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Elvira Madigan
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cbernal
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Elvira Madigan
Están terminados los subtítulos en español de Elvira Madigan 1967, director Bo Widerberg,
Se encuentran el eXTratitles
La película se encuentra enElvira Madigan.avi
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La película se encuentra en
Elvira Madigan.avi -
filferro
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SolPolito
- Vigorito
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Agradecio cbernal .. según entendí por las webs a partir de esta película un movimiento o pieza( no se como se dice) de Mozart muy presente en la película tomo el nombre del film i es bastante bonita la coplilla.. es suficiente para bajarme la película pero si encima puedo entender pues lo flipo muchas gracias...
Salu2
Por cierto no ahi elink de otra película del director llamada "Joe Hill" ¿no?
Salud
Salu2
Por cierto no ahi elink de otra película del director llamada "Joe Hill" ¿no?
Salud
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cbernal
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SolPolito
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¿No es eso el amor?
¿Tomar prestados los ojos de otra persona para experimentar
el mundo tal y como el ser amado lo ve y lo siente?.
Tomado casi todo de aquí
¿Tomar prestados los ojos de otra persona para experimentar
el mundo tal y como el ser amado lo ve y lo siente?.
Título original: Elvira Madigan.
Guión, dirección y montaje: Bo Widerberg.
Música: "Concierto para piano y orquesta nº 21", de W.A. Mozart.
Nacionalidad: Suecia, 1967.
Intérpretes: Pia Degermark (Elvira Madigan), Thommy Berggren (Sixten Sparre), Lennart Malmert (Kristoffer, el amigo de Sixten).
Duración: 90 minutos.
Premios: Palma de Oro a la Mejor Actriz (Pia Degermark) en el Festival de Cannes 1967.
En plena efervescencia de las nuevas olas europeas, surgió en Suecia una corriente de oposición al cine de Ingmar Bergman, ya que este cineasta eclipsaba la visión que el público tenía del panorama cinematográfico de dicho país. Esta corriente se caracterizó por su uso de la naturaleza como elemento determinante y explotaba la luminosidad y el cromatismo que ofrecía el paisaje escandinavo. Entre sus representantes más eminentes figuraban directores de formación literaria —como Jörn Donner o Vilgot Sjöman— junto con otros procedentes del mundo de la fotografía —como el maestro Jan Troell— o de la escena —como la veterana actriz Mai Zetterling—. Pero el adalid del nuevo cine sueco fue el desaparecido Bo Widerberg (1930—1997), que formuló su ideario estético en su ensayo La visión en el cine sueco, publicado en 1962. Su espíritu de renovación se reflejó indistintamente tanto en obras de gran perfección formal como en films de honda preocupación social (como Joe Hill o Adalen 31). Dentro del primer grupo, alcanzó una enorme popularidad su película Elvira Madigan (1967), que proporcionó a Widerberg la fama internacional. El argumento del film se basa en un hecho real que tuvo lugar en 1889. El conde Sixten Sparre, teniente del ejército sueco, y Elvira Madigan, cuyo verdadero nombre era Hedvig Jensen, se suicidaron en el islote de Taasinge, en Dinamarca. Elvira era una joven artista de circo conocida por su faceta de equilibrista. Sparre había desertado del ejército y abandonado a su mujer y a sus dos hijos para vivir con Elvira un romántico idilio.
Tomado casi todo de aquí
Última edición por SolPolito el Jue 26 Ene, 2006 19:28, editado 1 vez en total.
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kimkiduk
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cbernal
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Del New York Times 19670930
(38 años ha, ¿cómo pasa el tiempo?)
Film Festival: The Landscape of Love:'Elvira Madigan' Tells a Bittersweet Tale
By BOSLEY CROWTHER
Published: September 30, 1967
EXQUISITE is only the first word that surges in my mind as an appropriate description of "Elvira Madigan," a Swedish film by Bo Widerberg that was put on at the late show in Philharmonic Hall last night. For exquisite it is in all the lovely and delicate sense of the word as used to define the felicities of sensuous experience.
Its color is absolutely gorgeous — as gorgeous as any color photography I've ever seen — and beautifully used to fashion and convey the atmosphere of its theme. Its countryside scenes in Denmark, its shots of faces and furnishings of Old World farms, its sheer compositions of food and flora are immediately recollective of Renoir—and I mean not only Augustin, but also his cinema-artist son, Jean.
Likewise, the use of music and, equally eloquent, of silences and sounds, such as bird songs and bee hums and chicken cackles that convey the countryside, is beyond verbal description. It must be heard—or not heard—to be enjoyed.
