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Sede De Mal 13 [Orson Welles, 1958] Estrea En Numax: 29.04.2015 | V.O.S.E

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Sede De Mal 13 [Orson Welles, 1958] Estrea En Numax: 29.04.2015 | V.O.S.E SEDE DE MAL 13 [Orson Welles, 1958] estrea en numax: 29.04.2015 | v.o.s.e. ficha técnica filmografía escollida sinopse Touch of Evil (1958-1998, 111’) F for Fake, 1973 O xefe da policía local Quinlan Dirección e guión: Orson Welles Othello, 1952 (Orson Welles) goberna na fronteira Reparto: Charlton Heston, Janet Leigh, Orson Welles, Macbeth, 1948 mexicana con man dura e métodos Marlene Dietrich, Joseph Calleia, Akim Tamiroff, Joanna Moore, The Lady from Shangai, 1947 pouco ortodoxos ata que chega Ray Collins, Dennis Weaver, Valentin de Vargas, Mort Mills, The Stranger, 1946 ao seu territorio un axente Victor Millan, Zsa Zsa Gabor, Joseph Cotten The Magnificent Ambersons, 1942 da policía de narcóticos para Montaxe: Aaron Stell, Virgil Vogel. Walter Murch Citizen Kane, 1941 facerse cargo da investigación (montaxe 1998 segundo as notas de Welles) do estourido dunha bomba. Son: Leslie I. Carey, Frank H. Wilkinson Fotografía: Russell Metty Música: Henry Mancini Dirección de arte: Robert Clatworthy, Alexander Golitzen Vestiario: Bill Thomas Produtora: Universal International Pictures (ui) Distribuídora: Classic Films Data de estrea: 23.04.1958 (usa) Formato de proxección: DCP 2K, 1.85:1 SEDE DE MAL [Orson Welles, 1958] — Vamos, lee el futuro para mí. Universal tomaron el film de Welles implicar a Vargas y su novia en un caso — No lo tienes. y lo montaron de nuevo, añadiendo de asesinato y drogas. — ¿Qué quieres decir? primeros planos y cortando escenas, Los espectadores familiarizados con — Tu futuro está agotado. de manera que durante años circuló la primera versión no sentirán que ven una confusa versión de noventa y cinco una película distinta, pero les permitirá Así habla la madame (Marlene Dietrich) minutos, y luego, más tarde, otra versión seguir la trama con mayor facilidad. al ebrio sheriff de un pueblo fronterizo de ciento ocho minutos que seguía Los cambios más importantes tuvieron (Orson Welles), en Sed de mal. Sus reflejando la intromisión de los estudios. lugar en esos minutos iniciales, cuando palabras tienen una triste resonancia, Ahora por fin la intención original las historias de los personajes de Heston porque Welles no volvería a dirigir de Welles (explicada en una sinopsis y Leigh ahora se entrelazan (el estudio en Hollywood después de hacer esta de cincuenta y ocho páginas dirigida había colocado todas las desventuras de oscura y atmosférica historia de crimen al estudio) se refleja en una versión la mujer con una banda local después y corrupción. restaurada que es tres minutos más larga del asunto de su marido con Quinlan). Se la galardonó como mejor film y contiene quince cambios, algunos Otro cambio significativo: la toma inicial de 1958 en el Festival de Bruselas importantes, otros menores. Esta versión ahora se ve sin los títulos sobreimpresos (Godard y Truffaut estaban en el jurado), fue producida por Rick Schmidlin y (fueron trasladados al final), y con pero en Estados Unidos se presentó como editada por el ganador del Oscar Walter música de radios y clubes, en lugar del la segunda película de un programa doble Murch, inspirada en un artículo crucial tema inicial de Henry Mancini (Welles y puso fin a los proyectos de Welles de de 1992 del crítico Jonathan Rosenbaum consideraba que una música anónima y trabajar dentro del sistema de los grandes aparecido en la Film Quarterly. efectos de sonidos ayudarían a recrear estudios. No obstante la película ha sido La historia transcurre en Los mejor la atmósfera). siempre la favorita de todos aquellos que Robles, un sórdido pueblo de la frontera Welles llena la historia con una disfrutan