El seductor
The Beguiled
The Beguiled
Director:
Sofia CoppolaCámara:
Philippe Le SourdMúsica:
Laura KarpmanReparto:
Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Addison Riecke, Emma Howard, Wayne PéreStreaming (1)
Sinopsis(1)
La historia se desarrolla durante la Guerra de Secesión en un colegio femenino del sur de Estados Unidos. Sus alumnas viven allí refugiadas del mundo exterior hasta que descubren a un soldado enemigo herido y deciden acogerlo. Su presencia en la institución despertará tensiones sexuales y peligrosas rivalidades que incitarán a romper todos los tabúes en un inesperado giro de los acontecimientos. (Universal Pictures España)
(más)Reseñas (10)
Para un largometraje de una hora y media tiene poca trama. Moderación e inocencia bien interpretadas (entiéndase el deseo sexual latente) de la victoriana Kirsten Dunst; y otra gran actuación de Kidman como jefa de la casa, que es lo único que llamó mi atención. En muchas escenas, la mitad de la sala (incluyéndome a mí) se rió. Sofía olvidó que el espectador actual no es uno de los protagonistas de su película, de su época. Para que una nueva versión tuviera sentido para la audiencia actual, tendría que ser realizada por Guillermo del Toro. Y con una buena dosis de ketchup.
()
The Beguiled is a gentler, more sensual and more sophisticated take on Thomas Cullin’s novel than the film made by Don Siegel and Clint Eastwood in 1971. In the original film, the ruin of men was represented by jealous and vengeful women who were incapable of suppressing their lust. Therefore, I understand Sofia Coppola’s decision to rework the same subject matter so that the result would not be a film expressing male paranoia about female hysteria and in which Southern belles are defined solely by their sexuality (or lack thereof). Coppola dispensed with the broader historical context and replaced it with a timeless narrative about the battle of the sexes and girls coming of age. Similarly as in The Virgin Suicides and Marie Antoinette, she confines her female protagonists to a golden cage, which provides them with certain privileges but also prevents them from freely expressing their individual interests. This confinement is manifested also in The Beguiled in the disregard for the outside world, corresponding to the point of view of privileged white girls who are only interested in their own needs. Despite its seeming one-dimensionality and superficiality, The Beguiled is a layered, subversive and humorous film with an ambiguous message. 85%
()
OK, gorgeous pictures, almost tableau vivant, fantastic natural lighting, charismatic cast, but I have to ask: WHY? There is a nice word for that - everything in this film is "underwritten". Characters and a story that moves forward through sharp reversals in the mood of a single male character. I get that Sofia wanted to change the perspective, but she failed. Deceived / Deceived / Deceived are too empty to offer material for subversion. In the end, it was best described by an American spectator who, when leaving the Cannes Palais de Cinema, said: COMPLETELY USELESS. I agree.
()
An hour-long wait for a peak that definitely isn't worth an hour-long wait. Lots of stolen glances, genuine curiosity, and suppressed emotions do all the heavy lifting for plot development that struck me as belonging in a different, significantly less successful film. The answers to the questions that interested me the most remained hidden behind silent female characters. Sofia Coppola is definitely losing her uniqueness.
()
Kirsten Dunst has been in films under the direction of Sofia for two decades and each film is a delight. Now, for the first time, they've invited Nicole to join them. The result? A wonderful visual experience told at its own pace, with only diegetic music.
()
Sofia Coppola has always relied on emotion rather than historical epic, and this personal story of a woman's motivations and feelings is no different. The running time, the story, and the protagonists, dominated primarily by Nicole Kidman and Kirsten Dunst, are in line with this. Colin Farrell's character has it all together in the middle of the film and then starts making incomprehensible and illogical (screenwriting) mistakes, which, given the leisurely build-up of the story, feels like a punch in the gut. Otherwise, the cinematography is great, as it should be in a historical drama, but one can't help feeling that some of the main characters' interactions feel like Coppola made this film with a nineteenth-century style.
()
La película original de 1971 no es un milagro, pero el trabajo es bastante mejor. Es significativamente más rica en trama, en términos de representación de personajes, también contiene mucha más tensión, conflictos entre personajes y tensión sexual más atrevida. La conclusión también tenía un ingenio mejor elaborado. En la nueva versión, el director no logró hacer una película más desde el punto de vista de sus personajes femeninos, que probablemente era la intención, y luego trasladar al presente su atmósfera de dormitorio de chicas mojigatas anticuadas, en el que de repente apareció una tentación prohibida en la forma de un hombre guapo, razón por la cual los espectadores parecen confundir la película con una comedia negra y reaccionan con risas. En comparación con la versión original de la película, la historia es superficial y escasa, las motivaciones de los personajes no son lo suficientemente claras y el elenco estelar está muy lejos de participar en las primeras ligas.
()
He mirado más o menos unas diez veces, hasta la mitad es un aburrimiento terrible, luego algo interesante sucede pero dura aproximadamente cinco minutos, el final es ligeramente dramático y termina. Una película sobre nada y para nada, si ya fue grabada una vez, Sofia Coppola podría haberse ahorrado el trabajo y dedicarse a algún otro tema. Pérdida de tiempo.
()
I didn't find the film worth a second watch. It was a truly unconventional take on the war between the North and the South. I wasn't bored, but I came pretty close. The plot definitely needed livening up. The only performance that stood out for me was Nicole Kidman’s, the others were just too bland.
()
Sofia Coppola made a visually captivating film in which there is not much to criticize in terms of styling, costumes and sets, helped by the actors who played their parts well. I especially liked Kirsten, who I thought was beautiful in the background, although she almost seemed dumb, which doesn't feel right for her, but she played it well. However, I’m not the least bit surprised when it comes to Nicole.
()