Coming Home (1978)
Directed by Hal Ashby
In 1968 California, a Marine officer's wife falls in love with a former high school classmate who suffered a paralyzing combat injury in the war.
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What critics compared Coming Home to
Colonel Fitts adds another layer to the Sixties subtext that courses through American Beauty, but characters like his had worn out their welcome even before Bruce Derns military man in Coming Home.
As for the eclectic jukebox soundtrack, in which tunes such as the Chico Hamilton Quintet’s Blue Sands play contrapuntally across tone-shifting scenes, that put me in mind of Ashby’s other masterpiece, Coming Home .
(Rogen later walked that criticism back with an admission that he liked the movie, making him, I guess, a sympathizer with metaphorical fake Nazis?) Jane Fonda, of all people, has tweeted enthusiastically in the film’s defense, calling it “another view of Coming Home.”
And Zhang Yimou, the director of a disproportionate number of Chinese cinema classics including Ju Dou, Raise the Red Lantern, To Live, even House of Flying Daggers… Zhang Yimou, who with his last movie, 2014’s Coming Home, came close to recapturing the aching lyricism of his early work… Zhang Yimou has now put his name to The Great Wall, a movie that seems like a grim parody of his style.
This Chinese American co-production directed by the great Zhang Yimou ("Raise the Red Lantern," "Coming Home") and written by "Prince of Persia's" Carlo Bernard & Doug Miro and "Michael Clayton's" Tony Gilroy was obviously tailored for global audiences, a Hollywood movie star plunked into 1100 A.D. China to save the day.
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No, this is not "Breaking the Waves," nor even "Coming Home," nor should it have to be.
As much as "Stop-Loss" deals with weightier issues, the film is as polarizing as the war in Iraq itself, handling the subject of shell-shocked veterans in a similar way as "Coming Home" and "The Deer Hunter."
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…
Bruce Dern did it in “Coming Home” and William Devane in “Rolling Thunder”.