Director: Mario Peixoto
Country: Brazil
Genre: Drama
Length: 120 minutes
"Three people sail aimlessly while remembering their past"... and so begins the most fascinating and breathtaking experimental film ever made by Brazil. Mario Peixoto must be one of the most mysterious filmmakers of all time, even more than F.W. Murnau, whose 10 films were completely destroyed. In the case of expressionist Peixoto, the film he directed in his career was Limite, and if this wasn't enough, a segment of Limite is already considered as totally lost. The length of the following review will be ultimately reduced because of its nature. It is a ride that must be left to the responsibility of the viewer. The point primarily consists in allowing the feature film itself to talk by its own. However, the philosophical beauty, the unparalleled mysticism, the subjectivity of the events and its predominant simplicity make of this absolute South American masterpiece the most breathtaking experimental achievement in the entire history of the motion picture, one of the most inventive and innovative silent films ever made, and one of the best directed dramas of all time.
The first 10 minutes of the film give a cathartic foreshadowing of what the remaining 110 minutes have prepared for the audience. Mario Peixoto takes what may seem, at first glance, a merely existentialist concept and portrays it through the eyes of a poet. Beauty is relative, and the sources of happiness are endless. We are introduced to two women and a man recalling their respective pasts and the hardships they went through. Regardless of the events, misadventures and disappointments they had to experience, the first thing that is left clear is the fact that they desperately sought for nothingness. To be in the middle of nothingness, regardless of the means, is their psychological escapism of a mistreating society. The first image shown is the female protagonist starring at the camera with a dark background and showing her pair of handcuffed hands. A conclusion stating that their freedom has been chained to their pessimistic view towards life itself may be drawn. Interestingly enough, the opening sequence is so beautifully and unbelievably filmed, that heavy tears start to fall down. We haven't built empathy towards their personalities; we do not who they are, either. We do not know their origins and we are not even invited to even contemplate the possibility that the actions they had executed are evil. They are unbeknownst characters to us.
With this premise of sadness and solitude, the hypnotic flashbacks begin. However, it is a known fact that complexity comes from simplicity itself. Peixoto's brilliance in narrative and storytelling is originated from the non-chronological portrayal of the events. We get, sometimes, more than one revisiting to a particular past in order to subtract the emotional elements that govern their mentalities. A character is mistreated and escapes from jail while another character walks through a long road to nothingness surrounded by the humidity and the darkness of the trees. Footsteps are left in the beach only to be erased by the constant arrival of the waves to the shore. The characters cry. The characters escape. Their fates are destined to collide and share a final destiny of ultimate doom. The see will swallow them eventually, or perhaps it won't. Perhaps it will be something else. Hunger will conquer their stomachs, or a storm will consume them. Nothing matters now. Even if they reach a destination, the most probable thing is that they will sail back to the middle of the dangerous sea.
At what extent can rejection and denial are capable of physically driving a person to accept such fate and to surrender the previous one? The same question goes for three people, simultaneously. Mario Peixoto grabbed the notorious and still early influences of Russian and German silent filmmaking and composed an orchestra of his own. The vastness of the sea is highlighted by one of the most sentimentally depressing musical scores ever committed to celluloid. The existence of a legendary, avant-garde film like Limite owes credit, besides to the cast, to Mario Peixoto alone, who was the editor, the producer, the screenwriter, the director and, of course, a supporting character. The technique of putting the flashbacks on the screen resorted to an Eisensteinian cinematography with a less aggressive editing and a revolutionary camera work that patiently follows the tracks of the characters walking slowly. At one time, an extended contemplation of the beautiful natural scenery of Brazil is shown and, at the next moment, the camera is spinning vertiginously in full circles until colliding with the loss of hope of the characters once again. An omniscient perspective is offered, like if God were watching these abandoned souls all the time. Particular sequences of images are repeated several times, just like master Sergei M. Eisenstein used to do, in order to increase the dramatic quality, and the conclusion is, first and foremost, equally powerful.
