A Requiem in Four Acts
HBO - IMDb
Documental - USA - 2006 - 240'
Producción:
40 Acres & A Mule Filmworks
Home Box Office (HBO)
Director:
Spike Lee (filmoDXC)
Música:
Terence Blanchard
Fotografía:
Cliff Charles
Montaje:
Barry Alexander Brown
Geeta Gandbhir
Nancy Novack
Samuel D. Pollard
enlaces:
When The Levees Broke-A Requiem In Four Acts Hdtv Ac3.5.1 Cd1 Xvid-Aaf.avi 
When The Levees Broke-A Requiem In Four Acts Hdtv Ac3.5.1 Cd2 Xvid-Aaf.avi When.the.Levees.Broke-A.Requiem.in.Four.Acts.HDTV.AC3.5.1.CD3.XviD-aAF.avi When.the.Levees.Broke-A.Requiem.in.Four.Acts.HDTV.AC3.5.1.CD4.XviD-aAF.avi captuas del ripeo de 4cds
Subtítulos en español:
cortesía de arquelao
descarga directa: opensubtitles
ed2k:
When_the_levees_broke_I-IV.rar El ripeo disponible es un HDTVrip, mientras que los subtítulos proceden del DVD, con lo que puede que no estén sincronizados y/o que la división en partes no coincida. La buena noticia es que el framerate sí debería coincidir.
**NEW**
PLOK ha sincronizado los subtítulos dvdrip para el ripeo de HDTV:
ReseñaPLoK escribió:Sincronizados!! y en release!!
Tanto para la versión de 4 CD's:
Como para la de 2 partes unidas de la misma versión:
Espero no haber cometido ningún error de tiempos pq a veces me lio yo solito... Que aproveche!! xD
Salut!
By Howard Reich
Chicago Tribune arts critic
'Levees' reveals victims, villains in New Orleans
We've read the news articles, watched the TV footage, heard the radio reports and, perhaps, already started to forget them.
With wars roiling the Middle East and terror plots threatening our skies, Hurricane Katrina and its aftermath mostly have slipped from the front pages of newspapers and the top slot on the evening news.
But the effects of the destruction of a great American city, New Orleans, never abated for those who lived through Katrina and have tried to subsist since it hit, Aug. 29, 2005. Come Monday night, the rest of us will be reminded -- in starker terms than ever -- of the agony that was delivered to the Gulf Coast nearly a year ago and continues to mount while New Orleans languishes.
At approximately four hours, Spike Lee's documentary film "When the Levees Broke: A Requiem in Four Acts" unfolds on an operatic scale (it airs on HBO in two parts, at 8 p.m. Monday and Tuesday, and various dates thereafter). Through often disturbing video footage and searing witness observations, the tale -- worthy of Verdi -- offers plenty of victims, a few heroes, a cast of villains but, alas, no saviors.
Those who believed they had seen the most revealing events that occurred in the wake of Katrina will learn from this film that they were wrong. Viewers who thought they understood the range of circumstances aligned against New Orleans in the months following the hurricane will realize they underestimated the degree of neglect, incompetence and greed that New Orleanians still endure on a daily basis.
"It was something truly that you never thought you would see in America," Dr. Louis Cataldie, Louisiana State Medical Examiner, says in the film, in describing the suffering in the days immediately after the hurricane. But the remark applies to practically everything that has occurred in New Orleans during the past year, as well.
Man-made failure
From its title to its closing credits, the film reiterates in every imaginable way that it was not Katrina that destroyed New Orleans. On the contrary, it was the man-made failure of the city's levees, and government's disregard of its consequences, that caused people to die, psyches to be shattered, neighborhoods to be eradicated, personal property to be ruined.
"People think we got hit by a hurricane," New Orleans radio announcer Garland Robinette observes in the film, pointing out that Katrina wasn't close to the Category 5 storm predicted and veered away from a direct hit on New Orleans, anyway.