con la exuberancia visual y entre México y Estados Unidos («los nutrida selección de personajes dramática. «he visto el film cuatro o cinco pueblos limítrofes reúnen lo peor de un secundarios, incluyendo al fiel matón veces antes de detenerme en la historia», país» ). Es un lugar de bares, cabarés y de Quinlan, Menzies (Joseph Calleia); le dijo una vez Peter Bodganovich a burdeles, donde la música se derrama el falso jefe del crimen local (Akim su amigo Orson. «Eso habla bien de la por la calle desde cada club. En la escena Tamiroff ); la madame del pueblo historia», rugió Welles sarcásticamente, inicial, vemos una bomba colocada (Dietrich); una marimacho que dirige pero Bodganovich contestó: «no, no, en el maletero de un coche, y luego la la banda local (Mercedes McCambridge): quiero decir que me distraía más la cámara se eleva y lo sigue a lo largo de un inútil abogado de distrito (Ray dirección». una descosida hilera de fachadas de Collins, de Ciudadano Kane); y en Ése puede ser el mejor acercamiento establecimientos, antes de deslizarse particular, un portero de noche de para cualquiera que vea el film por hasta la altura de los ojos para detenerse un motel obsesionado con el sexo primera vez: dejar de lado la laberíntica en una pareja que pasea. Son los recién (Dennis Weaver), cuyo peculiar aspecto trama y simplemente admirar lo que casados Mike y Susan Vargas (Charlton asustadizo debe de haber inspirado aparece en pantalla. la película comienza Heston y Janet Leigh); él es un policía a Anthony Perkins para su papel de con una de las más famosas tomas mexicano que lucha contra la droga. En Norman Bates en Psicosis, rodada dos jamás hecha, siguiendo a un coche que una oficina de aduana, se les une el coche, años después. transporta una bomba en el maletero que se ha retrasado. Mike y Susan acaban durante tres minutos veinte segundos. de rellenar sus papeles cuando se oye Roger Ebert, Grandes películas, tradución ao español de Mariano Y tiene también otros movimientos una explosión fuera de escena; y luego García Noval do inglés orixinal de cámara virtuosos que incluyen un finalmente un corte al coche en llamas para a edición de Ma non tropo (2006) indómito interrogatorio en un apretado que vuela por el aire. (Siempre sentí cuarto, y una escena que comienza en la que este corte es prematuro; es mejor calle y sigue a los personajes a través de escuchar la explosión fuera de escena, un vestíbulo hasta un ascensor. El crítico quedarse con Mike y Susan mientras británico Damian Cannon escribe acerca corren hacia allí, y luego cortar). de su «coreografía espacial» en la que Todos aguardan la llegada del capitán «cada posición y movimiento se asocian Hank Quinlan (Welles), una enorme, Un cinema, en un todo coherente». sudada y errática figura que se inclina Welles y su director de fotografía, sobre la cámara (Welles no estaba unha libraría Russell Metty, no alardeaban de ello. tan gordo cuando filmó la película, y e un laboratorio Los destinos de todos los personajes usó relleno y ángulos de cámara para de gráfica e vídeo principales se entrelazan desde el exagerar su aspecto). Quinlan asume principio hasta el fin, y la fotografía el caso, intuyendo que la explosión se lo destaca al atraparlos en las mismas realizó con dinamita. Vargas, que pasaba tomas, o atándolos a través de cortes que por allí, se ve de pronto involucrado en la combinan y resuenan. La historia no se investigación, para el profundo malestar mueve en línea recta sino en una serie de Quinlan; la película se convierte en NUMAX, S. Coop. Galega de vueltas y espirales. Algunas de ellas una competencia entre ambos hombres, Concepción Arenal, 9 baixo 15702 Santiago de Compostela se eliminaron cuando los estudios de la que lleva al sheriff a esforzarse por telf 981 560 250 | www.numax.org .
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