Considering that we get to know the events that drove the characters to literal madness, we are just shown rather small portions. We are told the exact drop that overflowed the glass, but the explanation of the remaining water can be found in the realm of the unknown, of the dreams and a vivid imagination. The film structure shows three people in a small boat, memories, the people rowing senselessness, more memories, mysticism and gloominess, the people crying... it is a cycle. Limite reaches such a degree of experimental expression that it can also be subject to multiple interpretations, but the ideas behind the curtain have remained the same even nowadays. Death has its victory so assured, that God has given us the chance to live a life. It is an unforgettable journey where Heaven collides with Hell and perdition falls in love with visual beauty. A unique feast for the senses that would definitely influence directors from Andrei Tarkovsky (Zerkalo [1972], Stalker [1979]) to Terrence Malick (Days of Heaven [1978], The Thin Red Line [1998]), Limite is a seminar on cinematography and, easily, one of the best 20 films ever made. Grandiosity has found a language.
"Tell me, muse, of the storyteller who has been thrust to the edge of the world, both an infant and an ancient, and through him reveal everyman. With time, those who listened to me became my readers. They no longer sit in a circle, bur rather sit apart. And one doesn't know anything about the other. I'm an old man with a broken voice, but the tale still rises from the depths, and the mouth, slightly opened, repeats it as clearly, as powerfully. A liturgy for which no one needs to be initiated to the meaning of words and sentences."
DER HIMMEL ÜBER BERLIN (1987)
Director: Wim Wenders
Country: West Germany / France
Genre: Fantasy / Drama / Romance
Length: 128 minutes
Wim Wenders is a director of remarkable talent. With his absolutely gorgeous and inspirational German masterpiece Der Himmel Über Berlin, he has established himself as an inventive poet. Few films of this caliber have ever been made, and its strong influence and astonishing success had, as very obvious outcomes, a sequel directed also by Wenders called In Weiter Ferne, so Nah! (1993) and the hideous remake City of Angels (1998), a film by Brad Silberling that starred two retarded actors. However, the experience that Wender's most astonishing masterpiece offers to a modern audience is absolutely breathtaking, following the footsteps that Alain Resnais left behind after directing Hiroshima mon Amour (1959) and reinventing the same human nostalgia with a more celestial approach. The final outcome of this multilayered journey is one of the most provocative and thought-provoking masterpieces of the decade, and even one of the most heartwarming and reflexive films of all time. Before the Berlin Wall was destroyed, West Germany found an extraordinarily charming form of artistic expressionism and visual beauty in their purest forms.
Two angels named Damiel and Cassiel wander through the streets of Berlin, constantly hearing the thoughts of disillusioned and brokenhearted people and giving them invisible comfort in order to lighten their respective emotional burdens. Damiel's wish for becoming human in order to feel, taste, see, perceive and appreciate life as the human beings do grows significantly stronger when he falls in love with a beautiful, mortal acrobat. Unbeknown to her, he follows her footsteps, constantly listening to her desires and urges, until the day Damiel is granted the honor of being human and seeking unconditional, romantic love. Wim Wenders won an award for Best Director and was nominated for a Golden Palm at the Cannes Film Festival of 1987, losing it against Maurice Pialat's Sous le Soleil de Satan (1987). The film received 4 European Film Award nominations for Best Camera, Best Film, Best Supporting Actor and Best Director the next year, when Krótki Film o Zabijaniu (1988) was considered as the best film.
The most significant symbol within the plot is the fact that angels cannot experience the emotions, the pain and the perception of life like humans can do. Consequently, the graphical means used to portray this aspect is a poetical, brilliantly shot black-and-white perspective. It is not until Damiel receives the opportunity of being human when a colorful and glorious colored cinematography is depicted. Der Himmel Über Berlin owes a significant amount of cinematic credit towards the previous works of Alain Resnais. It explores the city of Berlin through a divine, heavenly and omniscient approach, like if we were the immediate god of the film. Eagle-eye shots and delicately crafted voiceovers of the lost and confused citizens are added in order to maximize the absolute mysticism of this gorgeous work of art. Throughout, several strokes of complex human expression are painted, and the uniformly superb performances surround a very solid and believable Bruno Ganz.
The camera travels from the top of the buildings and the famous monument in which Damiel stands to the most hidden, poverty-stricken and devastated urban landscapes of the famous European city. Der Himmel Über Berlin does not necessarily commit a blasphemous commentary towards Catholicism or religion... not even remotely. On the contrary, it exalts and glorifies the human condition. It has the capacity of changing lives, increasing the optimism and to psychologically build a bigger appreciation of a surrounding environment. This audacious and rather difficult task is not achieved through pretentious grandiloquence, but expresses it through a multitalented screenplay with a huge substance of philosophy hidden within. The film opens with the diary of Damiel, immortalizing the thoughts a child had and expressing his desire of being a human being, referencing the magical innocence that the soul loses with the passage of time and the corruptibility of the society. We then see Damiel standing atop a large statue and, slowly, his wings start to dim, along with his hope.
