Una película con una banda sonora donde podemos encontrar a Benjamin Britten, a Francois Hardy, a Hank Williams o a Saint Saens... como fondo de una historia interpretada por actores como Edward Norton, Bruce Willis, Frances McDormand, Bill Murray o Tilda Swinton que nos llevan tras los pasos de dos niños de 12 años que viven su primer amor escapandose juntos por una pequeña isla de Nueva Inglaterra y llevandose consigo sus pequeños tesoros: un gato, un tocadiscos, pilas, libros, una linterna, unos prismáticos. Mientras los adultos se movilizan para buscarlos se anuncia un huracán. La ambientación, en los años 60 está muy cuidada. En resumen, un espectáculo que apetece repetir para descubrir todos sus tesoros ocultos.
Peter Travers
May 24, 2012
In the immaculately designed, emotionally charged bubble
filmmaker Wes Anderson builds around the 1965 New England summer, first
love blooms. Sam (Jared Gilman) is an orphan at the mercy of foster
parents and his Scout troop. Suzy (Kara Hayward) lives in a lighthouse
with three younger brothers, two lawyer parents (Bill Murray and Frances
McDormand) and an urge to bust free. Sam, she decides, is her man. No
one understands their attraction. Hell, they're both 12. He's a string
bean in thick glasses, and she's cool enough to wear eyeliner. But
Anderson, who wrote the resonant script with Roman Coppola, knows their
secret hearts. So when the kids run away to an island they call Moonrise
Kingdom, Anderson is right there with them. And thanks to this
enchanted ride of a movie, so are we.
Anderson is also expert at using humor as a gateway to deeper feelings.
Adults soon intrude on their paradise. There's a hurricane coming, announces the film's narrator (a delightful Bob Balaban). The scoutmaster (an engagingly wacked-out Edward Norton) organizes a search party with the help of his chief (Harvey Keitel) and cousin Ben, a scam artist in scout's clothing played by a stellar Jason Schwartzman, evoking his iconic role as Max Fischer in Rushmore. The police captain (a becomingly non-macho Bruce Willis) is also on the case, pressured by Suzy's mom, with whom he's having an affair.
The top-tier cast, including Tilda Swinton as a character called Social Services, may be star overload, but each actor performs small miracles. Murray and McDormand excel at showing a faltering marriage in microcosm. "Stop feeling sorry for yourself," she tells her husband, each in a separate bed. "Why?" says he, instilling one word with a lifetime of meaning. On children, they're agreed: "We're all they have, and it's not enough."
As the hurricane whips up a perhaps too busy climax, Anderson links the everyday and the extraordinary with virtuoso artistry. Shot with a poet's eye by Robert Yeoman and lifted by an Alexandre Desplat score that samples Mozart, Hank Williams and Benjamin Britten, the hilarious and heartfelt Moonrise Kingdom is a consistent pleasure. By evoking the joys and terrors of childhood, it reminds us how to be alive.
Anderson is also expert at using humor as a gateway to deeper feelings.
Adults soon intrude on their paradise. There's a hurricane coming, announces the film's narrator (a delightful Bob Balaban). The scoutmaster (an engagingly wacked-out Edward Norton) organizes a search party with the help of his chief (Harvey Keitel) and cousin Ben, a scam artist in scout's clothing played by a stellar Jason Schwartzman, evoking his iconic role as Max Fischer in Rushmore. The police captain (a becomingly non-macho Bruce Willis) is also on the case, pressured by Suzy's mom, with whom he's having an affair.
The top-tier cast, including Tilda Swinton as a character called Social Services, may be star overload, but each actor performs small miracles. Murray and McDormand excel at showing a faltering marriage in microcosm. "Stop feeling sorry for yourself," she tells her husband, each in a separate bed. "Why?" says he, instilling one word with a lifetime of meaning. On children, they're agreed: "We're all they have, and it's not enough."
As the hurricane whips up a perhaps too busy climax, Anderson links the everyday and the extraordinary with virtuoso artistry. Shot with a poet's eye by Robert Yeoman and lifted by an Alexandre Desplat score that samples Mozart, Hank Williams and Benjamin Britten, the hilarious and heartfelt Moonrise Kingdom is a consistent pleasure. By evoking the joys and terrors of childhood, it reminds us how to be alive.
Read more: http://www.rollingstone.com/movies/reviews/moonrise-kingdom-20120524#ixzz2IWAjfW5x
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2 comentarios:
Pues me la apunto, Aleste.
Un abrazo y gracias por la referencia.
PS ¡Aysss, cómo echo de menos una mano de su inglés!
Seguro que disfrutas con la banda sonora más todavía que yo... Un beso
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