Exquisite is only the first word to describe this exceptional film. There are others—poetic and sensitive, compassionate and humane, poignant and eventually heartbreaking in its resolution of a universal dilemma of star-crossed lovers. For its story is that of a couple having a runaway love affair. He's a Swedish cavalry lieutenant who has left his wife and two children to go off with a beautiful young circus performer—a tightrope walker. The time is long ago—back in the eighteen-eighties. And the issue is simply that of abandonment of social responsibility and defiance of moral convention, all for intoxicating love.
This is compellingly intruded as the picture goes along, moving from moods of carefree rapture, as the runaways sport in open fields, chase butterflies and lightly cut the military buttons off the young man's coat, to more somber moods as they are accidently discovered and have to flee farther and farther on, wilting under economic pressure and the necessity of abandoning their identities. And it is ultimately presented as the crucial and determining issue of their lives.
To be sure, it is an old-fashioned story, romantic and filled with sentiment of the sort that is aptly expressed in the eloquence of Mozart's Piano Concerto No. 21, which is used as the major musical theme. But so brash and immature are the lovers, so confident and gay are they at first, and then so shaken and helpless are they as their idyll is remorselessly dissolved, that they do bear a wistful resemblance to some of the florid young people of today who might hold with the young man in this story that "a blade of grass is all the world."
The performances are perfect—that is the only word. Thommy Berggren, who played the poignant hero in Mr. Widerberg's "Raven's End," which was shown at the New York Film Festival two years ago, is reflective of all the subtle changes in the charming but weak young man who has to come to a decision. And Pia Degermark, a breathtakingly beautiful blonde, captures all the adoration and dignity of the girl.
Awards for
Elvira Madigan (1967/I)
http://www.imdb.com/title/tt0061620/awards
(38 años ha, ¿cómo pasa el tiempo?)
Film Festival: The Landscape of Love:'Elvira Madigan' Tells a Bittersweet Tale
By BOSLEY CROWTHER
Published: September 30, 1967
EXQUISITE is only the first word that surges in my mind as an appropriate description of "Elvira Madigan," a Swedish film by Bo Widerberg that was put on at the late show in Philharmonic Hall last night. For exquisite it is in all the lovely and delicate sense of the word as used to define the felicities of sensuous experience.
Its color is absolutely gorgeous — as gorgeous as any color photography I've ever seen — and beautifully used to fashion and convey the atmosphere of its theme. Its countryside scenes in Denmark, its shots of faces and furnishings of Old World farms, its sheer compositions of food and flora are immediately recollective of Renoir—and I mean not only Augustin, but also his cinema-artist son, Jean.
Likewise, the use of music and, equally eloquent, of silences and sounds, such as bird songs and bee hums and chicken cackles that convey the countryside, is beyond verbal description. It must be heard—or not heard—to be enjoyed.
Exquisite is only the first word to describe this exceptional film. There are others—poetic and sensitive, compassionate and humane, poignant and eventually heartbreaking in its resolution of a universal dilemma of star-crossed lovers. For its story is that of a couple having a runaway love affair. He's a Swedish cavalry lieutenant who has left his wife and two children to go off with a beautiful young circus performer—a tightrope walker. The time is long ago—back in the eighteen-eighties. And the issue is simply that of abandonment of social responsibility and defiance of moral convention, all for intoxicating love.
This is compellingly intruded as the picture goes along, moving from moods of carefree rapture, as the runaways sport in open fields, chase butterflies and lightly cut the military buttons off the young man's coat, to more somber moods as they are accidently discovered and have to flee farther and farther on, wilting under economic pressure and the necessity of abandoning their identities. And it is ultimately presented as the crucial and determining issue of their lives.
To be sure, it is an old-fashioned story, romantic and filled with sentiment of the sort that is aptly expressed in the eloquence of Mozart's Piano Concerto No. 21, which is used as the major musical theme. But so brash and immature are the lovers, so confident and gay are they at first, and then so shaken and helpless are they as their idyll is remorselessly dissolved, that they do bear a wistful resemblance to some of the florid young people of today who might hold with the young man in this story that "a blade of grass is all the world."
The performances are perfect—that is the only word. Thommy Berggren, who played the poignant hero in Mr. Widerberg's "Raven's End," which was shown at the New York Film Festival two years ago, is reflective of all the subtle changes in the charming but weak young man who has to come to a decision. And Pia Degermark, a breathtakingly beautiful blonde, captures all the adoration and dignity of the girl.
Awards for
Elvira Madigan (1967/I)
http://www.imdb.com/title/tt0061620/awards
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oski
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Re: Elvira Madigan
gracias
Los directores que me enseñan a pensar me resultan admirables...
Los que trafican con mi pensamiento vendiendolo al mejor postor, sólo consiguen que desprecie toda su obra...
(Anónimo de principios del Siglo XXI)
Los que trafican con mi pensamiento vendiendolo al mejor postor, sólo consiguen que desprecie toda su obra...
(Anónimo de principios del Siglo XXI)