All of the aforementioned elements and possible objectives of Der Himmel Über Berlin is shown through the simplest of all plots: a romance story. However, this particular romance is conditioned. It can't be consummated, nor can it be corresponded. It is just an invisible element of unfulfilled dreams and impossible realizations while Damiel mindlessly stares at her inside the circus and accompanying her to her room. Voyeurism is the closest connection he can establish with the trapeze artist since the physical contact equals painful impossibility. Regardless of the fact that he supposedly comprehends the importance of his role as an angel, it seems that the slow construction of an existential emptiness is an aspect that not even angels can avoid. The angels themselves are incarnated in anthropomorphic forms, but it is not precisely a stereotypical representation. Instead, it alludes to the physical form of a typical person, like attempting to sympathize with depressed masses and culminating in a journey of self-discovery. What better filming location could have been used that could properly emphasize the delicacy and the positive message aimed towards a modern audience if not an industrialized and modernized capital city?
Technically and cinematographically speaking, this masterpiece is a shining triumph. Long takes and an inspiringly sharp quality image enhance how jubilant this depiction of life can be. The writing collaboration between Richard Reitinger, Peter Handke and Wim Wenders is outstanding, reuniting a massive collection of expertly spoken words and phrases, and giving them a comprehensible structure in order to create a haunting and memorable piece of filmmaking. Several ethnicities are bounded through a single connection, and the unpredictability of the problems that the angels will have to face is the substance that keeps this marvelous engine running. Romance is the sympathetic machinist and the illusion of living is the attitude that will allow anybody to obtain a more divine catharsis than any Shakespeare masterwork could offer. Cinema is an art form consisting of moving images with a nature of its own. Der Himmel Über Berlin gathers nostalgic images of inexplicable inspiration and grants them a very well defined meaning. When put together, they form a peaceful and cataclysmic explosion of sentimentalism and positivism. It is a symphony of undeniable power and unrepeatable humanism. The ways of looking at the film are numerous. It can be seen as a criticism towards spiritual inconformity, as a tragic tale of unrequited satisfaction or as a monumental landmark of the depiction of the soul when our mind lives encapsulated in a giant sphere of improbable wishes. Dear reader: entrust your life to God and stop thinking... just act.
"Do you remember the Shire, Mr. Frodo? It'll be spring soon. And the orchards will be in blossom. And the birds will be nesting in the hazel thicket. And they'll be sowing the summer barley in the lower fields... and eating the first of the strawberries with cream. Do you remember the taste of strawberries?"
THE LORD OF THE RINGS: THE RETURN OF THE KING (2003)
Director: Peter Jackson Country: New Zealand / Germany / United States of America Genre: Action / Adventure / Fantasy Length: 251 minutes
Since this is one of the most critically acclaimed and successful trilogies ever created in filmmaking history, I dare to start this review by stating a fact, and not an opinion: The Lord of the Rings is a masterpiece, admirable in all respects. Now, I'll add an opinion: The Lord of the Rings is three of the best movies of all time, fame that has acquired not for free.
The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003) accumulated a total of 19 Academy Awards, 207 awards and 227 nominations, internationally speaking, in period of 4 years, including Grammies and Golden Globes. The Fellowship of the Ring received 13 Academy Award nominations for Best Actor in a Supporting Role, Best Art Direction-Set Decoration, Best Costume Design, Best Editing, Best Music, Original Song, Best Sound, Best Writing, Screenplay Based on Material Previously Produced or Published, Best Director, Best Picture, Best Cinematography, Best Effects, Visual Effects, Best Makeup and Best Music, Original Score, winning the four last Oscars. The Two Towers received 6 Academy Award nominations for Best Sound Editing, Best Visual Effects, Best Art Direction-Set Decoration, Best Editing, Best Sound and Best Picture, winning the first two awards. The Return of the King, definitely the best part of the trilogy, broke the box office record of $250,000,000 collected in a single weekend, and was the second movie that actually achieved to reunite a billion dollars in cinemas around the world (the first being Titanic [1997]). Besides, The Return of the King (2003) was the main protagonist of the Academy Awards ceremony in the United States, winning 11 Oscars for Best Picture, Best Director, Best Achievement in Sound Mixing, Best Art Direction-Set Decoration, Best Costume Design, Best Editing, Best Makeup, Best Original Score, Best Original Song, Best Adapted Screenplay and Best Visual Effects, not to mention another 106 international awards and 68 nominations. It is one of the most brilliant, unprecedented and groundbreaking trilogies ever made in the entire motion picture history.
