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The film is also (very loosely) based on "The Scarlet Letter," which winds up being less an inspiration for the plot and more a source for one of the film's funniest gags wherein various characters mockingly refer to the 1995 adaptation of the novel starring Demi Moore.
But this is, after all, a high school flick inspired by Nathaniel Hawthorne's "The Scarlet Letter," so even though I didn't really buy the words coming out of the mouth of a precocious 17-year-old, I still enjoyed knowing somebody uttered them.
Nathaniel Hawthorne’s The Scarlet Letter inspires the high-school comedy Easy A, in which Olive (Emma Stone) finds herself excoriated by the entire student body when word mistakenly gets out that she is the campus harlot.
Here he adolescentizes The Scarlet Letter; the title refers to the stigmatic A for Adultery worn by Nathaniel Hawthorne's Hester Prynne.
The reference, of course, is Hawthorne's "The Scarlet Letter," which she's reading in a class taught by the school's coolest teacher (Thomas Haden Church, in perfect casting).
Not only does it contain various literary references to Sylvia Plath, Mark Twain and Nathaniel Hawthorne (whose novel The Scarlet Letter forms the basis of Easy A ) but it also mentions Judy Blume, Say Anything… and all of John Hughes’s films.
Film historians may recall that Paul Newman previously played Groves in Roland Joffé’s Fat Man and Little Boy (1989), which covered the same ground.
I first remember hearing Oppenheimer's name in my seventh-grade history class when we watched Fat Man and Little Boy, where Dwight Schultz from The A-Team played him.
Screenwriter Robert Bolt was also responsible for A Man for All Seasons (also on the Vatican film list for religious significance), Fred Zinneman’s incomparable film about the last years of St. Thomas More, who was martyred under King Henry VIII.
This is a powerful, compelling, and spiritually stirring film directed by Roland Joffe (The Killing Fields) and written by Robert Bolt (A Man For All Seasons).
Screenwriter Robert Bolt ("Lawrence of Arabia," "Doctor Zhivago," "A Man for All Seasons"), music composer Ennio Morricone ("The Good, the Bad and the Ugly," "The Untouchables"), and director Roland Joffé ("The Killing Fields," "City of Joy") give us a moving, inspiring, even rousing tale set against a politically sensitive and socially volatile backdrop.
Or Avatar may remind one of The Mission (1986), where the natives have to try to defend against a killing, materialistic foe.
Mientras que otros realizadores adoran decir que sus películas responden a una tradición monolítica y ultra conservadora símil el promedio de las franquicias de nuestros días o por el contrario, afirman que las mismas salieron de un repollo autocontenido y narcisista sin influencias externas, James Cameron jamás tuvo ningún problema en reconocer que Avatar (2009) funciona como un refrito de influencias, recursos, procesos históricos y latiguillos formales y temáticos de lo más diversos, basta con pensar que así como el film incluye alusiones a la Conquista de América, la Guerra de Vietnam, la Fiebre del Caucho en el Amazonas, las dos Guerras del Golfo y todo el operativo bélico/ represor/ genocida del desquiciado de George W. Bush en Medio Oriente después de los atentados terroristas del 11 de septiembre del 2001, también recupera el motivo del doble agente de las faenas de espionaje, aquel “salvador blanco/ occidental” de Danza con Lobos ( Dances with Wolves , 1990), de Kevin Costner, y L…
Even "The Scarlet Letter" understood that the most piously bland audience-stand-in Everyman protagonists still need a bit of kink to keep them interesting.
I have no idea how much of this comes from genuine acting talent and how much comes from Malick luckily finding the perfect personality to embody the role (in much the way that Roland Joffe did when he hired newcomer Haing S. Ngor for “The Killing Fields”) but the end result is a stunning performance that utterly overwhelms the work from her more seasoned co-stars Farrell and Bale–both are good in their roles but good only goes so far when you are up against the real thing.
Something like this always seems to happen with Robert Bolt's screenplays (think Lawrence of Arabia , Doctor Zhivago ): after laying out a fierce political crisis within an especially unstable impasse of global history, the movies quickly take a detour into picture-postcard scenery and/or the outright hagiography of at-best ambivalent crusaders.
Screenwriter Robert Bolt ("Lawrence of Arabia," "Doctor Zhivago," "A Man for All Seasons"), music composer Ennio Morricone ("The Good, the Bad and the Ugly," "The Untouchables"), and director Roland Joffé ("The Killing Fields," "City of Joy") give us a moving, inspiring, even rousing tale set against a politically sensitive and socially volatile backdrop.
And while composer Ennio Morricone ("Once Upon a Time in the West") has written a spectacular score, combining gorgeous church choirs, Indian panpipes and sweeping symphonic effects, Joffe' makes poor use of it -- the music, too, reaches its peak in the first 10 minutes.
But attention should also be given to the screenplay, adapted by first-time screenwriter Robert Bolt, who later wrote A Man for All Seasons and The Mission .
In the hands of screen writer Robert Bolt ("Lawrence of Arabia"), that history is translated into the stories of three men.
Screenwriter Robert Bolt ("Lawrence of Arabia," "Doctor Zhivago," "A Man for All Seasons"), music composer Ennio Morricone ("The Good, the Bad and the Ugly," "The Untouchables"), and director Roland Joffé ("The Killing Fields," "City of Joy") give us a moving, inspiring, even rousing tale set against a politically sensitive and socially volatile backdrop.
Director Antonia Bird’s welcome sense of humour manages to relieve some of the film’s heavy-handedness, and Priest concludes with the most powerful portrayal of forgiveness since the native South Americans sank Robert De Niro’s armour in The Mission.
As much as in Werner Herzog's Fitzcarraldo, The Mission takes viewers deep into the jungle along with the characters and abandons them there.
The Amazon allows for ravishing cinematography – see also Roland Joffe’s The Mission – and there's a bit of that here.
Joffe (son of “The Killing Fields”’s Roland, and the director of 2011’s so-so take on “Brighton Rock”) is a better director than writer, his tight cinemascope frames getting so close to Kidman that they seem to trap her more than she already is.
Viewers who wander into the theater looking for a good old-fashioned shoot-'em-up will get a lot more than they bargained for: This is an emotionally draining experience along the lines of "The Killing Fields" and "Saving Private Ryan."
Scorsese, no stranger to showing his attraction for stories of indigenous exploitation, also harkens us back to his 1986 film, The Mission, with this latest behemoth.