual and complex. (...) The Apostle is like a lesson in how movies can escape from convention and penetrate the hearts of rare characters." Roger Ebert
2 comentários:
adoro este filme, o robert duvall é genial e o filme também, ele consegue traçar a história de uma redenção, de um erro q é reconhecido e vivido até a profundidade para de lá sair de forma mais purificada, sem ser banal, sem ser de uma religiosidade superficial... um homem em contato com sua humanidade no sentido mais frágil do que somos, beijo pra vc, josiane
Concordo. É, possivelmente, o filme mais profundo já feito sobre a fé. E Duvall tem um estilo tão bonito, tão atencioso aos pequenos detalhes... Ele dirige os atores de forma que nada se torne banal; cada gesto e olhar são tratados com carinho; tudo parece ser espontâneo e verdadeiro; só um grande diretor de atores consegue isso. O filme é lindo, emocionou-me profundamente.
E filmes que tratam da religião normalmente são o contrário disso tudo. A PAIXÃO DE CRISTO, um filme que muitos detestam, é na minha opinião o melhor de todos, e consegue isso sem ser uma reflexão sobre a vida de Cristo. É quase que uma pintura em movimento, parece aquelas pinturas barrocas que impressionam tanto - algumas delas vi no Louvre e em Munique, ano passado. O filme de Gibson é diferente de tudo o que já vi; inclusive, na primeira vez que o vi, detestei-o. Já o revi algumas vezes, e a cada revisão o filme me emociona mais. É um tipo de cinema que, provavelmente, não terá sucessores.
E há, claro, Dreyer, Tarkovsy, Bergman e Bresson, que ainda vão aparecer na lista, e que também tocam no tema.
Beijo
Henrique
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