Leaving figures such as money and awards aside, we will start with the adaptation. What a film critic should definitely do is to see a film and experiment it as an independent story, like a personal vision of direction for adapting a story, which is normally found in a book. This means that the adaptation of a book to a film will end in a different result in the hands of a particular director, in case another director had not made it in the first place. Consequently, a film should not necessarily be entirely faithful to the original novel, mainly because of aspects such as length or deletion of scenes that end up being unnecessary for the screenwriters or the director, among many other variables. Judging The Lord of the Rings negatively because of its drastic differences with the original novel is a mistake, as it is with all of the films. A fact of the film is that many elements have been modified or even removed, a fact that should not originate any kind of complaint. The adaptation is beautiful and faithful to J.R.R. Tolkien's style and literary vision.
In The Fellowship of the Ring we are introduced to a fantastic Middle-Earth world wonderfully brought to the big screen, not just considering the visual aspect, such as the costume design and the setting, but also the characters and events that take place from the beginning until the last minute, which are perfectly created. The story basically tells the story of Sauron, the Dark Lord that forges The One Ring, a ring that has the power of enabling its possessor to conquer Middle-Earth through the enslavement of the bearers of the Rings of Power... bearers that belong to the races of Dwarfs, Elves and Men. At the base of Mount Doom, the Last Alliance of Elves and Men gathers forces to fight against Sauron and his army. In one battle, Isildur, using the mighty sword of his father, cuts the fingers of Sauron, destroying his army and removing the ring out of him, but not entirely, since their existence is eternally linked to the ring unless it is completely destroyed in the fires of Mount Doom. 2,500 years later the ring is found by the creature Gollum, who keeps it in his possession for 500 years, giving him an unnatural, prolonged life. When the ring is lost, the little hobbit Bilbo Baggins finds it and returns to the Shire with it. In his 111th birthday, he gives it to his nephew Frodo Baggins, and with the help of an old Bilbo's friend, the wizard Gandalf the Grey, the truth about the ring is discovered and Frodo accepts the responsibility of carrying the ring in order to destroy it in Mount Doom, located in Barad-Ûr, territory conquered by Sauron's forces, and Saruman under his command. The Two Towers continues the story with Saruman's army growing stronger and stronger, leading to an intense battle held in Isengard, while Frodo is guided by Gollum with his best friend Sam to Mount Doom. The Return of the King is the conclusion of the story as the heroes of the film fight in a gloriously epic and decisive final battle in order to defeat the extensive forces of Sauron and destroy The One Ring for all times.
The first part of the trilogy is principally focused on the introduction and explanation of the story. It is widely considered as the best part of the trilogy. Its emotiveness and brilliance irradiate amazement to the audience, and it belongs to one of the best films of the decade, not to mention of all time. Betrayal, romance, departures and the power of human relationships play both implicit and explicit roles thanks to the multitalented and multiphacetic vision of Peter Jackson. The sequel opens with a key moment of the first film, introducing us to a tense moment and a great portrayal of superiority craftsmanship. It is principally divided in two parts: the presentation of an upcoming conflict and the final battle, which covers a great part of the film's running length. The third film is a towering achievement in cinema history and quite possibly the best film ever made, being one of the strongest candidates for such a legendary honor. Despite its action-oriented nature, these sequences do not overshadow the masterful direction and the extraordinary final result of the film. Words can't suffice for fairly explaining the grandiosity of such gigantic magnum opus. The first three years of the new millennium witnessed one of the most significant and relevant miracles of cinema itself.
The Lord of the Rings sets a new standard in direction and creation of epic fantasy filmmaking. What this trilogy achieved is to conglomerate every single detail and quality characteristic that the filmmaking process involves so it could transform them into an unparalleled experience. It draws the marriage between cinematic perfection, perfectly held ambition, philosophy and literary poetry. Just like there were giants of the genre, such as Gone with the Wind (1939), Ben-Hur (1959) and Lawrence of Arabia (1962), just to mention a few astonishing Hollywood epic examples, The Lord of the Rings surpassed any possible expectation and kept it alive for the early years of the new millennium in both fans and critics. One of the most amazing facts is the trilogy's completion time: 7 years (unlike other Hollywood hits, not all of them necessarily good). Each year, the promise of bringing the next chapter of this fantastic story to the big screen was fulfilled, and fortunately all three parts were kept under Peter Jackson's direction, with the same cast.
