"Piekny umysl"

[#kasia]

piekny film..
zaskakujacy..
ma wszystko to czego potrzeba, zeby film nazwac pieknym..
nie pozostawia uczucia niedosytu..
piekna muzyka..


mozna go tylko rozpatrywac w kategoriach: piekny, cudowny, niecodzienny..





polecam i pozdrawiam serdecznie :))

hmmmmm

[Gość: ochman]

wprawdzie nie widzialem, ale tutaj krytyka ten film
zamordowala. Mowi sie ze jest plyki i powierzchowny i
ze zmarnowano (w sposob Holywoodski) dobry pomysl

[#kasia]

ja nie odnioslam takiego wrazniea... wrecz przeciwnie... historia ukazana
porywajaco, wzruszajaco i pociagajaco.. film zaskakuje co jest dla mnie bardzo
istotne..

no a Crowe spisal sie rewelacyjnie... zagral o mistrzowsku..

recenzja z ft

[Gość: ochman]

There should be a film industry version of Harry S.
Truman's most famous saying. "The book stops here"
could be moviedom's one-sentence manifesto when
adapting novels or biographies. "This is the original
book," it would imply, "sitting in the corner with a
dustsheet over it. This over here is the film, totally
different. It is what we in Hollywood (or Pinewood,
Babelsburg or Cinecitta) call artistic freedom."

So A Beautiful Mind has as much to do to with the
true-life mathematician, Nobel Prize winner and former
paranoid schizophrenic John Forbes Nash Jr, subject of
Sylvia Nasar's Pulitzer-shortlisted same-title
biography, as Song Without End has to do with Liszt. We
know that director Ron Howard, of Cocoon, Apollo 13 and
The Grinch, won't burden us with the actual intricacies
of game theory, matrix mechanics or geometric
manifolds. He'll just stand Russell Crowe, playing
Nash, against blackboards filled with deranged
equations or in one delusional scene - rather
beautifully - have maths theorems flying around him
like hallucinatory butterflies.

We also know that screenwriter Akiva Goldman, who wrote
Batman and Robin, will find what Tinseltown calls a
"through-line". So the untidy glory of Nash's brilliant
but bedevilled life - a maths prodigy from childhood
who fell victim to a 25-year-long delusional illness,
with its own chaos of remissions and relapses, and
became Princeton's most famous walking-wounded before
recovering to win a 1995 Nobel Prize for economics - is
dustpan-and- brushed so that all the bits come together
and can then be poured out in a straight line.

Russell Crowe, deploying an upgrade hillbilly accent,
ages through 50 years as the West Virginia-born genius
who solves near-impossible maths puzzles, invents "Nash
equilibrium" one day (his famous contribution to game
theory) as a way for him and his chums to choose
between girls at a Princeton social, and then ambles
the academe groves like a cross between Dustin Hoffman
in Rain Man and a cerebrally impaired Peter Falk in
Columbo. He is very cuddly, even when ageing into the
wig and rhino wrinkles of a Hollywood old age. And he
comes on as an all-American combination of holy
innocent and loving family man even though the real
Nash was, inter alia,a promiscuous bisexual, the father
of an illegitimate child and a one- time refugee
radical who tried to give up his US citizenship. The
seamless marriage depicted with wife Alicia (Jennifer
Connelly) was actually a marriage and re-marriage,
separated by a divorce.

Back to artistic freedom: does this matter? Can't we
have the onscreen fairy-tale as well as the 400-page
fact file? Isn't there something majestic, as in "Print
the legend" - the exhortation John Ford put in the
mouth of his newspaper reporter in The Man Who Shot
Liberty Valance - about this much mythmaking? Howard
and Goldman even invent two characters to embody Nash's
delusions: a roommate who never existed, even in Nash's
make-believe, and a mysterious Pentagon man (likewise)
who recruits our hero to decode enemy or alien messages
hidden in newspapers. He is played by bald-cranium'd Ed
Harris, who looks so like a Dan Dare Treen that he
might be part of the imagined extraterrestrial menace
that actually did concern Nash during his illness. Here
at least, possibly by accident, the film dives into the
preposterous and resurfaces into a dotty, intuitive truth.

With eight Oscar nominations Hollywood clearly believes
A Beautiful Mind to be a beautiful , serious film. But
it isn't. For the most part it is baloney with a
beatific attitude. It has no interest in the content of
genius, only a groupie's adoration of its supposed
form: that out-to-lunch individualism that can hang a
sign on its door saying "Gone for 25 years to be mad",
with no one asking questions, or significant ones, and
most people happy to return when the shop re-opens for
sanity, Nobel Prize winning and that feelgood filmic
essential, the triumph of the human spirit
.

[basia!]

Stawiam duży plus przy tym filmie. Świetne,a zarazem bardzo proste pokazanie
czym tak właściwie jest obraz, który łowimy wzrokiem ale wyświetlamy w mózgu.

[Gość: LilSnake]

Widzialem ten film 2 dni temu. Rzeczywiscie bardzo dobry. Brakowalo mi tylko
rozwiniecia watku "rodzinnego" miedzy Nashem a jego zona. Film skoncentrowal
sie na nim i jego chorobie, jak gdyby zapominajac o calej sferze wewnetrznych
dramatow, z ktorymi musiala sie borykac jego zona. Akcje "urywa sie" w
momencie, gdy on dopiero uswiadami sobie o swojej chorobe, a ona walczy z
uczuciem rozczarowania i odrzucenia, a potem widzimy ja usmiechnieta i
szczesliwa na ceremonii wreczania Nobla.

[Gość: Karczoch]

Każdy lubi to co chce, ale ja uważam, że ten film to chała. I to zdanie: "nie
wystarczy mieć pięknego umysłu, trzeba mieć jeszcze piękne serce" błe....
amerykańska łopatologia dla kretynów, skilowali ten film właśnie takimi
akcjami, miłość ratuje z choroby, gra piękna muzyka i wszystko dobrze sie
kończy - to sfera filmu beznadziejnie zhappyendowanego. Sfera faktów: twórcy
filmu przemilczeli homoseksualne akcje prawdziwego Nasha jr i jego antysemickie
wystąpienia: "to przecież nasz bohater on tak w filmie nie może". Gdyby zrobić
ten film rzetaelnie o tym laureacie Nobla to byłoby naprawdę dobre kino bez
dydaktyzmu rodem z point serialu Beverly Hills 90210. Tam każdy odcinek kończył
sie jakimś "mądrym" morałem tak też jest niestety w Pięknym umyśle. Powinien
ten film zrobić europejski reżyser np. we Francji. Tępe amerykany nie zczaili
nawet Amelii - zbyt abstrakcyjna - a musi być przecież ciężko, praca,miłość,
prawie klęska i zwycięstow. American Dream.

[.sonia.]

Taaak, piękny film... Po jego obejrzeniu czułam, że udało mi się przeżyć coś
wyjątkowego... i nawet jak po latach zapomnę o czym film był, to na pewno
pamiętała będę, że wrażenie wywarł na mnie ogromne:)))