"We got missed by a hurricane," Robinette continues. "Hurricane went east. ... We've been lied to all these years by the federal government."
Garland refers to the handiwork of the U.S. Army Corps of Engineers, which built and allegedly maintained the levees. It wasn't until this past June, however, that the Corps of Engineers released an exhaustive report accepting blame for creating and operating a porous levee system that began to give way the day Katrina arrived.
As the water levels rose to mortal levels in low-lying areas such as the Lower Ninth Ward and New Orleans East, New Orleanians too poor to get out waited on sun-scorched balconies, in dark and stultifying attics and on battered, precarious rooftops for help that often arrived too late, or not at all.
Though we all have seen TV footage of desperate people holding handmade signs scrawled with the words "Help Us," most of us have not yet laid eyes on the raw footage that Lee unflinchingly places on the screen. A woman hanging for dear life from the ceiling of her flooded home, terrified at the prospect of letting go, in order to seize a life preserver (she survives). Children catatonic at the sight of their mother, sprawled supine on her bed for lack of badly needed oxygen (she is dead). Bodies, barely clothed, floating face down in the waterlogged streets of New Orleans or abandoned on the Interstate, covered in plastic or tarp.
The testimony of the survivors fleshes out the pictures.
A man "floated in the water just for three days, and I just kept talking to him and telling him, `God gonna' make a way, God gonna' make a way, you're gonna' make it,'" one woman recalls, through tears.
"And he would say, `I'm so tired.' And I said, `I know you're tired.' And I wanted to feed him what I had, but I couldn't get to him, because I didn't know how to swim."
He died.
Held accountable
"Somebody needs to go to jail," New Orleans jazz musician Terence Blanchard chants, later in the movie.
In retracing the sequence of events -- beginning with dire warnings of potential levee failure -- the film, to its everlasting credit, exempts no one in power from blame.
Mayor C. Ray Nagin's "first instinct was not to protect his own citizens but to go out to protect the business community," says scholar Michael Eric Dyson, calling the move "lamentable." Gov. Kathleen Blanco dithers over issues of jurisdiction while people die. President George W. Bush offers his immortal quote to then-FEMA director Michael Brown: "And Brownie, you're doing a heckuva job," among many others.
Lower Ninth Ward resident Robert Rocque eloquently sums up this catastrophe of leadership: "Ray Nagin: What happened?" he asks. "You dropped the ball. Then I would say the same thing to the governor: `Miss Blanco: What were you thinking about? What the hell was going on?' Then I would ask Bush: `You're out of touch, and you don't have a clue.'"
The price of this obliviousness has been steep, as the film unhesitatingly shows. We see New Orleans citizens reeling from post-traumatic stress disorder; grieving for bodies of relatives that they never will find; begging for FEMA trailers that do not materialize; lamenting insurance payments that are not forthcoming.
"The insurance companies -- there's a special, special circle in hell for them," says New Orleans actor Wendell Pierce, whose octogenarian father received a pittance on the small home he spent a lifetime paying off.
Finally, director Lee proves fearless in taking on the issue of race. While acknowledging that the disaster struck all skin tones, the images and the data support an incontrovertible fact: As a group, impoverished African-Americans suffered disproportionately. The people trapped in New Orleans during and immediately after Katrina, says activist Harry Belafonte, were "socially of no importance and certainly racially of no importance."
For all the sweeping power of this film, however, it leaves room for quibbles. Some tableaus of destruction, for instance, finally become repetitive or border perilously on the maudlin. Some commentators emerge as omniscient outsiders, their words less persuasive and credible than the vast majority of the film's subjects, who lived through these events.
Yet these minor flaws ultimately do not diminish the majesty of this film, its haunting jazz score by Blanchard giving the narrative much of its rhythm and emotional tone.
"When the Levees Broke" likely will endure for a long time as the prevailing document on a self-made American tragedy -- perhaps longer, even, than New Orleans itself.