The cinematography is stunning and all of the angles and shots are extraordinarily taken care of, providing vast views of landscapes and a magical world depicted in its most detailed and grandiose form. The film never became tedious and even some scenes were worthy of being paused to admire their beauty. The special effects are some of the best that have ever been created, and despite this, The Lord of the Rings completely stands out from the common and usually mediocre Hollywood films that are based merely on special effects randomly thrown throughout, since The Lord of the Rings is superior to those. Accompanied by the scenes, the musical score created by Howard Shore is beautiful and never distracts the viewer from the scene he/she is watching because in this type of filmmaking (epic) music is a rather delicate detail, and The Lord of the Rings takes it into consideration. The editing deserves the applause of worldwide masses, since not a single sequence is particularly tedious. The battle choreography and the story's pace, besides being excellently divided into three parts, follow a phenomenal and highly appropriate rhythm. The battles that take place in the trilogy are absolutely breathtaking and the technique that I particularly love which consists in removing the musical score in this kind of scenes in order to appreciate technical aspects such as the special effects, the editing, the sound effects and their editing was perfectly implemented by Peter Jackson. In the cases where he does not employ this technique, Howard Shore's musical score plays its role, adding emotiveness and intensity in the finest way possible.
One of the incredible aspects, which is at the same time surprising, is that one is able to identify with a certain character, and even to develop empathy and concern towards all of them, if not the majority of them. In fact, the spectator does not want to miss what this or that character is going through after the story divides them at the end of The Fellowship of the Ring, which makes the story even more interesting. The performances of Elijah Wood (surprisingly), Ian McKellen, Liv Tyler, Sean Astin and Cate Blanchett are worth a powerful mention, and they were able to create well-defined characters, which is not an easy thing to do. Viggo Mortensen, Orlando Bloom, Sala Baker, Sean Bean and Christopher Lee gave pretty decent performances as well.
Despite the constant criticism I usually get from hundreds of people when they see The Lord of the Rings as one of my favorite masterpieces, this trilogy is one of the most memorable and spectacular contributions in movie history, technically and artistically speaking. It is perfection, visionary poetry and compelling beauty from wherever it may be seen. A new category of cinema for the new century has finally been reached, and the task has been successfully accomplished by one of the most unexpected directors: a filmmaker that used to make splatter feasts in his early days. Almost no one could see such phenomena coming along the way, but The Lord of the Rings steals the breath, fills the eyes with spectacle, rushes the adrenaline, conquers hearts, makes love to the ears and makes the heart to beat in the strongest way possible.
Director: Victor Fleming
Country: United States of America
Genre: Drama / Romance / War
Length: 238 minutes
Since the following review is going to be about Gone with the Wind, it is almost impossible to start the first paragraph in a fair way that this giant icon of cinema really deserves.
Victor Fleming achieved what had never been achieved in filmmaking before, and definitively would not be achieved until decades later within the genre of epic cinema; neither the world was ever so majestically amazed on the level this film did 70 years ago. Regardless of the fact that Fleming had amazed all types of audiences in the same year, including both young and old people and critics with Gone with the Wind and The Wizard of Oz, he gave birth to one of the best movies of all time, and certainly the best American classic ever made.
Gone with the Wind has been recognized as the best classic film, as well as one of the most moving and romantic stories ever brought to the big screen, worshipped generation by generation. Nowadays, the film still keeps astonishing new generations definitely. It was a work of art that fitted perfectly with general audiences, especially American. Back in the year of 1940, the film won 8 Academy Awards for Best Picture, Best Director, Best Actress in a Leading Role, Best Actress in a Supporting Role (I will focus on that too), Best Art Direction-Set Decoration, Best Cinematography (Color), Best Film Editing and Best Screenplay and was nominated for Best Actor in a Leading Role, Best Actress in a Supporting Role, Best Special Effects, Best Original Score and Best Sound.
