the music shines in the darkness, and the darkness has not overcome it

The Mission face parte din “the good old times” – e de pe vremea când Robert De Niro era un actor bun, muzica de film era făcută de Ennio Morricone şi se ştia clar cine e bun (iezuiţii) şi cine e rău (Vaticanul, spaniolii şi bestiile de portugheji). Cascada era cascadă şi jungla era junglă. Singura problemă era cu indienii Guarani care păreau cam bine hrăniţi pentru locul în care trăiau. Nu s-a făcut economie la capitolul talente: Jeremy Irons mai avea puţin şi se ridica la cer iar Liam Neeson reuşeşte să se facă remarcat deşi are un rol mic şi pricăjit. De văzut, de ascultat, de înjurat colonialiştii.

6 thoughts on “the music shines in the darkness, and the darkness has not overcome it

  1. @stefan: mie mi s-a parut filmul asta ca fiind atipic. si pt. de niro, si pt. irons si pt. subiect si cum a fost tratat. cred ca “vinovat” este regizorul – tot el a facut Killing Fields – cam scartait dpv al muzicii desi Oldfield a facut-o, dar altfel beton.

    ai vazut ce film vrea sa scoata pe piata?

    off-topic: Caprica (re)incepe maine:D

  2. eu nu stiu nimic despre baietii astia (OD), ce au vrut, ce au facut, daca e rai sau e buni.

    going back to the mission, filmul e vorba despre acel “falanster”, acea utopie iezuita, pe care calugarii au incercat sa o faca. cred ca, din cate mai tin minte, am vazut filmul asta cu ceva vreme in urma.

  3. da, asa e: http://works.bepress.com/cgi/viewcontent.cgi?article=1005&context=thomas_obrien

    “Today most people’s first and only exposure to these communities is by way of the 1986 film The Mission, which is, oddly enough, a testimony to both of these prevailing biases. It is clear that the makers of the film intended to defend and give tribute to this fabled civilization that arose in the South American jungles, which they understood as a
    Jesuit accomplishment among an otherwise passive native population. On another level though, some post-colonial writers claim this film is a self-parody of Western colonial attitudes toward native peoples, whose lives and deaths are served up as part of the scenery on which the European characters play out their melodramas—in much the same way that the pagan gods often worked out their mythical interactions
    amidst the mundane backdrop of human existence (Lora, n.d.).”

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