Gone with the Wind is set in the times of the Civil War, one of the most turbulent, tragic, difficult and chaotic periods of American history, as well as during the following Reconstruction. Such turmoil and tragedy are brilliantly maximized and emphasized by the direction, cinematography and acting provided. Scarlett O'Hara is a young woman of particular class and elegance, deeply in love with Ashley, but soon finds out that he will be getting married with her cousin, Melanie. Totally heartbroken and without illusions, Scarlett implores Ashley to choose her instead of Melanie, since she loves him profoundly; unfortunately, his heart already belongs to another person. After such discussion, the real male protagonist appears: Rhett Butler. From this point, the film will portray, mostly through Scarlett's eyes, the romance that these two characters will have through such difficult times.
The performance of Vivien Leigh as Scarlett O'Hara is definitely unparalleled. She managed to create a totally identifiable character, characterized by her constant changing range of emotions and by the incredible strength she acquires through life, since she must escape from the disasters caused by the war until she's forced to grow her own food in incredibly tough life conditions in order to survive. Somehow, when Scarlett swears "she'll never be hungry again", the moment turned out to be so inspirational that she awakened the hearts of millions of people, and if some were not awakened, these were definitely moved permanently to an impressive level. It ended being a reflection of how thankful we should be with what we have in our daily lives and the negative effect (or devastating effect, depending on the degree) that may be caused in us if we lose the object or even our loved one before we really knew how to be thankful and make the best use of it. This is how the first half of the film ends, which decades ago ended up being the famous intermission. Both the intermission and the ending were perfectly planned. Scarlett O'Hara was an effective model of strength and perseverance, no matter if the audience were male or female; the moral of the story stroke in a very inspiring and direct way, and the intermission as well as the last shot of the film are two of my favorite scenes in movie history for my taste.
The already famous and handsome man of Hollywood Clark Gable, who got a considerable amount of popularity since 1934 with the Academy Award winning movie It Happened One Night, portrays a completely different and opposite character: a liberal, not-so-romantic person, a drinker who enjoys the good life, as well as a wealthy and completely unpredictable man. Despite Gone with the Wind being a romantic epic movie, it is not the typical romance one expects since the beginning. The ending, despite providing one of the most famous (and brilliant) dialogues in cinema history, was not predicted by anyone. It definitely wouldn't have been the same if it hadn't been spoken by Clark Gable himself. Love, tragedy and disappointment are presented from beginning to end.
It is mandatory to emphasize the performance of Hattie McDaniel, best known for her performance as "Mammy," the colored maid of Scarlett. Her performance is simply sublime. It is not so surprising that she became one of the favorite characters of the story for so many people. Not only she is funny and nice, but she also acquires a very important influence in the story because of the righteousness and seriousness she has since the beginning, because of her capacity for empathy towards Scarlett and because of the responsibilities she acquires, the majority of these being unpredictable for her considering the difficult times in which Gone with the Wind is set. Obviously Hattie McDaniel won the Oscar for Best Actress in a Supporting Role, becoming the first Afro-American actress with such honor. Fair enough. Racism and prejudice lost that time.
The last insuperably beautiful technical aspects that must be highlighted are both the cinematography and the original musical score. If there is something characteristic and true about Gone with the Wind is the fact that both aspects, masterly brought to the big screen, (in full color when talking about the cinematography) create art when put together. The shots are beautifully taken care of, offering beautiful landscapes, open fields and a sunset that is in the end highly inspiring to the human eye, including Scarlett's figure and the tree next to her, both completely and contrastingly covered in shadows. "After the night, the dawn comes." This marks a new beginning in the life of Scarlett, since "tomorrow is another day." The music is beautiful, worthy of a soundtrack. I can't understand why it didn't won the Oscar for Best original Score, especially since listening to its music 70 years later brings us beautiful memories of the past which are summarized in this film of 238 minutes.
As a conclusion, Gone with the Wind is the definition of cinema. From the technical aspects such as special effects, sound and musical score to the cinematographic aspects such as the photography, direction, screenplay and acting, Gone with the Wind is an unparalleled, unprecedented, beautiful, inspiring, thoughtful and legendary classic, unique in its genre, brought to the big screen for the audiences of the world in a time when the world needed a breath of life, an inspiration that could bring warmth to the heart of the world, on the eve of World War II.
100/100
Limite (Limit)
Unrated
Der Himmel über Berlin (Wings of Desire) (The Sky Above Berlin)
PG-13
The Lord of the Rings - The Return of the King
PG-13
Gone With the Wind
G
